IntroductionWelcome| 00:00 |
(music playing)
| | 00:04 |
If you enjoy photography, and if you're
| | 00:05 |
interested in learning how you can use
Photoshop to improve your photographs.
| | 00:10 |
Well you've come to the right place.
Welcome.
| | 00:12 |
My name is Chris Orwig.
I'll be your host, guide, and companion
| | 00:15 |
in this course, as we focus in on the
Photoshop Fundamentals.
| | 00:20 |
That you need to learn in order to start
to achieve professional results.
| | 00:24 |
We'll take a look at how we can use Adobe
Bridge in order to view and access our photographs.
| | 00:29 |
We'll also talk about how we can use
Adobe Camera.
| | 00:32 |
Adobe Camera is a powerful tool which
allows us to quickly and easily edit and
| | 00:37 |
improve our photographs.
And we'll look at how we can work with
| | 00:40 |
Photoshop and how we can work with layers
in order to make changes to our pictures.
| | 00:44 |
We'll look at how we can make selective
adjustments so that we can modify
| | 00:48 |
specific areas of our photographs.
And we'll cover some retouching
| | 00:52 |
essentials as well.
Now we will be covering all of these
| | 00:55 |
topics and more.
So thanks for joining me in the course,
| | 00:58 |
let's begin.
| | 00:59 |
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| Using the exercise files| 00:00 |
If you're a premium member to Lynda.com
Online Train Library, you have access to
| | 00:05 |
the Exercise Files.
After you've downloaded the Exercise
| | 00:08 |
Files, locate the folder and simply
double-click it in order to open it up.
| | 00:13 |
Here I'll discover that our Exercise
Files are organized into different
| | 00:17 |
folders based on our different chapters.
In order to start working on images
| | 00:21 |
simply Open one of the folders and here
you can access and view the files that
| | 00:26 |
we'll be working on in that chapter.
If you don't have access to the exercise
| | 00:30 |
files, no big deal.
You can always work on your own images or
| | 00:33 |
you can just simply follow along,
alright?
| | 00:36 |
Let's begin.
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|
|
1. Strategies for Learning PhotoshopGetting the most out of this course| 00:00 |
I am incredibly excited about the
learning adventure that lies ahead and
| | 00:05 |
I'm excited that we'll be taking this
journey together.
| | 00:08 |
Therefore, before we begin I wanted to
share with you five tips or five
| | 00:13 |
strategies which will ensure that your
learning process is more of a success.
| | 00:18 |
Because learning Photoshop, well, it can
be a difficult task.
| | 00:22 |
Yet keep in mind that the view from the
top, well, it's worth the effort of the climb.
| | 00:28 |
So, as you're climbing up the mountain,
as you're learning Photoshop, keep in
| | 00:32 |
mind, that all of the effort that you
invest in this process, well, it will one
| | 00:37 |
day pay off.
Because you know, Photoshop can be a
| | 00:40 |
complicated program, and whenever you're
learning something new.
| | 00:44 |
Whenever you're learning some new
technology, you need to remember, that
| | 00:48 |
technology is your friend.
It will allow you to do things which
| | 00:52 |
otherwise would be impossible.
Consider the surfer, in order to ride
| | 00:57 |
waves, well, he needs to embrace the
technology which allows for surfboards
| | 01:01 |
and wetsuits to be made.
Otherwise, he would remain on the beach,
| | 01:05 |
shivering and cold.
And remember, that Photoshop, it itsn't
| | 01:10 |
something that you can learn all at once.
Rather, it's a process, it's a journey,
| | 01:15 |
and it's a journey that you'll take one
step at a time.
| | 01:19 |
And as you make your way down this road,
you want to travel at your own pace, so
| | 01:25 |
that you can learn the most of this
powerful tool.
| | 01:28 |
And as you get better at Photoshop,
you'll discover that getting good at
| | 01:33 |
Photoshop brings happiness and joy, and I
mean that.
| | 01:36 |
You'll discover these aha moments when
everything makes sense, and rather than
| | 01:41 |
having a jumbled mess of letters in your
hand, all of a sudden, Photoshop will
| | 01:47 |
help you to arrange things so that
everything makes sense.
| | 01:51 |
And Photoshop will give you this insight
in how you can create compelling photographs.
| | 01:56 |
And in order to get good at Photoshop,
you can't remain passive.
| | 02:00 |
You can't simply sit back and watch
someone else do all the work.
| | 02:04 |
Rather, you need to take action, and one
of the best ways to do this is to take
| | 02:09 |
really good notes.
So as you're watching this course, be
| | 02:13 |
sure to take notes along the way.
And then, if you ever have the
| | 02:16 |
opportunity to share with someone what
you've learned.
| | 02:19 |
Well share with them, because that will
help you learn this content in even more
| | 02:24 |
profound ways.
| | 02:25 |
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| The importance of being relaxed and taking good notes| 00:00 |
Let's continue our conversation about
some strategies that we can use in order
| | 00:05 |
to learn Photoshop in more effective
ways.
| | 00:08 |
In the previous movie, I shared with you
some tips which were conceptual or philosophical.
| | 00:12 |
Here, I want to share with you a couple
which are a bit more practical, starting
| | 00:17 |
off with this one here this is a
photograph of my office.
| | 00:20 |
You'll notice there isn't anyone in the
chair and the window is open, and I
| | 00:24 |
wanted to show you this image to remind
you of the importance of taking a break.
| | 00:30 |
Every once in a while you have to get up
out of that seat, open the window and
| | 00:34 |
take a deep breathe.
Because when you work in Photoshop It's
| | 00:37 |
easy to become focused, and involved, and
intent.
| | 00:41 |
Yet every once in a while it's helpful to
just relax a little bit.
| | 00:44 |
One of the ways that you can do that is
by stretching.
| | 00:47 |
Even now it wouldn't hurt to stretch or
roll out your shoulders.
| | 00:51 |
Or maybe you could try this kind of silly
stretch on the right.
| | 00:54 |
Where you open up your mouth and you
stick out your tongue.
| | 00:57 |
And while this stretch is silly, what it
allows you to do is to release the
| | 01:02 |
tension in your face.
Most importantly, while you're learning
| | 01:05 |
this content.
I want you to relax so that all of it
| | 01:09 |
really sinks in.
Another thing that's important to do is
| | 01:12 |
to take really good notes, because the
Photoshop interface is complex.
| | 01:17 |
Sometimes it will be impossible to write
everything down.
| | 01:21 |
Let's say, for example, if you're
learning about Refine Edge.
| | 01:24 |
We'll be talking about this later, but if
you were to try to write down every small
| | 01:30 |
item in this dialogue, it would be near
impossible.
| | 01:33 |
Yet what you can do is you can take a
picture of the screen, and this is what I
| | 01:37 |
do all the time.
On a Mac, press Shift + Cmd + 4 and then
| | 01:41 |
click and drag across the area of the
interface.
| | 01:45 |
On Windows, press Print Screen then you
can print out that screen grab and you
| | 01:50 |
can add your own notes.
In this way, it can help you to remember
| | 01:54 |
things that you've learned or perhaps you
prefer a bit more of a creative approach
| | 01:59 |
as one of my former students did here.
She decided to take notes with color
| | 02:04 |
pencils and she made drawings.
And in this way, it helped all of the
| | 02:08 |
technical content that she was learning,
to stick.
| | 02:11 |
It helped her to remember it in more
vivid ways.
| | 02:14 |
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|
|
2. Getting Started with BridgeCustomizing the Bridge workspace| 00:00 |
In order to get good at Photoshop it's
helpful to understand how you can use
| | 00:04 |
Adobe Bridge.
So you may be thinking well why is that
| | 00:07 |
and what is Bridge?
Well you can think of Bridge as the
| | 00:10 |
starting point in your overall work flow.
And as you'll discover, you can use
| | 00:14 |
Bridge in order to view, open, and access
your photographs.
| | 00:18 |
And you can do a lot in bridge.
And soon, it will become an integral part
| | 00:22 |
to your overall workflow.
Therefore, here, let's take a look at how
| | 00:25 |
we can start to use Bridge.
We'll also look at how we can customize
| | 00:29 |
the work space.
Then in the subsequent movies, we'll dig
| | 00:32 |
a bit deeper.
Well, for starters, you'll notice that we
| | 00:35 |
have different panels.
There's one panel which is called our
| | 00:38 |
Folders panel.
Here I've selected a folder from our
| | 00:41 |
exercise file.
Next we have the Content panel.
| | 00:44 |
This is where we see small thumbnails of
our photographs.
| | 00:47 |
We can click on these different
thumbnails in order to view a larger
| | 00:50 |
preview in the Preview panel.
You can also navigate through your
| | 00:54 |
photographs by using the arrow keys.
When you press the right arrow keys,
| | 00:58 |
you'll move forward.
When you press the left arrow key, you
| | 01:01 |
can then move backwards.
Another thing that you can do is you can
| | 01:05 |
change the size of the thumbnails.
You can do so, by clicking on the
| | 01:09 |
thumbnail slider which you'll find at the
bottom of the Bridge interface.
| | 01:12 |
Click an drag to the left to make those
smaller.
| | 01:14 |
Drag that to the right in order to
increase their size.
| | 01:18 |
In this way, you can customize this so
that you can view your, images a little
| | 01:22 |
bit easier.
Well here you can see I can't see all of
| | 01:25 |
the thumbnails.
In order to scroll through them, you can
| | 01:27 |
use this scroll bar here, so that you can
access and view those photographs.
| | 01:31 |
All right.
Well you can also customize the
| | 01:33 |
interface, and let me show you why that
might be helpful.
| | 01:36 |
Here I'll press the right arrow key to
move forward through my photographs, and
| | 01:40 |
when I get to this picture here, I notice
that the preview.
| | 01:43 |
Well, it's just a bit too small.
You can increase the size of any panel by
| | 01:48 |
hovering over the dividing line.
In this case, the dividing line between
| | 01:52 |
the Content and the Preview panels.
So here when we hover over that dividing
| | 01:56 |
line, you'll notice the cursor changes.
Next what you need to do is to click and drag.
| | 02:01 |
When you see a cursor icon change, that
indicates that you can click and drag.
| | 02:05 |
And that will then allow you to change
the size of the panel.
| | 02:08 |
In this case, it allows us to have a
larger preview of our photograph here.
| | 02:12 |
Another way you can customize the panels,
is by changing their size vertically.
| | 02:18 |
Here have the Preview panel, underneath
it, the metadata panel.
| | 02:22 |
Notice there is again, a dividing line.
Hover over that, you'll see the cursor change.
| | 02:26 |
When you see that, that indicates that
you can click and drag so here we'll
| | 02:30 |
click and drag up in order to open up
more space for our Metadata panel.
| | 02:34 |
So that we can view valuable information
about our photograph.
| | 02:38 |
Next I'll hover over this line again and
click and drag down in order to make that smaller.
| | 02:42 |
Well let's say that you want to close a
panel, you want to get rid of it.
| | 02:46 |
Almost like closing a drawer.
Well, you can do that as well.
| | 02:49 |
What you need to do is to simply double
click on the panel name.
| | 02:53 |
So if I double click on the word meta
data here.
| | 02:55 |
What we'll see is that that panel will
disappear.
| | 02:59 |
Again, it's kind of like closing a
drawer.
| | 03:00 |
To re-open it, simply double click on the
word again, and you can re-open it in
| | 03:05 |
that way.
Another way that you can customize the
| | 03:08 |
interface or workspace Is by choosing a
different work space.
| | 03:12 |
There are a few different ways that you
can do this.
| | 03:14 |
Let me show you the first technique that
you can use, and that is to navigate to
| | 03:18 |
the Window pull down menu.
Think of it as the window that you're
| | 03:21 |
looking at.
Here we can choose Work space, and then
| | 03:24 |
we have a number of different options.
One option that you might like, as a
| | 03:28 |
photographer, is Film strip.
This allows us to view our content panel
| | 03:32 |
below, here we see small thumbnails.
And then we can click through these
| | 03:35 |
thumbnails in order to view a larger
preview above.
| | 03:38 |
We can also use the arrow keys.
Press the left arrow key to move
| | 03:42 |
backwards press the right arrow key to
move forwards.
| | 03:45 |
In this way we have a nice big preview of
our pictures.
| | 03:48 |
Now if the thumbnails are too small in
the Filmstrip work space layout, what you
| | 03:53 |
can do is hover over that dividing line.
Remember we've already learned this trick.
| | 03:57 |
And just click and drag.
And here you can see it can increase the
| | 04:00 |
size of those thumbnails.
Click and drag down, in order to decrease
| | 04:03 |
their size.
You can also use the thumbnail slider as
| | 04:06 |
well, as we've done before.
Well let's say that you've changed the
| | 04:09 |
workspace like we've done here.
And you want to go back to the default
| | 04:13 |
Essentials workspace.
To that, navigate back to the Window pull
| | 04:18 |
down menu, here select Workspace and then
simply choose Essentials.
| | 04:22 |
When we click on Essentials, what we'll
discover is that bridge will remember how
| | 04:27 |
we last configured the workspace.
And that's really handy because it helps
| | 04:30 |
us to have some consistency with our
overall workflow.
| | 04:34 |
Another way that you can change the
workspace is by clicking on these buttons here.
| | 04:38 |
If you don't see all of those buttons,
hover over this little line at the end
| | 04:42 |
and here you can see you can click and
drag more or less of those options.
| | 04:47 |
You can also access the workspaces by
clicking on this icon and again, here we
| | 04:52 |
have different options.
So there's a lot of different techniques
| | 04:55 |
that we can use in order to choose work
spaces.
| | 04:57 |
Most importantly, what you want to do is
customize the workspace so that it fits
| | 05:02 |
for your overall workflow.
So here I'll just drag that back to where
| | 05:05 |
it was, and then I'll use the scroll bar
in order to scroll up to view more of the photographs.
| | 05:10 |
All right, well now that we've started to
become familiar with Bridge, let's dig a
| | 05:14 |
little bit deeper into how we can use
bridge and let's do that in the next movie.
| | 05:18 |
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| Finding and organizing your images with folders and favorites| 00:00 |
One of the advantages of working with
Adobe Bridge is that it allows you to
| | 00:04 |
quickly view, organize, and access your
photographs.
| | 00:08 |
So here let's take a look at how we can
start to do that using Folders and Favorites.
| | 00:13 |
In the Folders panel, you'll notice that
I've selected the 02 Bridge folder.
| | 00:18 |
Inside of this folder are two subfolders.
We have Daisy and iPhone.
| | 00:23 |
Now, there are two different ways that
you can navigate to different folders.
| | 00:26 |
First in the Content panel, I'll scroll
down to the bottom so I can then view
| | 00:31 |
these folders.
Next, simply double-click on the folder
| | 00:34 |
name and that will take you to that
folder so that you can then view the
| | 00:38 |
images inside.
In this case, we have a few iPhone
| | 00:41 |
photographs that I captured of my
daughters.
| | 00:44 |
Next what I want to do is navigate to
another folder.
| | 00:47 |
I want to navigate to the folder which is
titled Daisy.
| | 00:49 |
Because inside of that folder I have some
pictures that I captured of our beloved
| | 00:54 |
dog, Daisy, which we recently adopted.
And here are some photographs of her as a puppy.
| | 00:59 |
In this way, you can start to see how you
can use folders in order to organize or
| | 01:04 |
group images together.
Well, let's say that you want to go back
| | 01:07 |
to the 02 Bridge folder, and inside of
this folder you have some images which
| | 01:12 |
you want to organize into a subfolder.
How can you create a new folder?
| | 01:17 |
Well, to do that, navigate to your File
pull down menu and simply choose New Folder.
| | 01:22 |
This will then create a new subfolder
inside of the folder which you've selected.
| | 01:26 |
Here this is inside of 02 Bridge.
Next, I'll give this new folder a name,
| | 01:31 |
NY for New York, because I want to add
some photographs that I captured in New
| | 01:36 |
York to this folder.
To do that, you can click on an image and
| | 01:40 |
simply drag it to the folder icon here.
In that way, you'll add that picture to
| | 01:44 |
the folder.
Yet, what about when you want to add
| | 01:47 |
multiple images.
Well here, you can click on one image,
| | 01:51 |
then hold down the Shift key and click on
another.
| | 01:54 |
That will allow you to select what's
called contiguous files or files which
| | 01:58 |
are next to each other.
Here we simply now Click and Drag all of
| | 02:02 |
these files to this folder.
In this way, we've organized those images
| | 02:06 |
into a subfolder.
And this can be a helpful way to group
| | 02:10 |
your photographs together.
Now in order to access those pictures
| | 02:13 |
which are captured in New York, here we
just click on the folder name, which is
| | 02:17 |
New York.
And then we'll see those four photographs.
| | 02:20 |
All right, well let's say there is a
folder that we access a lot.
| | 02:24 |
For example, let's say that we work from
our 02 bridge folder frequently.
| | 02:29 |
Well what we might want to do is add this
to our favorites.
| | 02:32 |
There are a few different ways that you
can do that.
| | 02:34 |
Here, one technique that you can use is
to right-click or Ctrl+click on the
| | 02:38 |
folder that you want to add to favorites.
This will open up a contextual menu.
| | 02:43 |
About three quarters of the way down,
you'll notice there's a menu item which
| | 02:46 |
is called Add to Favorites.
Click on that option, and let's take a
| | 02:50 |
look at what will happen.
Once we've added a folder to favorites,
| | 02:54 |
we can then go to the Favorites panel.
Here in the Favorites panel, it will show
| | 02:59 |
us some default favorite folders.
It will also show us and folder which
| | 03:03 |
we've added.
In this case, 02 Bridge.
| | 03:06 |
So here, I can quickly access that
folder.
| | 03:09 |
Another way that you can add folders to
your favorites, is by simply dragging a
| | 03:14 |
folder over here to the Favorites panel.
So for example, let's say that I want to
| | 03:19 |
add this Daisy folder.
Well here, just Click and Drag and then Drop.
| | 03:23 |
Now that folder is part of Favorites and
here, we can simply click on the folder
| | 03:27 |
in order to access those files.
And in this way, we can navigate quickly
| | 03:31 |
to those folders that we use most
frequently.
| | 03:34 |
But what about the situation where you've
added a folder and you want to remove it.
| | 03:38 |
You want to get rid of it from your
favorites, yet you don't want to delete
| | 03:42 |
the folder or delete the images.
We'll once again use that short cut which
| | 03:46 |
I highlighted previously.
Right-click or Ctrl+click, on the folder,
| | 03:51 |
inside of the Favorites panel.
Next, select the item here, Remove from Favorites.
| | 03:55 |
That will then remove that folder from
the favorites.
| | 03:58 |
Yet don't worry, it hasn't deleted
anything.
| | 04:01 |
Rather, it just removed it from this area
of the Bridge interface.
| | 04:05 |
Here if we go back to folders, we'll
discover that this folder still exists in
| | 04:09 |
its original location.
And so in this way, we started to see how
| | 04:13 |
we can use Bridge in order to view,
organize and access our images by using
| | 04:18 |
Folders and Favorites.
Alright, well now that we've covered this
| | 04:22 |
topic, lets build upon what we've
learned.
| | 04:25 |
And lets dig a little bit deeper into how
we can use Bridge more effectively.
| | 04:29 |
And let's do that in the next movie.
| | 04:31 |
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| Viewing your images at full screen and as a slideshow| 00:00 |
In the previous movies, I mentioned that
one of the advantages of using Adobe
| | 00:04 |
Bridge is that it allows you to quickly
and easily view your photographs.
| | 00:09 |
Yet so far we've talked about how we can
view our thumbnails in the Content panel.
| | 00:14 |
And how we can view a larger preview in
the Preview panel.
| | 00:17 |
Well here, I want to highlight a couple
of techniques that we can use in order to
| | 00:21 |
access an even larger preview.
We'll look at how we can work with full
| | 00:25 |
screen mode, and also how we can view our
photographs as a slide slow.
| | 00:29 |
Then, we'll look at a shortcut that we
can use in order to change the backdrop
| | 00:33 |
behind our pictures.
As we're viewing our image here in
| | 00:36 |
Bridge, and also In full screen and in
the slide show.
| | 00:39 |
All right.
Well, let's start off with full screen mode.
| | 00:41 |
Here I have an image selected.
What I want to do is view this image in
| | 00:46 |
full screen.
I want to leave behind the Bridge
| | 00:48 |
interface, so to speak.
In order to do that.
| | 00:51 |
Tap the space bar key or navigate to the
view Pull Down menu and choose the menu
| | 00:55 |
item Full Screen Preview.
Notice that it will remind you of the
| | 00:59 |
shortcut key here.
When we click on that menu item or when
| | 01:03 |
we tap on the space bar key, it will take
us to full screen.
| | 01:06 |
Now in this case, I'm working with the
smaller JPEG, but still I want to zoom in
| | 01:11 |
on this picture.
To do so, you can click on the image to
| | 01:14 |
zoom into 100%.
If you want to get even closer you can
| | 01:18 |
use your plus key to zoom in and your
minus key to zoom out.
| | 01:22 |
Here I'll tap the plus key on the key
board and then click and drag in order to
| | 01:26 |
reposition the image.
Press the minus key in order to zoom out
| | 01:30 |
once, press it again, in order to zoom
out even further.
| | 01:34 |
Now let's say that you want to go back to
Bridge.
| | 01:36 |
You're done with Full Screen mode.
Well, here just tap the space bar key in
| | 01:41 |
order to exit that mode.
In this way, you can see that we can
| | 01:44 |
select a photograph and then tap the
space bar key in order to enter into full
| | 01:49 |
screen mode.
And this view of your photographs is
| | 01:52 |
really helpful when it comes to
evaluating your pictures or showing your
| | 01:55 |
photographs to a friend or client.
Now, once you've viewed one photograph in
| | 02:00 |
full screen you may want to view another.
Here you can use your arrow keys.
| | 02:04 |
Press the right arrow key in order to
move forward through your photographs.
| | 02:07 |
Press the left arrow key in order to move
backwards.
| | 02:11 |
As you move through your photographs, you
may discover you want to zoom in close.
| | 02:15 |
In this case, this is a full
hi-resolution file.
| | 02:17 |
I want to zoom in on the eye.
So here if I click on this area of the image.
| | 02:22 |
It will zoom into that area of my
photograph.
| | 02:25 |
Click again in order to zoom out.
Again, press the spacebar key in order to
| | 02:30 |
exit full screen mode, alright.
Well now that we've seen full screen
| | 02:34 |
mode, I want to show you another
technique that you can use in order to
| | 02:37 |
see a larger preview of your image and
this is called slideshow.
| | 02:41 |
Here, click on the first image that you
want to show in your slideshow, then
| | 02:45 |
navigate to the view pull down menu and
choose slideshow.
| | 02:49 |
When you do this, it will launch your
images in full screen and it will start
| | 02:53 |
to play the slide show.
Here, you can see the photographs
| | 02:56 |
marching through this slide show.
If you want to stop on an image, press
| | 03:00 |
the space bar key.
The space bar key allows you to start and
| | 03:04 |
to stop the slide show.
So, here, I'll press the space bar key
| | 03:07 |
again, and the slide show will continue
on.
| | 03:10 |
In this way, you can move through your
photographs.
| | 03:12 |
Now, in order to exit the slideshow you
can either wait until the slideshow gets
| | 03:17 |
to the last image and brings you back to
Bridge, or you can press the Esc key.
| | 03:21 |
Now, in that slideshow that I just showed
you, the images move pretty quickly.
| | 03:26 |
Let's say that you want to customize a
slideshow.
| | 03:29 |
How can you do that?
Well again click on the image that you
| | 03:32 |
want to start on, then navigate to your
View Pull Down menu and then chose Slideshow.
| | 03:37 |
Right as it starts press the space bar
key in order to pause the show.
| | 03:42 |
Then you can press the shortcut key on
your keyboard which is the H key.
| | 03:47 |
That will open up various slideshow
commands.
| | 03:51 |
The one which will be probably most most
helpful is this one here.
| | 03:55 |
You can press the L key in order to
access some slideshow options, because
| | 04:00 |
what I want to do, is slow this slideshow
down.
| | 04:02 |
It's moving too fast.
So I'll press the L key.
| | 04:05 |
This opens up our Slideshow Options
dialogue.
| | 04:10 |
Here we have a few different options in
regards to the slide duration or the transisition.
| | 04:15 |
All that I'm going to change is my slide
duration here.
| | 04:17 |
I'll take this up to two seconds and then
click OK.
| | 04:21 |
To hide these controls, press the H key.
Then to restart the slideshow.
| | 04:27 |
Press the Space Bar key and here you can
see now my slideshow, it's moving a
| | 04:31 |
little bit more slowly.
And in this way, you can customize how
| | 04:34 |
this works.
Again, to exit out of the slideshow tap
| | 04:38 |
the Escape key.
Alright?
| | 04:41 |
Well, so far as we've looked at our
images in full screen and in the
| | 04:44 |
slideshow, we've been viewing our image
so that the surrounding area is this
| | 04:49 |
shade of gray.
We can change that in Bridge, which will
| | 04:53 |
in turn also change that in full screen.
And in the slideshow.
| | 04:57 |
Let me show you how.
Here, navigate to the Adobe Bridge Pull
| | 05:00 |
Down menu, and then select Preferences.
This will launch our Preferences
| | 05:05 |
dialogue, and we're going to work in the
General tab.
| | 05:08 |
If you focus in on the General tab you'll
notice that there's an option for Appearance.
| | 05:13 |
We can change the appearance of Bridge by
clicking on these color swatches here or
| | 05:17 |
we can also use these sliders.
To change the tone behind the image,
| | 05:22 |
click on the slider for image backdrop.
Here, I'll drag this to the left just for
| | 05:26 |
demo purposes so that the backdrop is now
completely black.
| | 05:31 |
To apply this, click OK.
Well now, if I'm to access full screen or
| | 05:36 |
the slide show, we'll notice that the
surrounding area will be completely black.
| | 05:40 |
Again, the same shade or tone we have
here.
| | 05:43 |
So with this image selected, tap on the
spacebar key.
| | 05:47 |
Now you can see that we have this black
tone in the background.
| | 05:50 |
And this is especially helpful when
you're showing your images on a
| | 05:53 |
projector, so that the viewer can focus
in on the photograph.
| | 05:56 |
To exit out of the slideshow, press the
space bar key again.
| | 06:00 |
Well, let's take a look at our slideshow,
just to compare.
| | 06:03 |
Here we'll navigate to the View pull-down
menu, and then we'll select Slideshow.
| | 06:08 |
When we launch a slideshow, again you'll
notice that the image is surrounded by
| | 06:12 |
this black tone.
Next I'll press the space bar key to
| | 06:15 |
pause the slideshow.
Press the Escape key to exit out of that,
| | 06:20 |
and here we are back in bridge.
So when it comes to viewing your
| | 06:23 |
photographs using bridge, as you can see
here, you can work with your Content
| | 06:27 |
panel and view thumbnails.
You can view previews, or you can also
| | 06:31 |
view larger previews by working with this
View Pull Down menu and selecting either
| | 06:36 |
Full Screen Preview or Slideshow.
| | 06:40 |
| | Collapse this transcript |
| Rating, ranking, and filtering your photographs| 00:00 |
One of the advantages of digital
photography, is that it allows you to
| | 00:03 |
capture images more freely.
Yet one of the disadvantage is that
| | 00:08 |
sometimes we can take too many pictures.
And that was definitely the case here.
| | 00:12 |
I mean I couldn't help myself.
Here we had all of these golden retriever
| | 00:16 |
puppies, and there in this old red wagon.
And I was just clicking and clicking away.
| | 00:21 |
And I captured hundreds of photographs.
And so what we need to do is we need to
| | 00:25 |
learn how we can use Adobe Bridge in
order to help us out in scenarios like this.
| | 00:30 |
And we can use Bridge in order to rate or
rank our photographs.
| | 00:34 |
Then, we can use some filtering
techniques which allow us to filter and
| | 00:38 |
find certain images.
So let's start off by taking a look at
| | 00:42 |
how we can work with one folder, and then
we'll work with other folders as well.
| | 00:46 |
Well for starter what you can do is start
to navigate through your photographs.
| | 00:50 |
Here I'll do that by pressing the right
arrow key.
| | 00:52 |
And as I'm going through my pictures, I'm
looking to evaluate the photographs,
| | 00:56 |
until I find one that I like.
Here, when I get to this picture, I like
| | 01:00 |
this one.
So I want to add what's called a star
| | 01:03 |
rating, or a label to this photograph.
To do that, you can navigate to the label
| | 01:07 |
pull down menu.
Notice that you have different star options.
| | 01:11 |
Think of this like a rating.
1 star, the image is okay.
| | 01:14 |
5 star, it's great.
Then you can also add labels as well.
| | 01:18 |
You'll notice there are some shortcuts
here in order to add these.
| | 01:21 |
And I want to show you a few techniques
that you can use.
| | 01:24 |
In order to add star or label ratings to
your photographs.
| | 01:28 |
With this photograph, I'm going to say
its a three star picture.
| | 01:31 |
So I'll clcik on that menu item there.
Notice that the three stars show up below.
| | 01:36 |
Then I move to another photograph.
This time rather than navigating to the
| | 01:40 |
label pull down menu, I'll add a star
rating by clicking on the little icon
| | 01:45 |
underneath the image.
Here, I'll click on the fourth dot in
| | 01:48 |
order to add a four star rating.
To change the rating, you can simply
| | 01:52 |
click again and you can change that here.
Well, here I'll click on another
| | 01:56 |
photograph and then another.
And when I get to this one, I've decided
| | 01:59 |
that I really like this one and I want to
add a star rating.
| | 02:03 |
Here I'll show you another technique that
you can use in order to do that.
| | 02:07 |
If we go back to the label pull down
menu, you'll notice there are some short cuts.
| | 02:11 |
You can use the Cmd key on a Mac, Ctrl
key on Windows and then press a number.
| | 02:16 |
In this way, you can quickly add that
star rating.
| | 02:19 |
Let's try it out.
With this image, I want to add a four
| | 02:22 |
star rating so, I'll press Cmd+4 on a Mac
or Ctrl+4 on Windows.
| | 02:27 |
Then I'll go through the photographs and
here we can just click through the images
| | 02:31 |
until we get to another picture that we
either want to add a rating to.
| | 02:34 |
Now, when I get to these last two, I
think our little puppy just looks so cute.
| | 02:38 |
So, what I want to do Is add a label and
a star rating.
| | 02:42 |
Here we can navigate to the Label
pulldown menu.
| | 02:45 |
I'll add a four-star rating and then I'll
click on the Label pull-down menu again
| | 02:50 |
and I'll add a select label.
In doing that we'll see that this red
| | 02:54 |
label shows up underneath the image.
And again we can add this star or label
| | 02:59 |
ratings of photographs either by using
the pull-down menu here or once you learn
| | 03:04 |
the shortcuts, you can use those as well.
Allright, well now that I've added these
| | 03:08 |
ratings to these photographs, you'll
notice that my filter options have changed.
| | 03:12 |
In the Filter option, I now have two
different new panels, Labels and Ratings.
| | 03:16 |
Here if we click on one of these options
like the red label or the select label it
| | 03:22 |
will just show me that image.
Here I'll click again in order to remove
| | 03:26 |
that filtering and it will show all of
the photographs.
| | 03:29 |
Well let's say that we now want to see
the images which we gave a four star
| | 03:33 |
rating to.
Click on four stars and it will show me
| | 03:37 |
these three photographs.
If I also want to see the photographs
| | 03:40 |
with the three star rating, you can click
on that option.
| | 03:43 |
In this way, you can see that you can
select multiple criteria in order to
| | 03:47 |
filter and find your photographs.
All right, well so far we've looked at
| | 03:50 |
one folder.
Let's navigate to a few others.
| | 03:53 |
Here I'll click to the iPhone folder.
These are some pictures I captured of my
| | 03:57 |
daughter's, on my iPhone.
And here you can see we have images which
| | 04:00 |
are similar, yet a little bit different.
Often what you'll do is you'll evaluate
| | 04:05 |
your photographs, and here when I look at
these two pictures.
| | 04:08 |
You know what, I just like this one
better.
| | 04:10 |
So in this case, I'll give this a rating.
In order to do so, I'll just click on the
| | 04:14 |
icon right underneath it to give it a
three star rating.
| | 04:18 |
What about these first two?
Well here's one, she's about to jump, and
| | 04:21 |
there she is mid flight, jumping off of
this wall down at the beach.
| | 04:25 |
Again I'll add a three star rating.
Well so far we've worked on two different folders.
| | 04:30 |
Let's make our way to one more.
This time the O2 bridge folder.
| | 04:34 |
Here I'll simply select one picture and
I'll add a rating, in this case a four
| | 04:39 |
star rating.
Now why am I jumping between all of these folders?
| | 04:43 |
I'm jumping between all of these folders
in order to illustrate a point.
| | 04:47 |
Currently when you are in a folder it
will show you the options which you have
| | 04:51 |
for that folder.
In this case, one image which has a four
| | 04:54 |
star rating.
As I click between the folders notice
| | 04:57 |
that my filtering options change.
And here, as we make our way through, we
| | 05:01 |
can see those various options.
In this way, it's helpful to start to
| | 05:05 |
sort or filter or find the keepers in a
specific folder.
| | 05:10 |
Yet, what about those situations that you
want to find the keepers in the main
| | 05:14 |
folder and all of the sub folders.
Well, to do that, you need to change the
| | 05:19 |
way that you're viewing your images in
bridge.
| | 05:21 |
Here if we navigate to the View pull down
menu, we can then select show items from
| | 05:27 |
sub folders.
In this way we may have one folder which
| | 05:31 |
is called Photography.
Inside of it we have various sub folders,
| | 05:35 |
but when we show all of the items, it
will show us all of the images that we
| | 05:39 |
have in our folder and sub folders.
Now what I can do is say hey Bridge, I
| | 05:44 |
want to see all my three-star and my
four-star photographs.
| | 05:47 |
In this case, you can see that I have
images which I'm viewing here from
| | 05:51 |
different folders.
And this can be a handy way to start to
| | 05:54 |
find those keepers in order to create a
portfolio, or in order to work on a
| | 05:57 |
certain project.
In order to turn off this view, so that
| | 06:01 |
you just focusing in on one folder.
Navigate to the View pull down menu, and
| | 06:06 |
then select this menu item again.
Show items from subfolders.
| | 06:10 |
Here, when we click on that, that will
then turn it off.
| | 06:13 |
Next I also want to highlight that we can
do some filtering when we're searching
| | 06:17 |
for images which don't have a star rating
or a label attached to them.
| | 06:21 |
Here if you navigate to the Filter panel
you'll notice that we have other criteria
| | 06:26 |
which we can search for.
For example, we could search for an ISO
| | 06:30 |
speed setting and then when we click on
this option, we could see these images
| | 06:34 |
which were captured at an ISO of 200.
Click again in order to turn off that criteria.
| | 06:39 |
Or another helpful way to find different
files is to use the file type filtering here.
| | 06:45 |
If I want to find my Camera Raw images it
will show me these four photographs.
| | 06:50 |
On the other hand, if we want to see the
Jpegs which we have in this folder we can
| | 06:53 |
click on this option here.
So what I recommend you do here is start
| | 06:58 |
to dig into these different filtering
options.
| | 07:00 |
And if all of this is brand new to you
What I recommend you do is keep things simple.
| | 07:05 |
Start off by simply adding some stars or
labels to your photographs, as we've done here.
| | 07:10 |
Then next, simply filter based on these
criteria so that you can find those keepers.
| | 07:16 |
As you get a bit more advanced with
working with Bridge.
| | 07:18 |
We'll dig into some of those other
options as those can help you to filter
| | 07:23 |
and define certain photographs.
| | 07:25 |
| | Collapse this transcript |
| Opening your photos in Photoshop| 00:00 |
In the beginning of this chapter, I
mentioned that it's helpful to learn
| | 00:03 |
Bridge, because Bridge allows us to view,
organize and open up our photographs.
| | 00:09 |
And I talked about how Bridge would be a
starting point in your overall workflow.
| | 00:13 |
And now that we know a little bit about
how we can work with Bridge, let's take a
| | 00:17 |
look at the last part of the equation.
Let's look at how we can open up our photographs.
| | 00:22 |
You know in Photoshop you can work with
many different file types like JPEG, TIF,
| | 00:26 |
PSD or RAW files.
So here let's start off with a JPEG file.
| | 00:30 |
In order to open up this file simply
click on it in the Content panel.
| | 00:34 |
Next navigate to the File pull-down menu
and then here select Open.
| | 00:37 |
When you click on that menu item it will
open up that file inside of Photoshop.
| | 00:42 |
Now once inside of Photoshop, the fun
really begins.
| | 00:46 |
Yet let's say that we want to go back to
Bridge in order to open up another photograph.
| | 00:51 |
To do that, navigate to the File
pull-down menu, and then select this
| | 00:55 |
option, Browse in Bridge.
When you click on that option, it will
| | 00:59 |
bring you back to Bridge, so that you can
then select another photograph.
| | 01:03 |
Here I want to open up another JPEG.
I'll click on this image, family_04.jpg,
| | 01:08 |
and I want to open this one up.
So far we have seen that we can open the
| | 01:12 |
file up by going to File > open.
Well, another technique that you can use
| | 01:17 |
is to simply double-click on the image.
Here when we double-click on this, it
| | 01:21 |
will then open this file up in Photoshop.
Alright, well let's go back to Bridge in
| | 01:26 |
order to learn a few more techniques
here.
| | 01:28 |
So once again, click on File, and then
choose Browse in Bridge.
| | 01:32 |
This will bring us back to Bridge.
So far we've looked at how we can open up files.
| | 01:37 |
When we have files which are non raw
files, like JPEG, TIF, of Photoshop documents.
| | 01:43 |
Well what about those situations like
with this file?
| | 01:46 |
This is a RAW file, and in order to work
with a RAW file, typically we start with
| | 01:51 |
Camera Raw.
Now we'll be talking more about Camera
| | 01:54 |
Raw in one of the subsequent chapters.
Yet here, I simply want to highlight the
| | 01:59 |
overall process.
We can either navigate to the File > Open
| | 02:03 |
menu in order to open this image up in
Camera Raw=, or we can also just
| | 02:08 |
double-click on the file.
When we double click on the image you'll
| | 02:11 |
notice it will access a completely
different interface.
| | 02:14 |
This is Camera Raw and we'll be talking
more about this in one of the later chapters.
| | 02:19 |
Well once you've finished working in
Camera Raw you can click on the Open
| | 02:23 |
Image button.
What that will do is it will then send
| | 02:26 |
the photograph to Photoshop and it will
open it up inside of Photoshop as you can
| | 02:30 |
see here.
| | 02:31 |
| | Collapse this transcript |
|
|
3. Setting Up Photoshop Setting up your color settings| 00:00 |
In this movie we're going to take a look
at how we can set up our color settings
| | 00:04 |
in order to ensure the best results as we
start to work on our photographs.
| | 00:10 |
And we need to do this for the same
reason that a muscian needs to tune his
| | 00:14 |
guitar before he starts to play.
And you know what, the default color
| | 00:18 |
settings or the default tuning that we
have in Photoshop It just won't cut it.
| | 00:22 |
So in order to change our color settings,
what we need to do is to navigate to the
| | 00:26 |
Edit pull down menu.
Simply click on the word Edit and then
| | 00:30 |
make your way down to the option that
says Color Settings.
| | 00:33 |
Here when you click on that option, it
will launch the Color Setting dialogue.
| | 00:38 |
Now at first glance the dialogue may
appear a bit confusing.
| | 00:42 |
Yet don't worry.
I'll show you how you can easily choose
| | 00:45 |
the best color settings for your
workflow.
| | 00:47 |
Alright, well, for starters, though, what
I want to do is highlight that there are
| | 00:50 |
a few things that we want to change here.
Currently, you can see that we have our
| | 00:54 |
working color space, and the working
color space is sRGB.
| | 00:59 |
And that isn't a good choice especially
for photography.
| | 01:03 |
And one of the reasons why this isn't a
good choice is because the sRGB color
| | 01:08 |
space is kind of like the lowest common
denominator.
| | 01:11 |
Its a small color space with not a lot of
color options.
| | 01:14 |
What we need to do is to choose a color
space which has a wider or larger color
| | 01:19 |
gamut, which has more color options.
So in order to make a change to this
| | 01:23 |
color space we can click on this pull
down menu here.
| | 01:27 |
Or we can choose another option which
will also dial in a few other color
| | 01:31 |
setting modifications which will help us
out.
| | 01:34 |
And the quickest and easiest way to set
everything up here is to go to this pull
| | 01:39 |
down menu.
Currently my settings are North American
| | 01:42 |
General Purpose 2.
If you click on the pull down menu you
| | 01:46 |
see that you have a few other options.
The option which will work best for us
| | 01:50 |
when our interest is photography is North
American Prepress 2.
| | 01:55 |
When we make a selection of that option,
you notice that it will customize a few
| | 01:59 |
settings in this dialogue.
Let me talk about what's happened here.
| | 02:02 |
Well for starters, we now have a new
working color space, and this is great.
| | 02:07 |
The Adobe RGB 1998 Color Space is perfect
for photography because this is a large
| | 02:13 |
or wide-gamut color space.
Now in most situations this will work
| | 02:17 |
extremely well.
Yet in certain situations, like for
| | 02:20 |
example if you work with Lightroom and
Photoshop together.
| | 02:24 |
Yyou may want to choose and even wider or
larger color gamut.
| | 02:28 |
You can do so by clicking on this pull
down menu, and then by making a selection
| | 02:32 |
of ProPhoto RGB.
Now in my own workflow, I work with
| | 02:36 |
Lightroom and Photoshop together.
So this is the option that I choose, yet
| | 02:41 |
here in this course because we're
going to be focusing in on Photoshop and
| | 02:44 |
just using Photoshop.
What I'll do is go ahead and choose Adobe
| | 02:48 |
RGB 1998.
And again in most situations that color
| | 02:52 |
space will work really well.
Next, another thing that I want to
| | 02:55 |
highlight here is that this particular
option, North American Prepress 2, it
| | 03:00 |
also change a few options below.
It turned on all of these checkboxes and
| | 03:05 |
you deffinitally want to have those on.
Because this will tell you if there is
| | 03:09 |
some sort of a profile mismatch, or a
missed profile.
| | 03:13 |
Therefore, if someone emails you a
photograph, and if you open it up in Photoshop.
| | 03:18 |
And if the color profile or the color
space doesn't match the one that we're
| | 03:22 |
working in, well this will then give you
an appropriate warning message.
| | 03:26 |
Alright, well next we want to make sure
to, leave this all as is, preserve those
| | 03:30 |
embedded profiles, alright?
Well that's all that we need to do in
| | 03:33 |
order to quote tune our guitar or to dial
in our color settings.
| | 03:38 |
So that our Color Settings will work best
for us as we start to work on our photographs.
| | 03:42 |
Next, after we've dialed in those
settings and chosen the option of North
| | 03:46 |
American Prepress 2.
Last but not least, all that we need to
| | 03:49 |
do is to simply click OK, in order to
apply those Color Settings.
| | 03:54 |
| | Collapse this transcript |
| Customizing the interface| 00:00 |
When it comes to setting up Photoshop,
the good news is that there isn't a lot
| | 00:05 |
of work that needs to be done.
That's because most of the default
| | 00:09 |
settings work really well.
Yet there may be a few settings which you
| | 00:13 |
want to customize to suit your own
preferences.
| | 00:16 |
Well, here I want to take a look at
those.
| | 00:18 |
In particular I want to focus in on how
we can customize the Photoshop Interface.
| | 00:23 |
Now, in order to talk about the
interface, I want to show you a few
| | 00:26 |
different techniques that you can use in
order to customize it.
| | 00:29 |
In particular I want to show you a few
shortcuts as well as how you can access
| | 00:34 |
some of the Interface Preferences in the
Preference dialogue.
| | 00:37 |
All right, well, for starters, let me
show you a few shortcuts.
| | 00:40 |
Currently, you can see that I'm viewing
an image.
| | 00:43 |
And we can change the different view
modes of our photographs buy pressing a
| | 00:47 |
single key on the keyboard.
It's the F key.
| | 00:50 |
If you press the F key what it will do is
it will cycle through the different
| | 00:54 |
screen modes.
Here, I'll press the F once, and then
| | 00:58 |
another time, and then yet another time.
In this way, you can see that we can
| | 01:02 |
change to different view modes.
Now in each view mode by default, there's
| | 01:07 |
a different background color.
Currently it's dark gray.
| | 01:11 |
Well if you want to change that, you can
position your cursor over the background
| | 01:15 |
area and then right-click or Ctrl-click.
And when we do that, you'll notice that
| | 01:20 |
you have different options.
Currently the option which is selected is Default.
| | 01:25 |
If I wanted this to be brighter or
lighter I could choose Light Gray.
| | 01:29 |
This way we can change the surrounding
area.
| | 01:32 |
Now this will only change that color that
we're seeing here in this Screen mode.
| | 01:37 |
In other words, let's go ahead and take
this back to the default setting.
| | 01:40 |
Then, press the F key to navigate to
another screen mode.
| | 01:44 |
Here we can see this is another shade of
gray.
| | 01:47 |
Right-click or Ctrl+click on that,
currently it's set to Medium Gray.
| | 01:52 |
If we take this to the default setting,
we'll see a darker color there in the background.
| | 01:57 |
So in this way we can customize the way
that that background color appears behind
| | 02:02 |
our photographs.
Another way that we can change the
| | 02:05 |
Photoshop Interface is by navigating to
the Preferences dialogue.
| | 02:10 |
You can find the preferences by
navigating to the Photoshop pull-down
| | 02:13 |
menu, and then by choosing Preferences.
And rather than going to General, what we
| | 02:18 |
want to do is select Interface.
This will take us to the exact location
| | 02:23 |
where we want to go.
So here let's choose Preferences and then Interface.
| | 02:29 |
In this particular dialogue, you will
notice that we have Interface selected,
| | 02:33 |
and we have a few options which allow us
to customize the appearance.
| | 02:37 |
Here we can choose an overall color
theme.
| | 02:39 |
For example, we could choose a theme
which was darker or one that was brighter.
| | 02:44 |
And all that you need to do to make these
changes is to simple click on these
| | 02:48 |
little color chips.
Another way that we can make some
| | 02:51 |
changes, is by using some of the options
down below.
| | 02:54 |
Currently, we have our Standard Screen
Mode, Full Screen Mode with Menus and
| | 02:59 |
Full Screen.
Well the screen mode that I'm in right
| | 03:02 |
now is the middle one, Full Screen Mode
with Menus.
| | 03:06 |
Well, here I can change what I'm seeing
here, for example, if I'd like to have a
| | 03:10 |
line surrounding the image, I can then
choose that option here.
| | 03:14 |
Now, currently it's a little bit
difficult to see in this darker mode.
| | 03:17 |
So, I'm going to choose a color theme
which is brighter.
| | 03:20 |
Now we can see that black line around the
image.
| | 03:24 |
If I change that to none, you'll see that
line dissapear.
| | 03:28 |
So, the way that you customize your
Interface really is a bit of an interplay
| | 03:32 |
between these options.
And also between the background color
| | 03:35 |
that we're seeing here behind our
photographs.
| | 03:38 |
Now, we can customize this in one more
way.
| | 03:40 |
We can choose to have a Drop Shadow
behind our image.
| | 03:44 |
And here we have a subtle little Drop
Shadow which shows behind the photograph.
| | 03:48 |
As you seek to customize the interface,
what you'll want to do is to choose the
| | 03:52 |
Color Theme which you like best.
And again, this is just a preference
| | 03:56 |
which is completely up to you.
There is no right or wrong answer.
| | 04:00 |
Next you may want to dial in a few other
options as well.
| | 04:03 |
When it comes to Borders or Drop Shadows
my preference is to choose None.
| | 04:08 |
I like to see the image without anything
behind it.
| | 04:11 |
Alright, well after you dial in those
settings the only other thing I want to
| | 04:15 |
highlight here has to do with the text
that we'll see throughout Photoshop.
| | 04:19 |
Currently by default, the Font Size which
is selected is Small.
| | 04:23 |
Now, you may prefer to make that a little
bit larger if you have trouble reading
| | 04:28 |
all of those small menus.
Well, in order to change this, simply
| | 04:31 |
click on this menu and then choose the
option.
| | 04:33 |
When you do that, it will remind you that
these changes will take effect the next
| | 04:38 |
time you start Photoshop.
And those are the changes related to the
| | 04:41 |
text size.
So if you want to choose the larger text
| | 04:44 |
size make that selection, click OK and
then Quit and then reopen Photoshop in
| | 04:49 |
order to see how that will appear.
In my case I tend to like the smaller
| | 04:54 |
text size so I'll choose Small there.
All right, well the rest of these default
| | 04:58 |
settings here for our interface will work
really well.
| | 05:01 |
There's no need to make any further
changes.
| | 05:03 |
All that we need to do is to apply the
modifications that we've made to our appearance.
| | 05:08 |
In order to do that, simply click OK, in
order to apply those Interface Settings.
| | 05:13 |
| | Collapse this transcript |
| Customizing the interface panels| 00:00 |
In the next chapter we'll talk a bit more
about the Photoshop Interface.
| | 00:04 |
Yet here what I want to do is to continue
to focus in on how we can customize the Interface.
| | 00:10 |
In particular I want to talk about how we
can customize the panels that we see, or
| | 00:14 |
the panels that we have access to as we
start to work in Photoshop.
| | 00:19 |
Now you may have noticed that in the top
right-hand corner that there's a little
| | 00:23 |
pull-down menu.
What we can do is we can click on this
| | 00:26 |
pull-down menu and choose different panel
configurations.
| | 00:29 |
The configuration that I want to use here
is Photography.
| | 00:33 |
Now when I make that selection, it's
going to change the panels which are
| | 00:37 |
visible or which I have access to.
In order to change this back, we can
| | 00:41 |
always click on this pull-down menu and
go back to the Essentials view.
| | 00:45 |
Yet, because our focus here is
photography, I recommend that you make
| | 00:49 |
that change to Photography.
| | 00:50 |
| | Collapse this transcript |
| Choosing file-handling and autorecovery options| 00:00 |
There are certain Photoshop preferences
that are better to see in context.
| | 00:05 |
Because of that, we'll be revisiting
Preferences in subsequent chapters, yet
| | 00:09 |
there also are some preferences that are
better to see before you start to work
| | 00:14 |
with Photoshop.
And that's what I want to take a look at here.
| | 00:17 |
In the next few movies, I want to take a
look at two more areas of our
| | 00:20 |
Preferences, which we may want to dial in
before we begin to work in Photoshop.
| | 00:25 |
In particular, in this movie, I want to
focus in on a few file handling preferences.
| | 00:30 |
In order to access these, let's navigate
to the Photoshop pull-down menu, and then
| | 00:34 |
here we'll choose Preferences.
Next, we're going to select from this
| | 00:37 |
menu, File Handling.
Click on that option and it will open up
| | 00:41 |
our preferences dialogue and take us
straight to file handling.
| | 00:45 |
Now, for the most part, the default
settings here are great, I'm only going
| | 00:49 |
to recommend two or three changes.
Yet, for starters, though, I want to
| | 00:53 |
focus in on these three checkboxes.
You almost always want to have these on,
| | 00:58 |
and they'll be on by default.
Yet let me explain what they do so that
| | 01:01 |
you can really understand why you want to
have these on.
| | 01:04 |
The first one is Save As.
Whenever you use the Save As command, you
| | 01:08 |
want that file to be saved in the same
folder as the original file.
| | 01:13 |
So definitely leave that on, so that your
files will be saved in the same location.
| | 01:18 |
The next one is a Time Saver this says
Save in Background.
| | 01:22 |
If you have a really large file, well,
it's going to take a long time to save
| | 01:26 |
that document.
Yet, if you leave this on, you can have
| | 01:30 |
Photoshop save that in the background.
So that you can then move to another
| | 01:33 |
photograph or do something else, so that
you're not waiting for Photoshop to save
| | 01:37 |
the document.
So again, leave this option on, it's a
| | 01:40 |
real time-saver.
Next we have the ability to turn on
| | 01:43 |
Automatically Save Recovery.
Now we can have Photoshop perform this at
| | 01:48 |
different increments.
And let me show you those, and here's
| | 01:51 |
where I'm going to recommend a change.
Currently it's set to 10 Minutes.
| | 01:55 |
If we click on this menu we have other
options as well.
| | 01:59 |
If your new to photo shop what I
recommend you do is that you change this
| | 02:03 |
to 5 Minutes and here's why.
What this does is every 5 minutes in the
| | 02:08 |
background it saves your document, and it
saves this for you even if you forget to
| | 02:14 |
press the Save command.
And this is really helpful here's why.
| | 02:18 |
You know Photoshop is an incredibly
stable application, yet inevitably It
| | 02:23 |
will crash and if Photoshop crashes and
if you haven't saved your document.
| | 02:28 |
Well you'll loose all the work that
you've done.
| | 02:31 |
And sometimes maybe you've been working
on your document for half an hour and
| | 02:35 |
you've lost all of that work.
That is of course unless you've turned on
| | 02:39 |
this option.
If you turn on this option, you will only
| | 02:43 |
lose your work, in this case, five
minutes of work, because this auto-save,
| | 02:48 |
it will be happening in the background.
And if photoshop crashed, and then when
| | 02:52 |
you reopened it, well it would open up
this recovery file which it had been
| | 02:57 |
saving for you.
Now the disadvantage of this is that it
| | 03:01 |
might slow down your work flow because
you're asking Photoshop to save very frequently.
| | 03:05 |
And if you're new to Photoshop, I find
that it's helpful to have this set to a
| | 03:09 |
smaller increment so that you don't lose
your work.
| | 03:12 |
Alright, well next let's take a look at a
few options that we have down here in
| | 03:16 |
this area for file compatibility.
In particular, I'm going to focus in on
| | 03:20 |
TIF files, maximize file compatibility.
First let's look at TIF files.
| | 03:26 |
Now, in my own work flow I work with
Lightroom in Photoshop.
| | 03:29 |
And from Lightoom I export TIF files.
That's because the TIF file format is
| | 03:34 |
strong, and stable.
And almost every TIF file I have is layered.
| | 03:39 |
Whenever I save those files, if I leave
this option on, it opens up an annoying
| | 03:45 |
dialog which says, hey, are you sure you
want to include the layers?
| | 03:48 |
Yes, I'm sure.
So in my own workflow, I want to turn
| | 03:51 |
this option off.
If you're ever considering to use that
| | 03:55 |
TIFF file format, which is a great file
format, I recommend you turn that off.
| | 03:59 |
Because when you're working in Photoshop
your almost always working in layers.
| | 04:03 |
An when you have that option turned off,
you'll be able to skip that one dialogue.
| | 04:08 |
And it will just speed up your overall
workflow.
| | 04:11 |
Well next we have the option for file
compatibility.
| | 04:14 |
Now this is kind of interesting, we have
three options here.
| | 04:17 |
We have Never, Always, and Ask.
Let me tell you why you might want to
| | 04:21 |
choose one of these options.
Let's start with Never.
| | 04:24 |
You may want to choose never if you're
just working in photo shop by yourself.
| | 04:28 |
And you aren't ever sharing your files
with someone else or accessing them in
| | 04:32 |
different applications.
You may want to turn on the option for
| | 04:36 |
always if you're working with Photoshop
in another program like Lightroom.
| | 04:40 |
And the reason is what File Compatibility
does is if you have a layered Photoshop
| | 04:47 |
document it also saves a flattened
version of that document inside that file.
| | 04:51 |
In that way you can then access, and
read, and work with the document in a
| | 04:56 |
program like Lightroom.
So if you know that you're going to be
| | 04:59 |
working with multiple applications, you
may want to choose always.
| | 05:03 |
On the other hand, you could choose an
option like ask.
| | 05:06 |
Here when you save a file out, it will
say would you like to maximize the file
| | 05:11 |
compatibility and then you can define or
decide yes or no.
| | 05:14 |
Now in my own work flow, because I use
Lightroom and because I use Photo Shop,
| | 05:19 |
I'm going to choose Always.
But again, make the appropriate selection
| | 05:23 |
for your own workflow.
All right well last but not least we have
| | 05:26 |
this recent file list contains.
This is a really handy way to access open
| | 05:32 |
files that you have recently worked on.
Let me show you where you'll find this,
| | 05:37 |
and then let's jump back to this
Preference in just a moment.
| | 05:39 |
Here I'll click OK, in order to apply
these preferences.
| | 05:43 |
And I'll navigate to my file pull down
menu, then I'll choose Open Recent.
| | 05:48 |
Here you can see the files which I've
worked on recently.
| | 05:50 |
In this case I've just worked on a few,
yet if I had opened up say 30 files I
| | 05:55 |
could display all of those here in this
list.
| | 05:58 |
And you can define how many files you see
in this list back in those preferences.
| | 06:03 |
So let's do that, here if we go to
Photoshop > Preferences and then File
| | 06:07 |
Handling, when you click on File Handling
it will reopen our Preferences dialog.
| | 06:13 |
Here down below we have the Recent file
List Contains.
| | 06:17 |
I recommend you take this up to something
like 25.
| | 06:20 |
This won't slow down the performance of
Photoshop, rather It will give you a
| | 06:24 |
handy way to find an acsess or reopen
those files which you have recently
| | 06:29 |
worked on.
Alright, in order to dial in all of those
| | 06:33 |
file handling settings, all that we need
to do is simply click OK in order to
| | 06:38 |
apply them.
| | 06:38 |
| | Collapse this transcript |
| Improving Photoshop performance| 00:00 |
Wouldn't it be great if Photoshop was
faster and stronger.
| | 00:03 |
Well here I want to highlight a few
preferences which we can dial in, in
| | 00:08 |
order to improve Photoshops performance.
In order to access these preferences,
| | 00:12 |
make your way to the Photoshop pull-down
menu, choose Preferences, and here we're
| | 00:17 |
going to select, of course Performance.
Once you click on that option, you'll
| | 00:22 |
notice that we have a few different
preferences which we can dial in.
| | 00:26 |
Let's start off by talking about RAM, and
this is the most important option here.
| | 00:30 |
Now, Photoshop loves RAM.
The more RAM that you have in your
| | 00:35 |
computer, the better Photoshop will run.
In other words, whenever you're upgrading
| | 00:39 |
your computer, you always want to make
sure to upgrade the RAM.
| | 00:43 |
And each computer has a certain amount of
RAM.
| | 00:46 |
And what you can do is allocate RAM to
Photoshop or to other applications by
| | 00:52 |
default on this particular computer that
I'm working on now.
| | 00:55 |
Well it's allocating 70% of the total RAM
to Photoshop, the rest is left to other applications.
| | 01:02 |
Now you may want to change this amount
based upon your own usage of Photoshop.
| | 01:07 |
For example, I have a friend who's a
professional retoucher.
| | 01:11 |
And when he works in Photoshop, that is
all that he's doing, all of his other
| | 01:15 |
applications are closed.
In his situation he cranks this way up to
| | 01:19 |
95%, so that he's dedicating or
allocating all of this RAM to Photoshop.
| | 01:23 |
On the other hand, perhaps you're a user
who works in Photoshop.
| | 01:26 |
And you also have your web browser
opened.
| | 01:29 |
Your email client, iTunes, or whatever it
is.
| | 01:31 |
And if you're going to work in multiple
applications perhaps you want to take
| | 01:34 |
this down a bit.
Again how high this goes will determine
| | 01:42 |
how well Photoshop will perform.
But you have to keep in mind, if you're
| | 01:46 |
going to work on multiple applications at
once you may need to bring that back a bit.
| | 01:51 |
Well either way, it can't hurt to just
nudge that up a little bit more in order
| | 01:55 |
to give Photoshop some more RAM.
Because Photoshop loves it, and it will
| | 02:00 |
perform better.
So again, you may want to consider
| | 02:03 |
increasing that amount.
Next, we have some options for History
| | 02:07 |
and Cache.
Now these are a little bit awkward.
| | 02:10 |
Yet the one thing I do want to highlight
here is in most situations, default will
| | 02:13 |
work best.
We have these three options, Tall, Thin,
| | 02:17 |
Default, Big and Flat.
I want to comment on these briefly in
| | 02:20 |
case you fall into one of these three
categories.
| | 02:23 |
Now, what Tall and Thin is, is if you
have documents, which are relatively
| | 02:28 |
small in resolution or in file size, but,
you have a lot of layers.
| | 02:34 |
Maybe you're working with Web Graphics,
and you have a lot of layers in these
| | 02:37 |
lower resolution files.
Well in those cases, you'd want to choose
| | 02:42 |
Tall and Thin.
On the other side of the extreme, perhaps
| | 02:45 |
you have really big high resolution
files, without a lot of layers.
| | 02:51 |
In those situations, you'd want to choose
Big and Flat.
| | 02:54 |
Perhaps you're shooting with a digital
camera which is a medium format digital camera.
| | 02:58 |
And when you work in Photoshop you only
have one, two, or three layers and again
| | 03:03 |
in situations like that choose this
option.
| | 03:06 |
Now for the rest of us, for the bulk of
us the default setting will work well.
| | 03:11 |
This is where we have these larger files
and lots of layers and in this case this
| | 03:15 |
will optimize the way that Photoshop will
perform.
| | 03:18 |
Alright, well next I simply want to
highlight that you almost always want to
| | 03:21 |
leave this checkbox turned on, which is
the graphics processor.
| | 03:26 |
This will allow you to take advantage of
many features which are in Photoshop that
| | 03:30 |
we haven't gotten to those features.
But a lot of these features are OpenGL or
| | 03:35 |
GPL features which allow us to see
previews more quickly or to do certain
| | 03:40 |
things in Photoshop.
So again, you almost always want to have
| | 03:43 |
this checkbox turned on and also, if ever
you're considering to upgrade your computer.
| | 03:49 |
You want to consider having a lot of RAM,
you also want to consider having a really
| | 03:53 |
strong or good graphics card.
As that will help out in a number of
| | 03:57 |
different situations when it comes to
high performance in Photoshop.
| | 04:01 |
All right, well in order to apply these
preferences, all that we need to do is to
| | 04:05 |
simply click OK.
And now that we've done that, we've
| | 04:08 |
dialed in the most important preferences
in Photoshop.
| | 04:11 |
Now we're ready to get started to work in
Photoshop.
| | 04:14 |
And we'll do that in the next movie.
| | 04:16 |
| | Collapse this transcript |
|
|
4. Getting Started with Camera RawWhat is Camera Raw?| 00:00 |
Adobe Camera Raw gives you an incredibly
flexible and powerful way to enhance and
| | 00:05 |
to correct your photograph.
You know, people are really excited about
| | 00:10 |
Camera Raw and rightly so.
So what I want to do here is ask the
| | 00:14 |
question what is Camera Raw and why does
it matter?
| | 00:17 |
I want to try to demystify the mystery
behind the madness or the excitement with
| | 00:22 |
Camera Raw.
So that we can really understand this
| | 00:24 |
tool and use it most effectively.
One of the first things that we need to
| | 00:28 |
do in order to understand this tool is to
differentiate between Raw Capture and
| | 00:34 |
also Raw Processing.
These are two different things even
| | 00:38 |
though we use similar words when we're
describing them.
| | 00:41 |
First, let's take a look at Raw Capture.
Well, Raw Capture as opposed to capture
| | 00:47 |
say when we're capturing JPEGs is very
different.
| | 00:50 |
It just comes straight off of the sensor.
When we're shooting in JPEG mode, our
| | 00:56 |
files go through a certain process.
When we're shooting in RAW mode, well
| | 01:00 |
again those images, they just come
straight off the sensor.
| | 01:04 |
On the other hand, how does the compare
to Raw Processing?
| | 01:07 |
Well, Raw Processing has to do with using
a tool like Adobe Camera Raw, or Lightroom.
| | 01:12 |
And what Raw Processing allows us to do
is to take actual physical pixels, and
| | 01:19 |
then modify them.
But we modify them by using Raw Instructions.
| | 01:25 |
The Raw Instructions look just kind of
like this text file which says.
| | 01:28 |
Here's what the saturation should be, or
here's what the contrast should be.
| | 01:33 |
Here's what the color should be.
The end result is that we can then change
| | 01:37 |
the way our image appears.
We can make enhancements and corrections
| | 01:41 |
to our photographs.
And we can do this in really creative and
| | 01:44 |
flexible ways.
We can also apply this kind of raw
| | 01:47 |
processing to different file formats.
Whether that's RAW, straight from our
| | 01:52 |
camera, or files which have been
converted to the DNG format, or TIF or
| | 01:57 |
JPEG files.
So why use Adobe Camera Raw?
| | 02:00 |
Well one of the top reasons is because it
allows you to make nondestructive adjustments.
| | 02:06 |
In other words we're not actually
changing the pixels.
| | 02:10 |
We're just modifying them by way of a set
of instructions.
| | 02:13 |
These instructions can always and forever
be changed.
| | 02:17 |
This, of course, give us a lot of
flexibility.
| | 02:20 |
It also improves the overall speed of our
workflow.
| | 02:24 |
Because when you're working with Camera
Raw, there's really nothing to save.
| | 02:27 |
As you make a change you see it and then
you can simply click OK.
| | 02:31 |
There's no render time.
Another reason why people like Camera
| | 02:36 |
Raw, including myself is because it
allows you to be really creative.
| | 02:40 |
This flexibility and speed, it opens up
other creative options or possibilities
| | 02:44 |
when working with your images.
| | 02:46 |
| | Collapse this transcript |
| The Camera Raw interface| 00:00 |
Camera Raw will soon become an important
and integral part to your Photoshop workflow.
| | 00:06 |
Therefore, what I want to do here is help
you become familiar with the camera Raw interface.
| | 00:12 |
And here, let's start by taking a look at
this top area of the camera Raw interface.
| | 00:16 |
And up top, what we have, are different
tools.
| | 00:19 |
These tools allow us to do things like to
zoom in or zoom out or to crop our images.
| | 00:25 |
We also have a few other buttons which
allow us to access functional things like
| | 00:29 |
the Camera Raw preferences.
Moving over to the right we have a button
| | 00:34 |
which allows us to view our preview.
If you click on this button, you can see
| | 00:38 |
the before and after view of your
photograph.
| | 00:41 |
Next we have another button, which allows
us to access Camera Raw in full screen mode.
| | 00:45 |
You almost always want to work with
camera on full screen mode, so that's an
| | 00:49 |
important button to know how to find.
Next we have a number of different controls.
| | 00:54 |
You'll notice that these controls are
grouped into different panels.
| | 00:58 |
Now you can access these panels by
clicking on these buttons here.
| | 01:02 |
As you click on the buttons, you'll see
different controls down below.
| | 01:05 |
Next, moving to the lower portion of the
interface, we have a couple of important buttons.
| | 01:11 |
The first one allows us to exit Camera
Raw and to apply whatever settings we've made.
| | 01:17 |
Next, we have the ability to also open
our image or images in Photoshop.
| | 01:21 |
Then in this area you'll notice that we
have some valuable information.
| | 01:26 |
Now this is actually an active link.
And if we click on it well it allows us
| | 01:31 |
to access our workflow options.
And here we can define our image size and
| | 01:36 |
also our image color space.
Over on the left hand side, we have a
| | 01:40 |
button which allows us to save our image.
And then last but not least, we have a
| | 01:45 |
few controls which allow us to zoom in
and to zoom out on our photographs.
| | 01:50 |
Now there are two different ways that we
can access camera Raw and we'll see this
| | 01:54 |
more in the next movie.
You can either access camera Raw as a
| | 01:57 |
stand-alone application as we're seeing
here.
| | 02:00 |
Or we can also access it as a filter in
Photoshop.
| | 02:04 |
So what I want to do, is I also want to
show you the interface for working with
| | 02:08 |
Camera Raw as a filter in Photoshop.
So here I'm going to jump to another slide.
| | 02:13 |
And as I do that, you'll notice that this
particular view of Camera Raw, well it
| | 02:17 |
looks very similar.
It just a bit more stripped down.
| | 02:21 |
Here you can see up top we have our
tools, we have our preferences, we have
| | 02:25 |
the ability to work with our preview and
to turn that on and off.
| | 02:28 |
We also have that same full screen button
and then we have our panels.
| | 02:33 |
And then the main difference that we'll
encounter here is in the lower area of
| | 02:37 |
the interface.
In this area we have fewer options.
| | 02:40 |
And that's because we're working with
Camera Raw, in this case, as a filter in Photoshop.
| | 02:45 |
Most importantly I want to highlight this
button here.
| | 02:47 |
Which is the OK button.
Which allows us to exit and apply our
| | 02:51 |
settings when we're using Camera Raw as a
filter.
| | 02:54 |
Alright.
Well now that we've become familiar with
| | 02:57 |
the Camera Raw interface.
Let's start to take a look at how we can
| | 03:00 |
use Camera Raw, and we'll do that in the
next movie.
| | 03:03 |
| | Collapse this transcript |
| Opening images in Camera Raw| 00:00 |
Let's take a look at how we can quickly
and easily open our images up in Adobe
| | 00:05 |
Camera Raw.
And in particular what I want to do here
| | 00:08 |
is take a look at how we can work with
different files formats.
| | 00:11 |
I also want to take a look at, how we can
access and open Camera Raw from Adobe Bridge.
| | 00:16 |
And how we can take advantage of Camera
Raw when we're inside of Photoshop when
| | 00:21 |
we've already opened up a photograph
inside a Photoshop.
| | 00:23 |
All right, let's start off with this
image here.
| | 00:26 |
This is a raw file straight out of the
camera.
| | 00:28 |
Whenever you have a raw file it's really
easy to open one of these up in Camera Raw.
| | 00:33 |
All that you need to do is to select it
in Adobe Bridge and then to navigate to
| | 00:38 |
your File pull-down menu.
And then to choose this option, Open in
| | 00:42 |
Camera Raw.
Here I'll click on that option and that
| | 00:45 |
will open this file up in the Camera Raw
dialogue.
| | 00:48 |
All right, well, here I'll click Cancel
in order to exit out of that.
| | 00:52 |
Let's take a look at another file format.
This time we're going to to take a look
| | 00:56 |
at the JPEG file.
In order to open up JPEGs in camera once
| | 01:00 |
again we'll go to our File pull-down
menu, and here we'll choose this option
| | 01:04 |
for Open in Camera Raw.
You may notice that there's a shortcut
| | 01:08 |
associated with this.
This is one of those shortcuts you may
| | 01:11 |
want to jot down.
It's Cmd+R in a Mac or Ctrl+R on Windows,
| | 01:15 |
think R for raw.
Well here you can either press that
| | 01:19 |
shortcut key combination or simply click
on this menu item here.
| | 01:22 |
And it will open up this JPEG file in
Adobe Camera Raw, all right?
| | 01:27 |
Here we'll click Cancel and go back to
Bridge and look at another file format.
| | 01:32 |
What about the TIF file format?
Well once again with the TIF file format
| | 01:36 |
we can go to File and here we can chose
Open in Camera Raw and we can open up TIF
| | 01:41 |
files in Camera Raw as well.
Next let's click Cancel and let's look at
| | 01:45 |
one more scenario.
This time Let's take a look at how we can
| | 01:49 |
work with a Photoshop document.
When I go to my File pull-down menu, you
| | 01:53 |
may notice that Open in Camera Raw is
grayed out.
| | 01:56 |
I can't access or open Camera Raw for
this type of a file format.
| | 02:01 |
To work with this type of a file, what I
need to do is to choose File > Open.
| | 02:05 |
This will then open the file up inside of
Photoshop.
| | 02:09 |
And whenever you have an image open
inside of Photoshop, you can access
| | 02:13 |
Camera Raw as a filter.
And this is true regardless of the type
| | 02:17 |
of file that you're working on.
All that you need to do is to click in
| | 02:21 |
the Layer that you want to work on, and
then next, navigate to your Filter
| | 02:25 |
pull-down menu.
Here in the Filter pull-down menu, you
| | 02:28 |
have an option for the Camera Raw Filter.
Here, simply click on that option and
| | 02:33 |
that will then open up the Camera Raw
dialogue.
| | 02:36 |
Then, we can process our image using all
of these Camera Raw controls.
| | 02:41 |
Once we've finished, all that we need to
do is to simply click OK in order to
| | 02:45 |
apply those settings.
All right, well, now that we've looked at
| | 02:48 |
how we can open up our images in Camera
Raw.
| | 02:51 |
Let's take a look at how we can use
Camera Raw in order to improve our
| | 02:54 |
photographs and let's do that in the next
movie.
| | 02:57 |
I'll see you then.
| | 02:58 |
| | Collapse this transcript |
| Improving your images with the Basic controls| 00:00 |
Let's take a look at how we can start to
use Adobe Camera Raw in order to improve
| | 00:05 |
one of our photographs.
We'll be working with this picture here,
| | 00:08 |
and this is a picture straight out of the
camera.
| | 00:10 |
And this image, it needs a little bit of
help.
| | 00:13 |
So let's go ahead and select that
photograph, and then let's navigate to
| | 00:17 |
our File pull down menu, and here we're
going to choose open in Camera Raw.
| | 00:21 |
Now, whenever you launch Camera Raw, you
almost always want to work in Camera Raw
| | 00:25 |
in full screen mode.
To access full screen mode press the F
| | 00:29 |
key or click on this icon, here.
In this way, we can really focus in on
| | 00:33 |
our photograph and we can make better
improvements because we have a larger
| | 00:37 |
preview of the image.
Next, let's take a look at some of our panels.
| | 00:41 |
Now, if we click on these icons here, we
can access different controls.
| | 00:46 |
We're going to start off by taking a look
at the Basic panel.
| | 00:49 |
Because this is where the magic happens.
And this is where we're going to spend
| | 00:53 |
the majority of our time in Adobe Camera
Raw.
| | 00:56 |
Let's start off at the top.
At the top we have some controls which
| | 01:00 |
allow us to dial in white balance and
color temperature and tint.
| | 01:04 |
Now, I'm going to be talking more about
these controls in the next movie.
| | 01:07 |
So for now, I just want to highlight that
we can use these sliders in order to
| | 01:11 |
change the overall color.
Here, it's more cool.
| | 01:14 |
Or in this case, we can make it more
warm.
| | 01:16 |
If ever you want to reset one of these
sliders, we'll just double-click the
| | 01:20 |
little icon.
And that works with any of the sliders
| | 01:22 |
that we have here in Camera Raw.
Alright.
| | 01:25 |
Well, next let's take a look at some of
our controls.
| | 01:28 |
Which allow us to modify the brightness
or exposure, the contrast, the shadows,
| | 01:32 |
and so on.
The first slider that we have is Exposure.
| | 01:36 |
This one allows us to make really
dramatic adjustments.
| | 01:40 |
And let me show you how.
If we click and drag this to the left, we
| | 01:43 |
can darken the image so that it's almost
completely black.
| | 01:47 |
Click an drag to the right.
An here you can see we can brighten this dramatically.
| | 01:51 |
So in this case you can see how you can
use this slider in order to brighten or
| | 01:54 |
darken your photograph.
Let's click an drag to the right, in
| | 01:57 |
order to brighten it up just a bit.
Next we have the Contrast slider.
| | 02:02 |
Drag to the left and you can decrease the
constrast.
| | 02:04 |
Drag to the right and you can increase.
This image already has quite a bit of contrast.
| | 02:09 |
So I'm going to drag this to the right
just a bit.
| | 02:12 |
Then we have our Highlight slider.
Now our highlight slider allows us to
| | 02:17 |
deal with the brightest areas of our
image.
| | 02:20 |
In this case the sky and also the ocean.
If we drag this to the right, we can
| | 02:24 |
brighten that area up.
If we drag this to the left, well we can
| | 02:28 |
darken that.
In this way, we have nice detail in the
| | 02:32 |
brighter areas of our photograph.
This highlights slider can help you to
| | 02:36 |
correct those issues where you have over
exposure.
| | 02:38 |
And you just need to darken up certain
areas, as I needed to do here with this photograph.
| | 02:44 |
Next we have a few sliders which I like
to think of as a bit more subtle.
| | 02:48 |
Our shadows and our whites and let me
show you why.
| | 02:52 |
Remember when I talked about exposure and
how I said exposure is really dramatic.
| | 02:57 |
It allows us to brighten and darken in
really strong ways.
| | 03:01 |
Well whites too allows us to brighten or
darken, but it's more subtle.
| | 03:05 |
Here if I drag this to the right, sure it
brightens the image but not as dramatically.
| | 03:10 |
As I drag this to the left, sure it
darkens the photograph but again, not as dramatically.
| | 03:14 |
This allows us to work with these tones
in our images in a bit more subtle ways.
| | 03:19 |
So here I'll just drag this to the right
just to touch.
| | 03:22 |
Then we have our shadows.
Again, this is a bit more of a subtle control.
| | 03:26 |
It allows us to either brighten or darken
our shadow areas.
| | 03:29 |
Drag to the left, and we can darken the
shadows, drag to the right, and I can
| | 03:33 |
brighten those up.
In this case, this adjustment really
| | 03:36 |
helps out this photograph.
Then we have our control which allows us
| | 03:40 |
to work with the darkest tones in our
image.
| | 03:43 |
Whereas highlights worked with the
brightest tones, well blacks it works
| | 03:46 |
with the darkest tones.
Here as I click and drag to the left, I
| | 03:50 |
can create deep and rich blacks.
Or if I want to brighten those up a
| | 03:54 |
little bit I can drag this to the right.
In this way you can see that you can use
| | 03:58 |
these controls in order to make some
significant improvements to your photographs.
| | 04:03 |
Here lets take a look at the before and
after.
| | 04:06 |
To do so press the P key or click on this
icon right here.
| | 04:10 |
When I click on this icon I can see here
is the before and then click again and
| | 04:15 |
now here is the after.
Alright, well as you can see we have
| | 04:18 |
significantly improved this image.
Last but not least I want to modify the
| | 04:22 |
color temperature just a bit.
So here I'll click and drag this to the
| | 04:25 |
right in order to warm this image up,
just a bit.
| | 04:28 |
You know, sometimes you'll use these
controls just to make subtle adjustments
| | 04:32 |
to your photographs.
In other situations you'll use these
| | 04:34 |
controls, in order to make really
dramatic improvements, or to create
| | 04:39 |
interesting and creative effects.
Well either way, we're starting to see
| | 04:42 |
how we can use Camera Raw to modify our
photographs in really fascinating ways.
| | 04:48 |
Well after you've dialed in the settings
that you want for your photograph.
| | 04:51 |
Next what you want to do is move down to
the base of the camera Raw interface, and
| | 04:55 |
here's where we have a few different
options.
| | 04:57 |
We can either choose to save this image,
and if we click on this option, it will
| | 05:02 |
open up a dialog.
And here we can save the file out as a
| | 05:05 |
different file format by choosing an
option here.
| | 05:07 |
We can also define a location where we
want to save this particular file.
| | 05:12 |
Now my place I don't want to save this
out as a different file format rather I
| | 05:17 |
want to keep in this RAW format.
In order to do that and in order to apply
| | 05:21 |
the settings which we have created.
All that we need to do is to simply click
| | 05:25 |
done and it'll then save those settings.
On the other hand, another option might
| | 05:30 |
be to click on the Open image button.
if we click on open image, it will then
| | 05:35 |
open this file with these Camera Raw
setting applied, and it will open that
| | 05:39 |
file inside of Photoshop.
So, depending on your work flow, in
| | 05:43 |
regards to where you want to go next.
You want to choose the appropriate option.
| | 05:48 |
Again to reiterate, we can either choose
Save Image, if we want to save this out
| | 05:52 |
in a different file format.
Or we can choose Done in order to save
| | 05:57 |
and apply these settings.
Or, we can choose Open Image to save and
| | 06:01 |
apply these settings, and to open an
image with these settings applied inside
| | 06:06 |
of PhotoShop.
Alright, well here I simply want to save
| | 06:09 |
and apply the settings, so I'll click
Done.
| | 06:11 |
That will then exit out of Camera Raw.
An now here in Bridge we'll see an
| | 06:15 |
updated version of our image with those
Camera Raw settings applied.
| | 06:19 |
| | Collapse this transcript |
| Correcting color and white balance| 00:00 |
Let's take a look at how we can correct
and customize color using Adobe Camera Raw.
| | 00:06 |
Before we get to Camera Raw, I want to
highlight a few things in regards to
| | 00:10 |
color temperature.
So I have this JPEG file here in Adobe Bridge.
| | 00:14 |
And I want to take this file to full
screen.
| | 00:17 |
Or there's a handy little shortcut that
you can use to do that in Bridge, it's
| | 00:20 |
the Spacebar key.
Press the Spacebar key and you can view
| | 00:24 |
one of your photographs in Full screen
mode as I've done here.
| | 00:27 |
Or again I wanted to highlight this slide
just to reiterate this whole idea that
| | 00:32 |
there are different color temperatures.
And you know what?
| | 00:35 |
We already know this intuitively.
There's color temperature, which is cool
| | 00:39 |
like with this photograph that was
captured early in the morning.
| | 00:42 |
There's also color temperature, which is
warm like with this picture, which was
| | 00:46 |
captured at the end of a day.
And often when we're working in Camera,
| | 00:50 |
we're working to either cool an image off
or warm it up or perhaps to find that
| | 00:55 |
neutral point where the color is
accurate.
| | 00:58 |
All right, we're here, let's exit out of
this view.
| | 01:00 |
To do so press the Spacebar key.
Then let's select our photograph and
| | 01:04 |
let's work in Camera Raw.
Here we'll click on this image, then
| | 01:08 |
we'll navigate to our File pull-down menu
then we'll choose Open in Camera Raw.
| | 01:12 |
When we do that, it will launch Camera
Raw.
| | 01:15 |
This is a photograph of one of my good
friends, he's a photographer.
| | 01:19 |
And here with this image I notice that
the color temperature isn't right, it's a
| | 01:23 |
bit cool.
And one of the ways that you can correct
| | 01:26 |
color temperature is by using the white
balance tool.
| | 01:29 |
It's the third tool that you'll find up
here in the top and if you click on it.
| | 01:33 |
You can then position this over an area
of your image that you think or that you
| | 01:38 |
know should be neutral.
In this case I know that this (UNKNOWN)
| | 01:41 |
camera is black.
I think that this should be neutral so
| | 01:44 |
I'm going to go ahead and click on it.
Now when I do that it will make that area
| | 01:48 |
that I clicked on neutral.
And we can see that by looking at our RGB
| | 01:53 |
values over here right underneath the
histogram.
| | 01:55 |
When I hover over that, you'll notice
that its 150, 151 and 150.
| | 02:00 |
And equals amounts of red, green and blue
equal neutrality.
| | 02:04 |
In this case it adds color correct to the
image.
| | 02:07 |
Well, how did it do this?
Or if we make our way over to the Basic
| | 02:11 |
panel we'll notice that it modified the
temperature and the tint controls.
| | 02:15 |
If we click on the Preview check box here
we can see our before and then now our after.
| | 02:21 |
And we can access the original settings
here by clicking on this Pull down menu
| | 02:25 |
and here I'll chose the option for As
Shot.
| | 02:28 |
Here we can see the original setting and
we'll go back to customer, we can see the
| | 02:33 |
settings which have no been applied.
Now I like this correction but I think it
| | 02:37 |
went a bit too far.
So what I want to do is customize this further.
| | 02:41 |
Here I'll drag the slider to the left in
order to cool this off a bit.
| | 02:46 |
You can always do this.
You can always customize this a bit more.
| | 02:49 |
Here we could also add a bit of a green
tint or we could make this is a little
| | 02:52 |
bit more red.
Again you can dial in your color based on
| | 02:56 |
your own preference .
Or last what I want to highlight here has
| | 02:59 |
to do with using these controls with the
others as we make changes to exposure or
| | 03:06 |
contrast, that in turn is going to effect
the color.
| | 03:09 |
For example just to exaggerate for a
moment, if I increase the exposure what
| | 03:14 |
we have less and less color.
If I drag this it to the left well our
| | 03:18 |
color has more density.
So as you make changes to the other
| | 03:21 |
sliders, you may need to go back and
revisit these controls.
| | 03:24 |
Let's make a few changes to this image.
Here I'll click and drag my highlight
| | 03:28 |
slider to the left.
I'll bring in some details in the shadows there.
| | 03:32 |
And I might just increase the exposure,
just a touch.
| | 03:35 |
Now that I've done that I may want to
customize these controls further.
| | 03:38 |
In this case I want to bring up my red
amount there just a bit more.
| | 03:42 |
I think that looks nice.
I may want to modify the overall
| | 03:45 |
Temperature slider as well and again the
point here is that as you start to white balance.
| | 03:50 |
Or color correct your images or make
custom adjustments to the color you may
| | 03:55 |
want to come back and revisit these
controls after you have made some other
| | 03:58 |
adjusments to the image.
All right, well after you've dialed in
| | 04:01 |
the settings for your photograph, all
that you need to do in order to apply and
| | 04:05 |
save these is to simply click on the Done
button.
| | 04:08 |
Here I'll go ahead and click Done then
back in Bridge we'll see an updated
| | 04:12 |
version of our photograph with those
Camera Raw settings applied.
| | 04:16 |
| | Collapse this transcript |
| Creating vivid, saturated colors| 00:00 |
Here we are going to continue our
conversation about working with color in
| | 00:04 |
Adobe Camera Raw.
And in particular, we're going to focus
| | 00:07 |
in on how we can create bright and vivid
colors.
| | 00:10 |
We'll be working with three different
images.
| | 00:12 |
And you know, you can open multiple
images up in Camera Raw by simply
| | 00:16 |
clicking on them in Adobe Bridge.
Here I'll click on one image, then hold
| | 00:20 |
down the Cmd key on a Mac or Ctrl key on
Windows.
| | 00:23 |
Then I'll click on two others in order to
select all three files.
| | 00:27 |
Again click on one, hold down Cmd or Ctrl
and then click on the others.
| | 00:32 |
Next navigate to the File pull down menu
and then choose Open in Camera Raw.
| | 00:36 |
This will then open these files in Adobe
Camera Raw.
| | 00:39 |
And let's start off with this file right
here.
| | 00:41 |
Here you can see I have different shades
of blue.
| | 00:44 |
And I these various strips.
Now I can change the overall color by
| | 00:49 |
using my saturation slider.
If I click and drag this to the right,
| | 00:53 |
well all of these colors become a bit
more saturated.
| | 00:56 |
Drag to the left, well then remove color.
Next, above the saturation slider I have
| | 01:01 |
another slider which is called Vibrance.
Vibrance allows us to increase color
| | 01:06 |
variety or saturation.
But it's a non-linear adjustment.
| | 01:11 |
In other words, vibrance analyzes a
photograph.
| | 01:13 |
And it says, you know what?
These colors over here there the ones
| | 01:16 |
that need a bit more help.
So as I drag this to the right what will
| | 01:20 |
happen is we'll see that these become a
bit more saturated while these stay
| | 01:23 |
closer to their original saturation.
If we click and drag this down, it will
| | 01:28 |
remove the weaker colors Yet some of the
stronger colors will remain.
| | 01:32 |
So vibrance allows us to modify colors in
a kind of interesting way.
| | 01:37 |
Next we can also change color or color
saturation using different adjustment sliders.
| | 01:43 |
For example with contrast if I drag this
to the right.
| | 01:46 |
Why deeper richer color.
Drag this to the left, well they look a
| | 01:50 |
bit more washed out.
So there isn't one slider which affects
| | 01:54 |
color rather it's a combination of all
these.
| | 01:57 |
We've also already seen how we can change
our overall color temperature.
| | 02:00 |
And how that can change the color
characteristics that we have in our
| | 02:03 |
photograph as you can see here as I move
this slider.
| | 02:07 |
Alright, well next let's take a look at a
real photograph.
| | 02:09 |
In this picture I have a photograph of
some artist chalk.
| | 02:13 |
Now if I increase the saturation, and
exaggerate this.
| | 02:17 |
One of the things that we'll start to
notice is that we lose some detail in
| | 02:20 |
this portion of the image, on these reds
right here.
| | 02:23 |
Here I will increase the contrast as
well, and as I do that, again, what we're
| | 02:28 |
seeing is, here's our before and then now
here's our after.
| | 02:31 |
The saturation is just overdone.
I'll double click that saturation slider
| | 02:36 |
and now increase the vibrance.
In contrast what we're going to see with
| | 02:40 |
that vibrance is it's going to help those
weaker colors.
| | 02:42 |
Here if we zoom out a bit you can see how
it's helping out some of the weaker tones.
| | 02:47 |
If we drag this to the left.
Some of the more saturated colors, well
| | 02:50 |
they remain.
Alright, well, how does this relate to
| | 02:53 |
then bringing out vivid colors in a
photograph?
| | 02:56 |
Well, let's go to this image here.
This is a picture of a chalk drawing.
| | 03:00 |
What I want to do with this image is
create a really vivid color palette.
| | 03:05 |
Well, for starters, I'm going to use the
White balance tool.
| | 03:08 |
I'll click on that tool in the Tools
panel.
| | 03:09 |
And then I'll click on an area of the
image that I think should be neutral, in
| | 03:13 |
this case, a patch on the shoulder which
I think should be closer to neutral.
| | 03:17 |
In doing that, it now shifted the overall
color.
| | 03:20 |
Next, I'm going to increase the overall
contrast, that will also increase color saturation.
| | 03:26 |
Then from there I'll bring up my vibrant
slider.
| | 03:28 |
Vibrants will not only increase the
colors but also the color variety.
| | 03:33 |
Here all of a sudden the colors it looks
like we have a larger color gamut or more
| | 03:38 |
colors in this picture.
Then of course, we can also work with
| | 03:42 |
saturation in order to boost colors that
we have in the picture.
| | 03:45 |
If we want to have deeper tones we could
decrease our blacks.
| | 03:49 |
In this case I'm just trying to create
and interesting look with this photograph.
| | 03:53 |
And here you can see how we can do that
by using these different sliders and controls.
| | 03:57 |
These can help us to modify the overall
characteristics of this photograph.
| | 04:02 |
Now in this case let's zoom in a bit so
we can see more of this image.
| | 04:06 |
Let's take a look at our before and
after.
| | 04:08 |
Well here's the before and then now here
is the after.
| | 04:11 |
As you can see you can use these controls
in some really fascinating ways in order
| | 04:16 |
to create some really strong and
interesting color effects.
| | 04:20 |
All right one more time let's take a look
at it.
| | 04:22 |
Here's our before and then now here's our
after.
| | 04:27 |
| | Collapse this transcript |
| Creating a high-contrast black-and-white portrait| 00:00 |
In the next two movies, I want to show
you two techniques that you can use in
| | 00:04 |
order to create compelling black and
white conversions of your color photographs.
| | 00:10 |
We'll start off with this portrait that I
captured here.
| | 00:13 |
And this is a Photoshop document.
And I wanted to use a Photoshop document
| | 00:17 |
in order to highlight how sometimes
you'll work with Camera Raw in Bridge.
| | 00:20 |
And other times you'll work with Camera
Raw in Photoshop.
| | 00:24 |
So let's open up this file in Photoshop.
To do so you can simply double-click it
| | 00:28 |
in Adobe Bridge.
That will launch the image in Photoshop
| | 00:32 |
as you can see here.
Next, what we're going to do is we're
| | 00:35 |
going to navigate to our Filter pull down
menu and then we'll choose Camera Raw filter.
| | 00:40 |
Click on that option and it will open our
Camera Raw dialogue.
| | 00:44 |
Now, if ever you access camera Raw and
you notice that it's in this condensed,
| | 00:48 |
or compressed view.
Simply click on the full screen icon in
| | 00:52 |
order to extend or expand this view.
So that you can really focus in on the image.
| | 00:56 |
Now, as I mentioned, we'll be looking at
two different techniques for black and
| | 01:00 |
white conversion.
And in this first technique what we're
| | 01:03 |
going to do is we're going to stay in the
Basic panel.
| | 01:06 |
Here in the basic panel we'll be using
multiple sliders in order to create a
| | 01:10 |
bright, high key, and high contrast black
and white look for this portrait.
| | 01:15 |
Alright.
well for starters the first thing that
| | 01:17 |
we'll do, is we're going to decrease our
color saturation.
| | 01:21 |
Here I'll go ahead and click and drag
that to the left.
| | 01:24 |
Now this simply removes the color.
And this particular, desaturated, black
| | 01:29 |
and white look, it really depends upon
our color temperature.
| | 01:32 |
So if I drag my color temperature slider
around, you can see that it's creating a
| | 01:36 |
little bit of a different look.
Now so far, the black and white
| | 01:39 |
conversion, it isn't that interesting.
What I want to do is I want to add some
| | 01:44 |
contrast and clarity.
I want to brighten up the image and
| | 01:48 |
change the overall intensity of the
blacks.
| | 01:50 |
So here in order to do that, I'll zoom in
a little bit on this photograph so we can
| | 01:54 |
see it a bit closer.
I'm just going to increase my clarity amount.
| | 01:59 |
In doing that, it will create a really
interesting look for this photograph.
| | 02:02 |
Again, take a look at this.
Here's how we can use clarity To add a
| | 02:05 |
bit of snap or punch to the photograph.
Next, I want to increase my contrast, as well.
| | 02:11 |
Typically, when we have black and white
images, they look interesting when we
| | 02:15 |
have really deep and rich blacks and
really bright whites.
| | 02:18 |
Of course, though, this is a stylistic
decision.
| | 02:21 |
How far you go with these sliders, well,
it's completely up to you.
| | 02:25 |
Next, we have the ability to control our
highlights, if we want to darken or
| | 02:28 |
brighten those.
Also might want to bring up the exposure
| | 02:31 |
a little bit, as well.
Then you could work with other sliders,
| | 02:35 |
as well.
And here's where you just want to
| | 02:37 |
experiment with sliders.
Click and drag a slider to the left and
| | 02:40 |
to the right and try to find just the
right spot for your particular conversion.
| | 02:45 |
And what you want to do is as you make
these adjustments, you want to go back to
| | 02:48 |
the various sliders, as I'm doing here.
Just to try to find the exact look that
| | 02:53 |
you're going for, and in this case, I
think that this image has a pretty
| | 02:56 |
fascinating look.
If we press the P key or click on this
| | 03:00 |
icon here, you can see, here's our before
And then now here is our after.
| | 03:05 |
Here I'll zoom in a little bit closer, so
we can see more of the detail.
| | 03:09 |
Here's the before.
And then now here is the after.
| | 03:12 |
And as you work with these sliders,
you'll notice that what you'll do is
| | 03:16 |
you'll navigate between the different
sliders.
| | 03:19 |
Often you'll make an adjustment with one
slider.
| | 03:22 |
Then you'll go to another, and modify
that.
| | 03:25 |
Then perhaps another, and make a change
there.
| | 03:27 |
You'll jump back and forth between these
controls.
| | 03:30 |
When you work on a color image I tend to
find that, the work flows a bit more top
| | 03:35 |
to bottom.
With black and white I find myself
| | 03:38 |
jumping around to the different sliders,
in order to dial in the particular look
| | 03:42 |
that I want with the photograph.
Alright.
| | 03:44 |
Well, that wraps up our first look at how
we can create interesting black and white conversions.
| | 03:49 |
Once again, here is our before and then
now our after.
| | 03:54 |
In the next movie, let's take a look at
another technique.
| | 03:56 |
And there we'll take a look at a
completely different approach to creating
| | 04:00 |
a compelling black and white photograph.
| | 04:02 |
| | Collapse this transcript |
| Creating a compelling black-and-white landscape| 00:00 |
Here, we are going to continue our
conversation about how we can create
| | 00:03 |
compelling black and white photographs
using Camera Raw.
| | 00:07 |
We'll be working with this Landscape
photograph that I captured in Antelope
| | 00:11 |
Valley California.
And let's open this file up in Camera Raw.
| | 00:15 |
To do so we'll navigate to our File
pull-down menu.
| | 00:18 |
And then we'll choose Open in Camera Raw.
Now once this file is open in Camera Raw,
| | 00:23 |
what we're going to do is actually skip
the Basic panel.
| | 00:27 |
Now we'll be coming back to the Basic
panel in a few moments.
| | 00:30 |
But what I want to do is jump over to
another panel which is called the HSL or
| | 00:34 |
Gray-scale panel.
You can access it by clicking on the
| | 00:38 |
fourth icon that we have here.
And here we can see the HSL Gray-scale panel.
| | 00:43 |
Now this panel allows us to make some
really interesting adjustments to Hue,
| | 00:48 |
Saturation and Luminance.
It also allows us to create really
| | 00:52 |
wonderful black and white conversions.
You're going to click on this option to
| | 00:56 |
convert this to gray scale.
Now in doing that, it creates a grayscale
| | 01:01 |
conversion that is a little bit lack
luster, but we can spice this up by using
| | 01:06 |
these controls, or by using an Onscreen
tool.
| | 01:10 |
Let me show you what I mean.
Well let's say that we really want to
| | 01:13 |
darken the sky, well if we turn off this
checkbox here we can see that the sky is
| | 01:18 |
blue, and we know that.
So what we can then do is we can work
| | 01:21 |
with the blue slider.
In dragging this to the left, I can
| | 01:25 |
darken the sky.
Drag it to the right, in order to
| | 01:28 |
brighten that area.
In this way, I can create a pretty
| | 01:31 |
fascinating black and white conversion.
The sky also has a little bit of aqua in
| | 01:36 |
it, so I'm going to drag that slider down
as well.
| | 01:39 |
Now, another way that we can make very
similar adjustments inside of this panel,
| | 01:43 |
is by using one of our tools that we'll
find up here in the Tools panel.
| | 01:47 |
If we click on the Targeted Adjustment
Tool icon, and Click and Hold, you'll
| | 01:52 |
notice that you can use this tool for a
number of different reasons.
| | 01:56 |
One of them is Grayscale Mix.
This is the option that we want to use.
| | 02:00 |
So go ahead and click on that option.
Next, when you position your cursor over
| | 02:05 |
an area of your image, what you can then
do is Click and Drag.
| | 02:08 |
Now as I click and drag up, you can see I
can brighten.
| | 02:11 |
Or as I drag down, I can darken the sky.
Then I can make my way over the path here.
| | 02:17 |
In this case, I'll click and drag up in
order to brighten up that path a little bit.
| | 02:21 |
We could move over the graphs and we
could drag that down.
| | 02:25 |
And so in this way we can create a pretty
dramatic and interesting black and white conversion.
| | 02:31 |
Well after we've done this and modified
the photograph in this way using the Gray
| | 02:35 |
Scale Panel, typically what you'll
want to do is go back to the basic panel.
| | 02:39 |
And here in the basic panel I'm going to
make a few more adjustments.
| | 02:43 |
All right, so here in this photograph I'm
going to zoom in a little bit.
| | 02:46 |
And I'm going to zoom in so I can focus
in on some of these details here.
| | 02:50 |
And in the Basic panel what I'm
interested in doing is increasing the clarity.
| | 02:54 |
I want do add is a little bit of that
midtone contrast.
| | 02:57 |
I'm also going to add some overall
contrast to the image.
| | 03:00 |
And then here we can work with our
highlights if we want to bring in some
| | 03:03 |
details into those clouds that we have up
there in the sky.
| | 03:06 |
And I'll work on my shadows or my blacks.
We'll use these controls in a similar way
| | 03:11 |
that we used them in the previous movie,
when we were working on the portrait.
| | 03:15 |
Alright, well here, I'll go ahead zoom
out a bit so that we can see our overall image.
| | 03:19 |
If we click on the Preview icon here, we
can see the original file.
| | 03:23 |
Click again, now here, we can see the
final image.
| | 03:27 |
In order to apply these settings which
we've made to this photograph, simply
| | 03:31 |
click the Done key.
Then you'll Exit Camera Raw and then when
| | 03:35 |
you are back in Adobe Bridge, you'll see
the updated version of your photograph.
| | 03:39 |
With this new camera settings applied.
| | 03:42 |
| | Collapse this transcript |
|
|
5. Improving Your Photos with Camera RawCorrecting exposure and recovering highlights| 00:00 |
Now that we know some of the basics of
working with Adobe Camera Raw, what I
| | 00:04 |
want to do here is dig a bit deeper.
In particular in this movie, I want to
| | 00:08 |
focus in on how we can correct exposure.
And how we can deal with an issue of
| | 00:12 |
recovering detail in the shadows or the
highlights when needed.
| | 00:16 |
We'll be working with three different
images.
| | 00:18 |
So we'll open up all of these three files
in Camera Raw at one time.
| | 00:22 |
To do this click into one of the files
and hold down the Cmd key on a Mac, Ctrl
| | 00:27 |
key on Windows and then click into the
others.
| | 00:30 |
In this way, we can select multiple files
at once.
| | 00:33 |
To open these all up in Camera Raw, we'll
navigate to the File Pull down menu then
| | 00:38 |
we'll chose Open in Camera Raw.
Or we may chose to use this shortcut
| | 00:42 |
which is Cmd+ r on a Mac or Ctrl+r on
Windows.
| | 00:46 |
Either way let's go ahead and open up
these images in Camera Raw.
| | 00:49 |
Now so far we've talked a bit about how
we can use these sliders in order to make adjustments.
| | 00:55 |
And many of these adjustments that we've
been talking about have been subjective.
| | 00:58 |
Yet we can add a bit of objectivity to
our adjustments by turning off an
| | 01:03 |
important indicator.
Up top we have what's called the histogram.
| | 01:07 |
The histogram is the visualization of the
data that we have in our image.
| | 01:12 |
Here these are the shadows also the mid
tones and then the highlights.
| | 01:17 |
You may notice that the highlights push
right up against the far right side of
| | 01:21 |
the histogram and here we have some
really bright highlights in the background.
| | 01:26 |
And often what can happen with highlights
is we can have loss of detail in these areas.
| | 01:31 |
In order to see that, we can turn on the
clipping indicators by clicking on these
| | 01:36 |
two little icons right here.
Now currently the red color is showing me
| | 01:41 |
that I have loss of detail in my
highlights.
| | 01:44 |
Currently we don't have any loss of
details in our shadows.
| | 01:47 |
Yet if we were to make an adjustment to
one of these sliders.
| | 01:50 |
Say we wanted to darken up our blacks.
Here you can see this blue color is
| | 01:54 |
showing me a problem area.
And a reason why this is a problem is
| | 01:58 |
because we have a loss of detail and
therefore this image won't be able to be
| | 02:02 |
printed very well.
All right, we're here how can we correct that?
| | 02:06 |
I'll go ahead and reset my black slider
by double clicking that because in this
| | 02:10 |
image really it's an issue about the
highlights.
| | 02:13 |
Well we can correct that with a few
different sliders.
| | 02:16 |
The first one you want to try to work
with is the Highlight slider.
| | 02:19 |
Here as I click and drag this to the left
you can see that it quickly took care of
| | 02:24 |
that problem, that is now solved.
Next I may want to make a few other
| | 02:28 |
adjustments as well.
I'll brighten up my shadows and then I'll
| | 02:31 |
also increase my exposure.
Yet as I increase the exposure I need to
| | 02:35 |
be careful that I'm not clipping or
losing detail in my highlights there.
| | 02:39 |
If you noticed that we'll just go ahead
and use this slider again to try to
| | 02:43 |
reduce the clipping in that area of your
image.
| | 02:46 |
In this way you can see that having these
indicators on can really help you out.
| | 02:51 |
Alright, well let's jump to another
example.
| | 02:53 |
Here we'll go to a photograph that was
captured of my wife and two of our
| | 02:57 |
daughters and our little puppy there in
lake Tahoe.
| | 02:59 |
And you see that we have this snow.
This snow is really bright yet it isn't
| | 03:04 |
being clipped.
Here with the highlight indicator if I
| | 03:07 |
drag this to the right we can see now we
have clipping.
| | 03:09 |
If I drag this to the left we can see
that that's gone.
| | 03:12 |
You know sometimes you'll have an area
which is overexposed yet the indicator
| | 03:17 |
isn't telling you that that's a problem
area.
| | 03:19 |
Well, if you notice that just use those
same sliders in order to correct that location.
| | 03:24 |
In this case now we have much better
detail in this area of the photograph.
| | 03:29 |
Next, you may want to make a few other
adjustments as well, right?
| | 03:32 |
Perhaps you want to increase the color
temperature by dragging this to the right
| | 03:35 |
just a touch.
We also might want to work on our
| | 03:38 |
contrast or other areas of the
photograph.
| | 03:40 |
Like we could add a little bit of
clarity, vibrancy and color saturation.
| | 03:44 |
All right, well in this way as we click
on the Preview button you can see the
| | 03:48 |
before and after.
You can see that correcting exposure
| | 03:51 |
sometimes involves using those
indicators.
| | 03:54 |
In other situations it might involve just
making adjustments to the sliders so that
| | 03:59 |
the photograph looks its best.
Well last but not least I want to show
| | 04:03 |
you a tricky scenario.
I'm going to click on this image that I
| | 04:06 |
captured on a surf trip down in Baja,
Mexico.
| | 04:10 |
Well here, which this image if we zoom in
on it you'll notice that the clipping
| | 04:13 |
indicator is showing me that I'm having
some issues on the front of the car.
| | 04:18 |
Well, if I drag the highlight slider to
the left, I can try to bring down some of
| | 04:23 |
the detail that I have here but it just
isn't working.
| | 04:26 |
That clipping indicator, it's still
there.
| | 04:29 |
Well, what do you do in situations like
that?
| | 04:31 |
On situations like that rather than using
the Highlight slider and dragging that
| | 04:35 |
down you first try that.
If it doesn't work, you go straight to
| | 04:39 |
what's called the Tone Curve.
Here in the Tone Curve we have two
| | 04:43 |
different options.
We can use what's called a parametric
| | 04:46 |
curve and also a point curve.
Now the tone curve is definitely more advanced.
| | 04:52 |
So, I'm not going to get into all of the
details of the tone curve except that I
| | 04:55 |
want to highlight one that will help you
with exposure issues.
| | 04:59 |
Here if we want to bring down the detail
of highlights and if the Highlight slider
| | 05:04 |
or those other basic sliders don't work,
go to the point tone curve.
| | 05:09 |
Then click in the top most point you have
here in this curve and click and drag
| | 05:13 |
that down until that clipping indicator
disappears.
| | 05:17 |
In this way you can see here's before.
And then now here's after.
| | 05:20 |
Now with this image this correction was
subtle yet nonetheless significant.
| | 05:26 |
In other images you may have larger areas
that you just can't correct.
| | 05:30 |
Well, if you run into situations like
that, well what you need to do is to take
| | 05:34 |
an advanced step.
Take that advanced step of making your
| | 05:37 |
way to the tone curve.
And then click on that top point in the
| | 05:40 |
curve and drag it down just a little bit
until you see that clipping indicator disappear.
| | 05:46 |
Alright, well last but not least before
we wrap this up we'll navigate back to
| | 05:50 |
the Basic panel and here take a look at
this photograph.
| | 05:53 |
Again so far there are no clipping
indicators, which is great.
| | 05:56 |
I have decided that I want to add a
little bit of contrast.
| | 05:59 |
So I'll increase my contrast.
I also want to darken the blacks.
| | 06:03 |
As I do that, I notice I have some loss
of detail in these areas.
| | 06:07 |
You know, a certain amount of loss of
detail in your blacks sometimes is okay.
| | 06:12 |
I know photographers who define their
photographic style by having really deep
| | 06:18 |
rich blacks.
Well if you're one of those photographers
| | 06:21 |
this indicator, well it might be a little
bit distracting.
| | 06:24 |
Because let's say that you want to have
loss of detail in all of these trap
| | 06:28 |
shadows that you have here underneath the
car.
| | 06:31 |
Well in order to turn off the indicators,
all that you need to do is to click on
| | 06:35 |
the icon located here at the top of the
histogram.
| | 06:38 |
In that way it will turn off that
clipping indicator so that you can then
| | 06:42 |
process and work on your image without
that distracting overlay.
| | 06:46 |
| | Collapse this transcript |
| Cropping and straightening your photos| 00:00 |
One of the big advantage of using Camera
Raw is that it allows you to apply
| | 00:04 |
adjustments non-destructively.
In other words you can always undo what
| | 00:09 |
you've done.
So therefore let's take a look at three
| | 00:12 |
examples of how we can crop our images in
non-destructive ways.
| | 00:17 |
We'll be working with these three images
here so click into one then hold down the
| | 00:21 |
Cmd key on a Mac or Ctrl key on Windows
and then click into the other two.
| | 00:26 |
Next let's navigate to the File Pull down
menu.
| | 00:29 |
And here, we'll choose Open in Camera
RAW.
| | 00:33 |
This will open up these three
photographs.
| | 00:35 |
This first one is a portrait that I
captured.
| | 00:38 |
And I just want to crop this down to a
smaller size.
| | 00:41 |
So here to do that, we'll click on the
Crop tool icon, which you can find
| | 00:45 |
located up top.
Next simply click and drag across your
| | 00:49 |
image, in doing that you can extend this
across the file.
| | 00:53 |
Now you can also change the type of crop
that you have by clicking on this icon
| | 00:58 |
and looking at the Pull down menu, here
we could choose a particular aspect ratio.
| | 01:02 |
Let's say that the client needed a four
by five aspect ratio.
| | 01:06 |
In this way it would limit that crop
area.
| | 01:09 |
Now to re-position the crop area, we'll
just click and drag in order to move it.
| | 01:14 |
You can also also click on the re-size
handles.
| | 01:17 |
Now if you're using a specific aspect
ratio it will confine the aspect ratio here.
| | 01:22 |
On the other hand, if you're just using a
normal crop, well in this way you can
| | 01:28 |
change the crop how ever you see fit.
Here I'll just go ahead and modify the
| | 01:32 |
crop a little bit.
And then to apply it press Enter or Return.
| | 01:36 |
That's Enter on Windows and Return on a
Mac.
| | 01:39 |
All right well we have successfully
cropped and recomposed this picture.
| | 01:44 |
Yet let's say that we want to make a
slight change.
| | 01:47 |
Well, here's where we can take a look at
how this crop is non-destructive.
| | 01:51 |
To re-crop the image, simply click on the
Crop tool again.
| | 01:55 |
Next, go ahead and make the change that
you want to apply.
| | 01:58 |
Here I'm just going to create a crop,
which is a little bit tighter and then
| | 02:02 |
press Enter or Return.
In this way you can see how you can
| | 02:05 |
constantly customize the crop.
Well let's look at another example.
| | 02:10 |
Here we're going to make our way to this
image o2.
| | 02:13 |
And in this particular file, we'll notice
that the image is a little bit rotated.
| | 02:18 |
And so what I want to do is I want to
straighten this file out.
| | 02:22 |
There are a couple of different ways that
we can do this.
| | 02:25 |
First here lets click on the Crop Tool in
order to select it.
| | 02:29 |
And then I'm going to click and drag a
crop area out on my image.
| | 02:33 |
Next what I want to do is I want to have
this at a little bit of an angle.
| | 02:37 |
If we approach the corners of our crop
area, notice that the cursor changes.
| | 02:42 |
Here I have a bent arrow which tells me I
can click and rotate this.
| | 02:46 |
In this way, you can see that I'm trying
to make these train tracks here a little
| | 02:50 |
bit straighter.
Here I think that looks pretty good.
| | 02:54 |
Next press center or return and in this
way you can see how we've straightened
| | 02:58 |
things out except I went a little bit too
far.
| | 03:01 |
So again to reedit the crop select that
Crop tool and then go ahead and make
| | 03:06 |
another change and then press Enter or
Return.
| | 03:09 |
All right, that looks much better.
So here we're starting to see how we can
| | 03:13 |
really make some subtle adjustments to
our photographs.
| | 03:15 |
And often these subtle adjustments, well
they can make all the difference in the world.
| | 03:20 |
Like with this photograph I think it
looks much better.
| | 03:24 |
Well I have one more example to show you
as we're learning about how to use this tool.
| | 03:29 |
The last example is a portrait of Russell
Brown, the senior creative director at Adobe.
| | 03:34 |
And I like this portrait of him yet it
obviously isn't level.
| | 03:38 |
So I want to level this image off.
One way to do that is with this tool,
| | 03:43 |
which is located right next to the Crop
tool.
| | 03:46 |
If you hover over it you will notice that
it's called the Straighten tool.
| | 03:49 |
Click on that tool and then click and
drag across something that should be
| | 03:53 |
straight in your photograph.
This could be a vertical or a horizontal line.
| | 03:58 |
Here I'll click and drag underneath the
letters on the sign in the background
| | 04:03 |
then let go.
You'll notice that it's cropped the image
| | 04:07 |
and that it's rotated the crop.
And it's done so, so as to straighten
| | 04:11 |
that out.
Here we could move this crop area around
| | 04:14 |
by clicking and dragging.
And then to apply it, again press Enter
| | 04:18 |
or Return.
And here you can see it's now
| | 04:20 |
straightened out this photograph.
All right, well after you've made a few
| | 04:24 |
changes to your pictures in order to
apply those changes, in order to crop the images.
| | 04:29 |
All that you need to do is to simply
click Done and back here in Bridge.
| | 04:33 |
We'll now see the updated versions of
those photographs with those cropped
| | 04:37 |
adjustments that have been applied.
| | 04:39 |
| | Collapse this transcript |
| Correcting lens distortions| 00:00 |
Here we're going to a look at a few
photographs and we'll explore for how we
| | 00:04 |
can level our images.
And also make some important perspective
| | 00:08 |
corrections to our photographs.
We'll be working with four different images.
| | 00:12 |
So, let's click into the first one and
then hold on the Cmd key and click into
| | 00:17 |
the other one's on a Mac or hold on the
Ctrl key.
| | 00:20 |
And click into the other files here in
order to select all of those images.
| | 00:24 |
Again, we'll be working with all four of
these.
| | 00:27 |
We'll make that selection and then we'll
navigate to the File pull-down menu.
| | 00:30 |
And here we'll chose Open in Camera Raw
and we're going to start out with this
| | 00:35 |
picture here.
Currently, you can see that the horizon
| | 00:38 |
in this picture isn't level, well there's
an easy way to fix that and often this
| | 00:44 |
happens with landscape photographs.
Where we just have something which isn't
| | 00:48 |
quite straight.
Now we've already seen previously how we
| | 00:50 |
can use this straighten tool so rather
than show you that again, I want to show
| | 00:54 |
you another technique.
There's a panel which allows you to make
| | 00:58 |
important corrections to photographs.
It's called the Lens Corrections panel.
| | 01:02 |
You can click on the icon right here.
And when you do that, you notice that you
| | 01:07 |
have three different tabs.
Typically, what you'll want to do is go
| | 01:11 |
to the Profile tab, and Enable the Lens
Profile Corrections.
| | 01:16 |
This will make any needed corrections,
based on the way that the image was
| | 01:19 |
captured with a particular camera and
lens combination.
| | 01:23 |
If you don't have this tab visible,
that's okay.
| | 01:25 |
Simply jump straight to the Manual tab.
Here in the Manual tab we have some controls.
| | 01:31 |
Some are called Upright, we'll talk about
those in a moment.
| | 01:34 |
Then we also have a few sliders.
One of our sliders allows us to rotate
| | 01:39 |
the image, this one, here.
Here, we can simply Click and Drag this
| | 01:43 |
in order to rotate the photograph, and
sometimes we can use this technique just
| | 01:47 |
to straighten out that horizon.
So that it looks good to our eye.
| | 01:50 |
Know if ever you make an adjustment you
can always double-click the slider and it
| | 01:55 |
will take it back to its default setting.
Another easy way to make this correction
| | 02:00 |
is to use the Upright control which is
located right here.
| | 02:03 |
It's the second icon and it's the one
which allows us to quickly level our photographs.
| | 02:09 |
In doing that you can see how it leveled
the picture out and now my horizon line
| | 02:13 |
is straight.
And when it comes to Upright controls
| | 02:17 |
sometimes we'll use these for simple
corrections like for this photograph.
| | 02:20 |
And in other situations it might be a bit
more complex.
| | 02:25 |
Let's walk through a few images so I can
show you how this works.
| | 02:28 |
Currently you can see we have a
photograph that we looked at previously,
| | 02:32 |
and the lines in the background are
showing me that there is a bit of distortion.
| | 02:37 |
I want to fix that perspective so that
those lines are straight.
| | 02:41 |
One way to do that is to go to Lens
Correction.
| | 02:43 |
Click on the Profile tab, and Enable Lens
Profile Corrections.
| | 02:48 |
Next, go to the Manual tab, and
underneath the Upright controls, simply
| | 02:53 |
click on the A for auto.
What that will do is it will
| | 02:57 |
automatically correct any perspective
issues.
| | 03:00 |
Now here if we click on the preview
button, you see here is before and then
| | 03:04 |
now here is after.
Those lines are much straighter.
| | 03:07 |
We can also customize these further.
You'll want to experiment a little bit
| | 03:12 |
with these controls.
What you can do is you can Click and Drag these.
| | 03:15 |
And here you can see how you can change
the overall vertical perspective of the image.
| | 03:19 |
And in this way you might be able to make
some important adjustments to your pictures.
| | 03:24 |
Well because Upright is so incredibly
helpful, let me show you two more examples.
| | 03:30 |
Here's a picture, where the image isn't
level, also the perspective is a bit off
| | 03:34 |
because I'm using a wider angle lense.
Again, the process is to go to Profile,
| | 03:41 |
Enable Lens Profile Corrections, then go
to Manual, and here, click on Auto.
| | 03:46 |
And what that will do is it will
automatically correct this so that this
| | 03:50 |
image looks just much better.
Here's before and then now here's after.
| | 03:55 |
This is helpful in so many different
situations.
| | 03:59 |
it's really helpful when you have those
situations where you're using a wide
| | 04:02 |
angle lens like this.
In this photograph that I captured of the
| | 04:06 |
concert hall, you can see that these
pillars are leaning out to the edge.
| | 04:10 |
Well, we can correct that really easily
with our Upright controls.
| | 04:15 |
Again, the first step is to go to
profile, then turn on enable lens profile corrections.
| | 04:21 |
If this tab isn't visible no big deal,
simply skip to the Manual tab and start
| | 04:26 |
to work with the Upright controls.
What we want to do here is simply press
| | 04:31 |
the icon for Auto and what that will do
is it will correct the perspective.
| | 04:36 |
And again now this image it looks so much
better.
| | 04:39 |
Click on the Preview checkbox.
Here you can see the before.
| | 04:42 |
And now here, you can see the after.
So, as you can see here, we can use these
| | 04:46 |
Lens Corrections Controls in order to
make some significant and important
| | 04:51 |
corrections to our photographs.
| | 04:53 |
| | Collapse this transcript |
| Retouching with the Spot Removal tool| 00:00 |
Let's take a look at how we can remove
blemishes or distractions and how we can
| | 00:04 |
retouch our photographs using Adobe
Camera Raw.
| | 00:07 |
In order to illustrate how we can do
this, we'll be working with three images.
| | 00:12 |
Go ahead and click into these files while
holding down the Cmd key on a Mac or Ctrl
| | 00:16 |
key on Windows.
Here I'll select these three files.
| | 00:20 |
Next, let's open them in Camera Raw by
going to file then by choosing Open in
| | 00:25 |
Camera Raw.
This will open up all three of these
| | 00:27 |
files and we'll start off with this file
here.
| | 00:30 |
This is a beauty picture and because of
that I want to have a really clean
| | 00:35 |
flawless look.
So here we'll use the Zoom tool and I'll
| | 00:38 |
click on the image in order to zoom in a
little bit.
| | 00:41 |
Now when we zoom in close we notice that
there are some little freckles and small
| | 00:45 |
little skin variations.
Let's say that we want to remove those.
| | 00:49 |
Well we can do that by using the Spot
removal tool.
| | 00:52 |
You can find that tool up top in your
Tools panel.
| | 00:55 |
Go ahead and click on it here.
When you do you'll notice that you have
| | 00:58 |
some options.
You can control your brush size and also
| | 01:01 |
the opacity.
At a lower opacity it will simply reduce
| | 01:05 |
the blemish at a higher opacity it will
completely remove it.
| | 01:10 |
Next, position your cursor over the image
and position it over the blemish that you
| | 01:14 |
want to remove, and simply click.
Here Photoshop will automatically select
| | 01:19 |
a source area in order to retouch out
that small problem.
| | 01:22 |
And what it will do is it will look for a
good area in order to sample in order to
| | 01:27 |
make the needed correction.
In this case I need to make my brush
| | 01:30 |
smaller so I'll go ahead and decrease the
brush size and then I'll click on that
| | 01:34 |
small freckle there on the ear.
Currently it's kind of difficult to see
| | 01:39 |
how this looks because of all of these
little overlays.
| | 01:42 |
Each one of these are areas where I've
clicked.
| | 01:45 |
In order to hide those you can click on
this icon here that will then hide the overlays.
| | 01:51 |
Now if we want to see our preview, click
on your Preview button there's before,
| | 01:54 |
let me zoom in a little bit, click on it
again and there's after.
| | 01:58 |
And here you can see we can quickly and
easily remove those small blemishes.
| | 02:03 |
Now let's say that you've decided that
you want to delete one of those points.
| | 02:07 |
Well, just turn on the Show Overlay and
then click into that area.
| | 02:10 |
In this case we can click into this one,
and then press Delete or Backspace in
| | 02:15 |
order to remove that spot removal.
Okay, well, this is great with portraits
| | 02:20 |
but what about with other situations?
Here lets take a look at another photograph.
| | 02:25 |
This is a picture that I captured at a
local lake.
| | 02:28 |
If we zoom in on the picture a little bit
one of the things that you'll notice is
| | 02:31 |
that there are some spots that we can see
here in the sky.
| | 02:35 |
Well these spots are the result of having
some dust on my lens.
| | 02:39 |
You know you can find these spots or
these problems more easily when you
| | 02:44 |
activate this tool and when you click on
the option to visualize spots.
| | 02:49 |
Here it can show me the variations that I
have.
| | 02:52 |
In this case I have a few problems here,
here and over here.
| | 02:55 |
Turn this off and then go ahead and click
on those areas again in order to remove
| | 03:00 |
those small blemishes.
Yeah, what about situations where you
| | 03:04 |
have blemishes which are bigger than a
spot?
| | 03:07 |
Let's say that we want to remove a cloud.
Well, you can also use this tool by
| | 03:11 |
clicking and dragging and painting over a
larger area and it works in the same way.
| | 03:17 |
Click and drag to paint over a larger
area and then let go and here it will
| | 03:21 |
sample a source area in order to clean up
the area that you want to retouch.
| | 03:26 |
And again we can do this in multiple
ways.
| | 03:28 |
Another great technique for using this is
when you have straight lines.
| | 03:33 |
In this case I have this exhaust from an
airplane and I want to get rid of that.
| | 03:38 |
This is also helpful if you have say,
power lines in the background of a photograph.
| | 03:43 |
To remove something like this simply
click at the beginning of the problem.
| | 03:47 |
Then hold down the Shift key and click
again.
| | 03:51 |
In this way it will create a straight
line between the two points.
| | 03:54 |
And here you can see we've successfully
removed that.
| | 03:58 |
Again to evaluate your work you almost
always have to turn off the overlay.
| | 04:02 |
And then click on your Preview button to
see that before and after perspective.
| | 04:07 |
Okay, well, last but not least let's take
a look at one more scenario where this is helpful.
| | 04:11 |
Here we'll go to this photograph which is
called studio fashion.
| | 04:15 |
This is a great picture except the
background is in rough shape.
| | 04:19 |
So I want to clean it up.
There are some small spots we can click.
| | 04:22 |
Or click and drag over it in order to
clean up.
| | 04:25 |
Yet there are some larger areas as well.
Here I'm going to turn on my overlay so
| | 04:29 |
that I can see the areas that I'm working
on.
| | 04:31 |
And also turn on the Preview so I can see
how that actually looks.
| | 04:35 |
All right, well I cleaned up the small
blemishes.
| | 04:37 |
What about these larger areas?
Well with these larger areas what we can
| | 04:42 |
do is increase our brush size.
And then click and paint over the areas
| | 04:46 |
that we want to retouch.
Here I'm retouching the top of the image,
| | 04:50 |
now I'll work on the side.
You can see that I'm just clicking and
| | 04:53 |
dragging over this area.
Now you want to make sure that you cover
| | 04:57 |
everything that you want to retouch.
In this case that entire part of the background.
| | 05:01 |
Well that was incredibly easy to retouch
out those small distractions.
| | 05:06 |
Again, I'll turn off Show Overlay.
And I'll click on the Preview icon to see
| | 05:10 |
the before, click again to see the after.
Let me zoom in a bit closer so that you
| | 05:15 |
can see that up close.
Here is our before and then now here, is
| | 05:20 |
our after.
So as you're starting to see this
| | 05:23 |
particular little tool here.
Well it is really helpful when you
| | 05:27 |
want to reduce or remove distractions or
blemishes.
| | 05:30 |
So if you haven't ever experimented with
this tool.
| | 05:33 |
It's definitely one that you want to test
out.
| | 05:35 |
And i recommend that you do so now.
Take a few minutes and start to work with
| | 05:39 |
this tool and see how you can integrate
this into your work flow.
| | 05:43 |
Because it can really help you out when
you're trying to achieve professional results.
| | 05:47 |
| | Collapse this transcript |
| Making selective adjustments| 00:00 |
At this point I imagine you're getting
more and more excited about Camera Raw
| | 00:04 |
because you're starting to see what can
be done with this powerful tool.
| | 00:09 |
Well here what I want to do is take a
look at how we can take even more
| | 00:12 |
advantage of this tool.
And in particular we'll look at how we
| | 00:16 |
can use a few tools in order to make
selective adjustments.
| | 00:20 |
We'll be working with two files.
So let's click into this file.
| | 00:23 |
Hold down the Cmd key on a Mac, Ctrl key
on Windows and select this other image.
| | 00:28 |
And then navigate to File, and here we'll
choose Open in Camera Raw.
| | 00:32 |
Once we have these images open in Camera
Raw, we'll start off with this picture here.
| | 00:37 |
Now often, when we capture photographs
which include a sky, well, the sky is
| | 00:42 |
just too bright.
Well, we can selectively correct this
| | 00:45 |
portion of the image using a powerful
tool.
| | 00:48 |
We can find this tool up here in our
Tools panel.
| | 00:51 |
It's called the Graduated Filter.
When you click on it, you'll have a
| | 00:55 |
number of different sliders and controls.
You can dial in everything from
| | 00:59 |
Temperature and Tint to Exposure all the
way down to Sharpness.
| | 01:02 |
Alright, well, let's go ahead and modify
one of these controls, and what I want to
| | 01:06 |
do is change my exposure.
I'm going to exaggerate this, so we can
| | 01:10 |
see how this works.
Here I've decreased the exposure
| | 01:13 |
significantly, and I've decreased it too
far yet stick with me, eventually we'll
| | 01:18 |
make this look good.
Here we can go ahead and Click and Drag
| | 01:22 |
on the image.
As I do that you can see that I can
| | 01:25 |
create this effect.
It's a darkening effect, and I can
| | 01:28 |
control the intensity of the effect as
far as that transition edge.
| | 01:33 |
Now let go, and you can reposition this
by Clicking and Dragging on the green icon.
| | 01:37 |
That's where it's at full intensity, or
Click and Drag on the red icon in order
| | 01:42 |
to control the transition.
Now as you work with this, what you'll
| | 01:46 |
want to do is position this.
And then, of course, modify your Exposure slider.
| | 01:51 |
In this case, it was too strong, so I'll
just bring this down a little bit.
| | 01:54 |
I'll also decrease the highlights there
in order to darken those brighter tones.
| | 01:58 |
In this way, what we can start to do is
we can control just this portion of our image.
| | 02:04 |
We can also change the color.
Here I'll use the Temperature slider in
| | 02:07 |
order to modify the colors so that it's a
bit more blue.
| | 02:11 |
We can make so many adjustments to this
so that that sky area, well, it looks its best.
| | 02:16 |
Here if we click on the Preview button,
you can see there's before.
| | 02:20 |
And now here's after.
So you want to use this tool when you
| | 02:23 |
have a larger area that you want to
modify.
| | 02:26 |
And this isn't just for the sky.
If we want to work on the foreground
| | 02:30 |
here, we'll just Click and Drag.
Then after you've done that go back and
| | 02:34 |
make any changes.
In this case, I want a warm up the
| | 02:36 |
foreground a little bit.
I also want to decrease the contrast.
| | 02:39 |
So here in this way I'm able to control
that portion of the image, and again
| | 02:44 |
we'll click on that Preview icon.
Here's our before, and then now here is
| | 02:48 |
our after.
Okay, well let's make our way to another
| | 02:51 |
photograph, and let's take a look at a
few other Selective Adjustment tools that
| | 02:56 |
we have.
These tools allow us to make adjustments
| | 02:59 |
to specific areas of our photograph.
The next tool that I want to highlight is
| | 03:03 |
this one here.
This tool's called the Radial Filter.
| | 03:07 |
Now this one works in a similar way that
the gradient tool works except that it
| | 03:12 |
allows to create an elliptical shape.
And to modify the area either inside or
| | 03:18 |
outside of that shape.
So let's say that with this image, that I
| | 03:21 |
want to brighten the subject's face and
surrounding area.
| | 03:25 |
Well, here what we'll do is we'll go
ahead and modify our sliders here.
| | 03:28 |
I'm going to double-click these sliders
to take them back to their default settings.
| | 03:33 |
Then I'll increase the Exposure slightly.
I'll leave the Color Temperature right
| | 03:38 |
where it is.
Then I'm going to Click and Drag over my image.
| | 03:42 |
In doing that you can see that it isn't
affecting the inside of the image but the
| | 03:47 |
outside of the image.
This is exactly the opposite of the fact
| | 03:51 |
that I'm interested in.
Yet no big deal you can always change that.
| | 03:55 |
If you scroll down to the bottom of our
controls you can define which area you
| | 03:59 |
want this to effect.
Either the Inside or the Outside.
| | 04:03 |
In my case, I want the Inside.
I want to brighten up this portion of the image.
| | 04:07 |
Here's our before.
Now here's our after.
| | 04:11 |
If we zoom in a little bit on this image,
and reposition, so that we can see what
| | 04:15 |
we're working on, here you can see that
before an after.
| | 04:19 |
In this way we can really dial in how we
want certain portions of our image to appear.
| | 04:24 |
Well, how can we remove adjustments like
this or like the Gradient Filter?
| | 04:29 |
Well, do to so simply click into the
image adjustment and then press the
| | 04:32 |
Delete or Backspace key.
Next, what I want to do is take a look at
| | 04:36 |
one more tool, this ones tool the
Adjustment Brush, now this one is the
| | 04:41 |
most free form.
With this tool, what you can do is again
| | 04:44 |
dial in your settings.
Here, I'll increase the Exposure.
| | 04:48 |
I'll also go ahead and increase my color
temperature a little bit as well.
| | 04:52 |
Next I'm just going to paint over this
portion of the image because I want to
| | 04:55 |
brighten up the skin in this part of the
photograph.
| | 04:58 |
Now, in doing this, you can see that
we're starting to improve the image significantly.
| | 05:03 |
Here, if we click on our Preview
checkbox, is our before.
| | 05:06 |
Now click again, here's the after.
And if we zoom in a little bit more,
| | 05:10 |
again you can see how we can paint this
in into particular areas.
| | 05:14 |
Now, so far we've been looking at Color
Temperature and Exposure, but keep in
| | 05:19 |
mind, you can paint in other adjustments
as well.
| | 05:22 |
You could decide to increase the
Sharpness in a certain area.
| | 05:26 |
And with all of these adjustments, you
can always have multiple adjustments.
| | 05:30 |
Simply click on the New icon and then
here I'll go ahead and paint over this
| | 05:34 |
area again.
Now I've added two adjustments, here we
| | 05:39 |
can see our overall preview before and
then now after.
| | 05:43 |
So as you can see with these three tools,
they allow you to make selective
| | 05:48 |
adjustments to specific areas of your
photographs.
| | 05:51 |
So that you can then accomplish the best
results.
| | 05:54 |
| | Collapse this transcript |
| Improving multiple images at one time| 00:00 |
One of the main advantages of using
Camera Raw is that is allows you to make
| | 00:04 |
non destructive adjustments to your
photographs.
| | 00:07 |
Yet another important advantage which is
often overlooked is speed.
| | 00:12 |
Not only can you work quickly in Adobe
Camera Raw, but you can also process
| | 00:17 |
multiple images at one time.
Lets take a look at how we can do that
| | 00:21 |
here with these three photographs.
These are images that I captured with my iPhone.
| | 00:26 |
And I like the images, but they are all a
bit dull.
| | 00:30 |
What I want to do is increase the overall
exposure, the contrast, and the color saturation.
| | 00:35 |
In order to work on all four photos at
once, click into one.
| | 00:39 |
Then hold down the Shift key and click
into the last image.
| | 00:42 |
In order to select all of those files.
Next, navigate to the File pull down
| | 00:46 |
menu, and here we'll choose Open in
Camera Raw.
| | 00:49 |
This will then open these four images up
in Camera Raw.
| | 00:53 |
Now, so far as we've worked with multiple
files, we've talked about how we can
| | 00:57 |
click through these different images.
Yet, one of the things that we haven't
| | 01:01 |
talked about is that we can choose one
image.
| | 01:03 |
Then we can click on this button: select
all.
| | 01:06 |
This will then select all the files.
Now as we make adjustments to this image
| | 01:11 |
those will be applied to the other
photographs as well.
| | 01:15 |
So here I'll go ahead and make an
adjustment.
| | 01:17 |
In this case I'm going to modify the
overall temperature.
| | 01:20 |
As I make that adjustment, you can see
how that's applied to the other images as well.
| | 01:25 |
Well, this isn't the look I'm going for.
So I double click that slider, to take it
| | 01:29 |
back to default setting.
What I do want to do here though is
| | 01:33 |
increase the contrast significantly.
I also want to brighten up the overall exposure.
| | 01:39 |
In addition, I want to add a little bit
of clarity, some vibrance and also some
| | 01:44 |
color saturation.
Again, some pretty simple adjustment.
| | 01:48 |
Well, now that I've made those
adjustments, let's take a look at our
| | 01:51 |
preview before and after.
Here's before, and then now here's after.
| | 01:56 |
And by making adjustments, with all of
these files selected allows us to work
| | 02:00 |
quickly on multiple images.
Another way that we can do this is to
| | 02:04 |
click into a single image.
Then, we can make an adjustment.
| | 02:08 |
For example, I want my blacks to be
darker, so here I'll go ahead and
| | 02:13 |
decrease the amount on my black slider.
That looks much better.
| | 02:17 |
I'm also going to increase the whites and
also the highlights.
| | 02:21 |
I'm looking to create a real graphic
look.
| | 02:24 |
Now, if I want to apply these settings,
to the other images.
| | 02:27 |
Now what you can do Is click on the
button for Select all and then click on
| | 02:32 |
the option to synchronize.
When you click on this button, it will
| | 02:36 |
open up the Synchronize dialogue.
And here we have the ability to
| | 02:39 |
synchronize specific controls or
settings.
| | 02:43 |
If you click on your pull down menu, you
can select White balance.
| | 02:46 |
Here it would just synchronize the white
balance settings for all of these images
| | 02:50 |
or on the other hand you can choose
Everything.
| | 02:53 |
What I want to do is synchronize
everything that I've done across all four
| | 02:57 |
of these images.
So here in order to do that simply click OK.
| | 03:01 |
And it will then began to update and
synchronize all of those files.
| | 03:05 |
So as you can see here, you can really
easily work with multiple files.
| | 03:09 |
And as you can imagine when you have
images which were captured in similar settings.
| | 03:15 |
Well, this can really speed up your
workflow by leaps and bounds.
| | 03:18 |
All right, well in order to apply all of
these settings, all that we need to do is
| | 03:22 |
to simply click Done in order to exit
Camera Raw.
| | 03:26 |
Then back in Adobe Bridge we'll see the
updated versions of these photographs.
| | 03:30 |
| | Collapse this transcript |
| Sharpening and reducing noise| 00:00 |
It's safe to say that regardless of the
camera and lens that you use, every
| | 00:04 |
digital image, well it needs a certain
amount of sharpening and noise reduction.
| | 00:09 |
So therefore, let's take a look at how we
can sharpen and reduce the noise in our
| | 00:13 |
images using Camera Raw.
In order to learn how we can use those controls.
| | 00:18 |
We'll work with two images, click into
this first file then hold down the Cmd
| | 00:22 |
key on the Mac, Ctrl key on Windows and
select the other file.
| | 00:25 |
Next we'll navigate to our File pull down
menu and here we'll select Open in Camera Raw.
| | 00:31 |
Now that we have this first image
selected lets zoom in to 100% because
| | 00:36 |
that will really focus in on the subject.
The subject of this photograph is a model
| | 00:40 |
getting ready for a photoshoot.
It was captured in a lower light scenario
| | 00:45 |
so I had to use a higher ISO, therefore
we're going to encounter some noise, some
| | 00:49 |
issues in this image.
So here let's double click on our Zoom tool.
| | 00:53 |
This will take the image to 100%.
Next, press the Spacebar key and click
| | 00:59 |
and drag around the photograph.
Here you can see that we definitely have
| | 01:02 |
some noise in the background and the
image is a little bit soft.
| | 01:06 |
So let's fix this using what's called the
Detail panel.
| | 01:10 |
You can access the detail panel by
clicking on the third icon here and when
| | 01:14 |
you click on that, you'll see that you
have some sharpening and some noise
| | 01:18 |
reduction controls.
Let's start off with sharpening.
| | 01:21 |
The first slider that we have is Amount.
As we drag this to the right that will
| | 01:25 |
increase the overall amount of the
sharpening.
| | 01:28 |
Here I'm going to increase this so that
it's too high so that we can understand
| | 01:32 |
how these next two sliders work.
Well how does radius work?
| | 01:35 |
Well as we increase radius, what it's
going to do is it's going to extend out
| | 01:39 |
from the edge from wherever it's
sharpening.
| | 01:42 |
A great preview or way to view this is to
hold down the Option key on the Mac or
| | 01:47 |
Alt key on Windows and then to click on
the slider.
| | 01:49 |
Here you can see how those edges are
becoming more defined.
| | 01:53 |
Now typically you'll want a pretty low
radius amount so that you don't have
| | 01:57 |
glowing or strange looking edges.
Next we have our Detail control.
| | 02:01 |
Again hold down Option on a Mac or Alt on
Windows and then click and drag.
| | 02:06 |
When you do that it gives you a preview
of the effect in this gray scale perspective.
| | 02:11 |
Drag to the right and it brings out a lot
of small details.
| | 02:14 |
Drag to the left and it leaves a lot of
those small details untouched.
| | 02:19 |
Therefor when you're working with a
portrait like this, you want to have a
| | 02:22 |
really low detail amount.
Next we have masking.
| | 02:26 |
Again press option on a Mac, Alt on
windows and click and drag.
| | 02:31 |
When you drag to the right you'll notice
that it shows you this mask.
| | 02:34 |
Now what is this?
Well, the black area, it's showing you
| | 02:37 |
that that will not be sharpened.
The only area that will be sharpened is
| | 02:42 |
the white area.
So here you can control where the
| | 02:45 |
sharpening effect will be applied to the
photograph.
| | 02:47 |
So here typically what you'll want to do
is increase that masking amount.
| | 02:51 |
So that it's more limited to the edges.
Alright, well, my amount is too high.
| | 02:55 |
So here I'll go ahead and decrease that
back down a little bit so that we have
| | 02:59 |
just a nice little bit of a sharpening
effect.
| | 03:02 |
Well, whenever you sharpen an image, you
inadvertently also bring out some noise.
| | 03:07 |
That's why the Noise Reduction sliders
are located right here.
| | 03:11 |
In this case, I'm going to zoom in past
100% so that we can focus in on the noise
| | 03:16 |
that we see.
Now there are two different types of
| | 03:19 |
noise, luminescence and color.
Lemme lower the Color slider so that we
| | 03:23 |
can focus in on that.
Now here you'll notice that there's all
| | 03:26 |
of this color here in the background.
If you increase the color noise
| | 03:31 |
reduction, that removes that completely.
Again, here's with the color artifacts
| | 03:35 |
and now here's without.
Now luminescence deals with the
| | 03:39 |
brightness variance.
As we increase that, you're going to see
| | 03:42 |
that that background is going to look
much cleaner.
| | 03:45 |
In this way this noise reduction can
really help us to clean up our files when
| | 03:50 |
we have excessive noise like I have here.
It also will help with almost everyone of
| | 03:55 |
your photographs.
Yet perhaps at a bit lower level.
| | 03:58 |
Again you'll want to zoom in, in order to
experiment with what level works best
| | 04:02 |
with your image.
Now as you increase the noise reduction
| | 04:06 |
amount, sometimes what will happen is
that we'll soften the image a little bit.
| | 04:10 |
So afterwards you may need to go back and
increase the sharpening amount just a touch.
| | 04:14 |
Well, here I'm going to zoom back to 100%
because that's really how you want to
| | 04:19 |
evaluate your photograph.
I'll click on the Preview checkbox that's
| | 04:22 |
showing me the before.
Lots of noise and texture in the background.
| | 04:26 |
I'll click on that again.
Now that's the after.
| | 04:29 |
And it looks much better.
This may be difficult to see in the move
| | 04:33 |
once this becomes compressed and small.
So you want to experiment with this in
| | 04:37 |
your own photography.
All right well now that we know how these
| | 04:40 |
sliders work, I want to show you one more
photograph.
| | 04:43 |
And I want to walk through a bit of a
workflow.
| | 04:46 |
And this particular photograph is
straight out of the camera.
| | 04:48 |
Nothing's been done to it yet.
And you know before you start to work on
| | 04:52 |
the detail, what you want to do is go to
the basic tab.
| | 04:55 |
And you want to go into the Basic panel
and make some adjustments.
| | 04:59 |
Here I'm going to modify my contrast,
increase the exposure a little bit.
| | 05:02 |
Change the overall color temperature.
You want to make all of these adjustments
| | 05:06 |
that you're going to apply to your
photograph.
| | 05:08 |
And you want to do that because that's
going to affect the amount of sharpening
| | 05:12 |
and noise reduction that you'll need to
apply.
| | 05:14 |
In other words, the sharpening and noise
reduction that you apply typically
| | 05:18 |
happens near the end of your work flow.
So after you've dialed in a few of these
| | 05:22 |
settings as I've done here, what you'll
want to do next is to navigate back to
| | 05:27 |
the Detail panel.
To do that simply click on the icon.
| | 05:31 |
Next we need to zoom in, right?
One quick way to do that is to double
| | 05:35 |
click the Zoom tool that will take the
image to 100%.
| | 05:39 |
Then press the Space bar key and click
and drag so you can see some important
| | 05:43 |
details in your photograph.
And in this case I can see the eyes here.
| | 05:46 |
I also want to see a little bit of the
background.
| | 05:49 |
So here I'll click and drag over because
over here in the background where the
| | 05:53 |
hair and shadow is, I'll see a little bit
of noise, I need to correct that.
| | 05:58 |
In this case the color noise has already
been taken care of with this slight
| | 06:02 |
increase of this color slider here.
That looks good.
| | 06:05 |
Then I'll work on the luminescence noise
to try to reduce the artifacts that we
| | 06:09 |
see in the background.
Again, already the photograph looks better.
| | 06:13 |
Next, I'll increase my sharpening amount.
And you want to evaluate this again at
| | 06:18 |
this 100% perspective.
Now what about radius?
| | 06:21 |
Remember the shortcuts to preview these
different sharpening settings?
| | 06:25 |
Hold down the Option key in Mac, Alt key
in Windows.
| | 06:28 |
Here you can see how you can change the
radius.
| | 06:31 |
Typically you want a relatively low
radius.
| | 06:34 |
That's why it starts off by default right
at the number one.
| | 06:37 |
For detail because this is a portrait,
i'm taking it all the way down.
| | 06:42 |
Now if this was a photograph which was an
architecture picture and it was an
| | 06:45 |
interior shot, well maybe I would bring
this Detail slider up.
| | 06:48 |
So the amount of detail does really
depend upon the type of photograph that
| | 06:53 |
you have.
Next, we'll increase the masking a little
| | 06:55 |
bit and then also increase my sharpening
a touch more.
| | 06:58 |
And you know what, on my screen that
looks great.
| | 07:01 |
If we click on our Preview check box we
can see the before and then now the after.
| | 07:06 |
Again the differences will be difficult
to see yet that's important to highlight
| | 07:10 |
here and here's why.
Let me zoom out on the photograph for a moment.
| | 07:14 |
Here I'll zoom back out so we can see the
image in its entirety.
| | 07:18 |
One of the things that we want to keep in
mind with the work that we're doing here
| | 07:21 |
is that what we're trying to do is to
make subtle yet significant adjustments.
| | 07:26 |
You want to be careful not to over
sharpen your images.
| | 07:30 |
Because if you over sharpen your image
well it can detract from the quality of
| | 07:35 |
the photograph.
Alright, well now that we've dialed in
| | 07:37 |
these settings and we've taken this image
through its workflow.
| | 07:40 |
In order to save and apply these settings
all that we need to do is to simply click
| | 07:45 |
done in order to exit Camera Raw.
And then back in Bridge we'll now see the
| | 07:50 |
updated versions of these photographs.
| | 07:52 |
| | Collapse this transcript |
| Saving and opening raw files in Photoshop| 00:00 |
By this point it has become obvious that
Camera Raw is a powerful tool and that
| | 00:05 |
it's a tool that we are going to
integrate into our workflow.
| | 00:08 |
You know most of the best workflows start
in Camera Raw yet what happens when
| | 00:12 |
you're finished working on your
photographs?
| | 00:15 |
Well so far we've talked about how we can
press the Done button in order to exit
| | 00:19 |
Camera Raw and to apply our settings.
Yet what about those other scenarios?
| | 00:24 |
Lets say that we want to change the image
size and then save out different versions
| | 00:29 |
of our file.
Or maybe we want to open our image
| | 00:32 |
directly into Photoshop.
Well lets take a look at how we can do
| | 00:35 |
that here.
For starters we're going to navigate to
| | 00:38 |
our work flow options in order to re-size
this image.
| | 00:41 |
Because lets say that a client wants a
smaller version of this image.
| | 00:46 |
In order to access work flow options,
hover over this line here and then click.
| | 00:51 |
In the Workflow options dialogue you'll
see a number of different things.
| | 00:55 |
We can define color space, bit depth,
image size, resolution, sharpening.
| | 00:59 |
So let's go ahead and make changes here.
First of all I'm going to change my image size.
| | 01:04 |
Remember that I said the client wants a
smaller version of this portrait?
| | 01:08 |
So here I'll select this option to choose
a much smaller file.
| | 01:12 |
Next when we save files out we can choose
to have some sharpen applied.
| | 01:17 |
I know that these images I'm going to
save out will be viewed on the screen.
| | 01:21 |
So in this case I'll choose screen and
leave the amount of standard.
| | 01:26 |
Next we'll click OK.
Yep before I click OK I want you to pay
| | 01:29 |
attention to a close detail.
When I re-size this image it's going to
| | 01:34 |
change what I view here.
Notice that I am currently at a zoom rate
| | 01:38 |
of 25%.
Well 25% zoom rate of a file this size is
| | 01:44 |
going to be much smaller.
So here I'll click OK and now we see a
| | 01:48 |
smaller view of the image.
Well, what I want to do is after I've
| | 01:52 |
re-sized that image, I want to zoom into
100%.
| | 01:56 |
So here I'll click a few times with the
zoom tool until I get to 100%.
| | 01:59 |
Well, now that I'm up here at 100%, I can
really evaluate the photograph.
| | 02:05 |
And make any needed changes because this
is the size that I'm going to save out
| | 02:10 |
from this raw file.
I'll go ahead and click on the Save button.
| | 02:13 |
When you click on the Save button it will
open up your Save Options dialog.
| | 02:18 |
And what you want to do is simply walk
through this dialog from the top to the bottom.
| | 02:22 |
First we can select a folder, currently
I'll just save this in the same exact folder.
| | 02:28 |
We can also choose to rename the folder
if we want, here I'll leave the file name
| | 02:32 |
as is.
Then we can determine what type of file
| | 02:35 |
we want to use.
By default TIF was selected and here are
| | 02:39 |
some TIF options or I could choose
another file format.
| | 02:43 |
In particular I know that the client
wants a JPEG so I'll choose JPEG.
| | 02:48 |
Here we can determine to include meta
data if we want, we can also define a
| | 02:52 |
quality setting for this file.
In this case I think the quality setting
| | 02:55 |
of high will work well.
Next we'll simply click Save.
| | 02:59 |
What will happen is that this file will
be saved behind the scenes.
| | 03:03 |
Alright.
Well, let's go ahead and take a look at
| | 03:05 |
that file.
Here I'll click Done in order to apply
| | 03:08 |
those camera settings and to go back to
Adobe Bridge.
| | 03:11 |
Well now we can see that we have the
original raw file, we also have a smaller
| | 03:16 |
JPEG file that we've saved from that raw
file.
| | 03:20 |
Now if ever we want to go back to the raw
file and continue working, well we can do so.
| | 03:24 |
Select the raw file and then navigate to
File, choose Open in Camera Raw.
| | 03:30 |
Alright, well, let's say that we have
come back to our file, we've decided that
| | 03:34 |
we want to work in Photoshop on this
file.
| | 03:37 |
Yet we want to work on the full
resolution file.
| | 03:39 |
So here we'll go back to workflow options
and we'll change our size to the native
| | 03:45 |
file size, in this case 3840 by 5760.
Next click OK and here we can now see we
| | 03:52 |
have the full resolution file.
And what I want to do is I want to open
| | 03:56 |
this image up in PhotoShop.
To do that simply click on the Open Image button.
| | 04:02 |
And what this will do is it will send
this file over to Photoshop.
| | 04:06 |
It will apply all of those Camera Raw
settings that we've applied in Camera Raw.
| | 04:10 |
And now here we have this image open
inside of Photoshop.
| | 04:14 |
Alright, well now that we've made the
transition from Camera Raw to Photoshop,
| | 04:18 |
well now it's the time to become familiar
with photo shop.
| | 04:21 |
And to really learn how we can use this
powerful tool in our work flow.
| | 04:24 |
So let's take a look at how we can get
started with Photoshop and let's do that
| | 04:29 |
in the next few chapters.
| | 04:30 |
| | Collapse this transcript |
|
|
6. Getting Started with PhotoshopBecoming familiar with the Photoshop interface| 00:00 |
In order to begin to effectively work in
Photoshop, it's helpful to become
| | 00:05 |
familiar with the interface.
So here what I want to do is to provide
| | 00:08 |
you with the general introduction to the
Photoshop interface.
| | 00:12 |
Now part of this introduction will be a
review while other parts will be new.
| | 00:16 |
Alright, let's start off with what we see
here.
| | 00:18 |
You can see that I've opened up a
photograph inside of Photoshop, this is a
| | 00:22 |
picture of my wife Kelly and of our
oldest daughter, Annika after a ballet recital.
| | 00:27 |
And this image area is called the
document window.
| | 00:31 |
Surrounding it we have what's sometimes
referred to as the stage or the background.
| | 00:36 |
Now we've already talked about how we can
view our images in different ways by
| | 00:40 |
pressing a shortcut key.
When we press the F key, it allows us to
| | 00:44 |
change to different view modes.
Here I'm in full-screen view mode.
| | 00:48 |
And in this case, the rest of the
Photoshop interface is hidden.
| | 00:52 |
To bring it back simply press the F key
again.
| | 00:54 |
And by pressing the F key multiple times,
we can toggle through these different
| | 00:59 |
screen modes.
Alright well next we've also talked about
| | 01:02 |
how we can customize the color or the
tone of this background or stage area.
| | 01:08 |
You can do that by right-clicking or
Ctrl-clicking over that area.
| | 01:12 |
When you do, you'll see a Contextual
menu.
| | 01:14 |
This will allow you to choose a different
shade of gray like light gray or you can
| | 01:18 |
also choose a custom color.
In this case, I'll take this back to the
| | 01:22 |
default setting.
Alright, well next on the left hand side,
| | 01:25 |
you'll see that we have our Tools panel.
Now our tools allow us to do many things
| | 01:30 |
in Photoshop.
For example, here I'll click on the Hand tool.
| | 01:34 |
In this case when I position this over
the image, we see a different cursor.
| | 01:38 |
Now I can click and drag in order to
reposition the photograph.
| | 01:42 |
One of the things that I want to
highlight here is that whenever you
| | 01:45 |
select a tool, you'll notice there are
different options in this area.
| | 01:49 |
This area is called the Options bar.
Here I'll select another tool, and again,
| | 01:54 |
you'll see various options.
Above that, we have our pull down menus.
| | 01:59 |
If we click on the word File, we can see
the File pulldown menu.
| | 02:03 |
And here we can do many common things
like create a new document or open a pre
| | 02:07 |
existing document.
Next, let's move over to the right hand
| | 02:10 |
side of the interface.
We've already talked about how you can
| | 02:14 |
configure the panels in different ways.
And the work space that I have chosen is photography.
| | 02:19 |
Now, currently I'm seeing the panels for
this photography workspace configuration.
| | 02:25 |
Here you can see that certain panels,
well, they're collapsed to small icons.
| | 02:30 |
In order to expand those panels, we'll
just click on the icon.
| | 02:33 |
If you ever want to close one of these,
you can do so either by clicking on the
| | 02:37 |
double arrow button right there or simply
by clicking on the icon a second time.
| | 02:43 |
Well, next we have our panels which are
expanded.
| | 02:47 |
And here we're going to find many
valuable things which will allow us to
| | 02:50 |
modify our images in some creative and
powerful ways.
| | 02:53 |
Well, if ever you need to collapse one of
these panels.
| | 02:57 |
You can do so by clicking into the tab
and double-clicking right on that.
| | 03:02 |
So here I will double-click on the word
adjustments.
| | 03:05 |
That will collapse or hide that panel.
Double-click again in order to expand it.
| | 03:11 |
Another way that you can change the size
of these panels is by hovering over the
| | 03:15 |
border or edge of the panel.
Notice that when I do that, my cursor changes.
| | 03:20 |
Now it's a straight line with two arrows.
That's showing me that I can click and
| | 03:24 |
drag this in order to change the size of
these panels.
| | 03:27 |
We can also do this vertically as well in
certain situations.
| | 03:30 |
Here, I'll hover over the bottom of
what's called the Layers panel.
| | 03:34 |
And in this way, you can see that I can
click and drag that in order to change
| | 03:38 |
its size.
Alright, well while we're here at the
| | 03:40 |
Layers panel, I want to briefly point out
a few things.
| | 03:43 |
We'll talk about layers in detail later,
but for now I want to highlight that we
| | 03:48 |
have two layers in this document.
We have the background, or the original
| | 03:52 |
image here.
If you click on the i icon, you can show
| | 03:56 |
or hide that layer, above we have what's
called an Adjustment layer.
| | 03:59 |
Again we'll be talking about this more
later.
| | 04:02 |
But for now when I highlight that if we
click on this i icon we can see the image
| | 04:06 |
before that adjustment.
Click again and now we can see the after.
| | 04:10 |
Now that's a subtle adjustment, yet,
nonetheless, it's significant.
| | 04:14 |
Alright, well now that we've gone through
this general introduction to the
| | 04:17 |
Photoshop interface let's dig a little
bit deeper.
| | 04:20 |
And let's do so in the next movie.
| | 04:22 |
| | Collapse this transcript |
| Introducing the Tools panel| 00:00 |
Here we''re going to take a look at the
Tools panel.
| | 00:02 |
You know in my garage I have a few tool
boxes.
| | 00:05 |
And on a good day, those tool boxes are
well organized so that I can quickly and
| | 00:10 |
easily access and use specific tools.
Well the same thing can be said of the
| | 00:15 |
Tools panel, except that it's always
organized.
| | 00:18 |
And what I want to do here is give you
some insight into how it's organized.
| | 00:23 |
Because at first glance, it's really hard
to understand what all of these little
| | 00:27 |
Icons signify.
Now we'll be using these tools a lot
| | 00:31 |
throughout this course.
But for now, I just want to highlight a
| | 00:33 |
few things.
One of the things that I want to
| | 00:36 |
highlight is that you'll notice that the
tools are divided up into little groups.
| | 00:40 |
There are dividing lines which separate
these groups.
| | 00:44 |
Well what is this first group?
Well if we focus in on the first group,
| | 00:48 |
this allows us to makes selections.
You'll hear this a lot in Photoshop
| | 00:52 |
circles that you need to select before
you can correct.
| | 00:56 |
Well here are a few tools which allow us
to make selections.
| | 00:59 |
We also have some tools which allow us to
crop or resize our images.
| | 01:03 |
We have a measuring tool, which allows us
to sample things as well.
| | 01:06 |
Next, underneath that, we have another
group.
| | 01:09 |
Now, this is the main group where we're
able to retouch our photographs, or we're
| | 01:14 |
able to paint specific adjustments into
our images.
| | 01:17 |
Now, it's a bit of an oversimplification,
but again, I think it can help you to
| | 01:21 |
understand how these different tools are
grouped together.
| | 01:24 |
Next, underneath that, we have some tools
which allow us to draw, or add type, or
| | 01:29 |
create shapes.
And then finally, the last little group
| | 01:32 |
there, we have a couple of tools which
allow us to move around our images or to
| | 01:36 |
zoom in or zoom out.
Now, if we look at all of these together,
| | 01:40 |
we can see that this top group has to do
with selections, cropping, measuring.
| | 01:45 |
The middle group here, retouching and
painting, drawing type and shape.
| | 01:49 |
And then a tool which allows us to move
or pan around our image.
| | 01:52 |
And another one which allows us to zoom
in and to zoom out.
| | 01:56 |
| | Collapse this transcript |
| Zooming in and out on your photographs| 00:00 |
Now that we know a little about the
Photoshop interface, and about the tools,
| | 00:04 |
and how those tools are organized in the
Tools panel.
| | 00:07 |
What I want to do here is take a look at
a couple of tools, in particular the Hand
| | 00:12 |
tool, and also the Zoom tool.
And I also want to highlight how we can
| | 00:16 |
work with the Navigator panel over here.
And I'll start simple, and then we'll get
| | 00:20 |
more complex as we move along.
Alright, well for starters here you can
| | 00:24 |
see that I've opened up a portrait that
I've captured.
| | 00:27 |
And let's say that what I want to do with
this image is, I want to zoom in on the photograph.
| | 00:31 |
I want to see the detail up close.
So in order to do that, I'll click on the
| | 00:35 |
icon for the Zoom tool, or I'll press the
Z key in order to select that tool.
| | 00:40 |
Next position your cursor over the image
and then simply click.
| | 00:45 |
Now when you single click, you can see
that you're zooming in.
| | 00:48 |
So that you're getting much closer to
your photograph.
| | 00:51 |
Well lets say that I've zoomed in close,
but now I can't see the portion of the
| | 00:55 |
image that I really want to focus in on.
In order to change what you're seeing,
| | 00:59 |
you can use the Hand tool.
This is why these two tools are grouped
| | 01:03 |
together, because they work well
together.
| | 01:05 |
To select the Hand tool, press the H key,
or click on the tool icon in the Tools panel.
| | 01:10 |
And then position your cursor over the
image, and simply click and drag in order
| | 01:15 |
to re-position what you're viewing.
Now another way to do the same thing is
| | 01:19 |
to use the Navigator panel.
If you make your way over to the
| | 01:23 |
Navigator panel, you can access it by
clicking on the tab there.
| | 01:27 |
Just click on the word Navigator.
Here you can see it showing me a preview
| | 01:30 |
of the image, and there's currently a red
box.
| | 01:34 |
Now if I position the cursor over that
red box, the cursor changes into the Hand Tool.
| | 01:39 |
Here, this is showing me that I can click
and drag this around in order to view a
| | 01:42 |
different portion of the image.
I can also zoom in and zoom out.
| | 01:47 |
Notice the mountains underneath this in
the slider.
| | 01:49 |
If I click on this smaller mountain, well
the image becomes smaller, or it zooms out.
| | 01:54 |
If I click on the larger mountain, well
then it zooms in.
| | 01:56 |
You can also use the slider in order to
do the same thing.
| | 02:00 |
Now there are a couple other shortcuts
that you can use when zooming in and
| | 02:04 |
zooming out, here they are.
I'm going to go ahead and select the Zoom
| | 02:07 |
tool by clicking on the Zoom tool icon in
the Tools panel.
| | 02:11 |
Now so far we saw that you can click once
in order to zoom in, but you can also
| | 02:16 |
click and hold in order to zoom in, in a
more fluid way.
| | 02:20 |
Here I'll click and hold and you can see
how I'm zooming in.
| | 02:23 |
In a bit more of a fluid way.
Well, currently I have zoomed in.
| | 02:27 |
And let's say I want to zoom in even
more, so I click and hold.
| | 02:30 |
And as I do that, I zoomed in much
closer.
| | 02:33 |
Yet now I've zoomed in too far.
Wouldn't it be nice if there was a quick
| | 02:38 |
way to zoom out?
Well, there is.
| | 02:40 |
And it involves using a keyboard
shortcut.
| | 02:43 |
On a Mac, press and hold the Option key,
on Windows, press and hold the Alt key.
| | 02:48 |
You'll notice that the Zoom tool icon
changes.
| | 02:51 |
Rather than having a plus icon in the
middle, it now has a little minus icon.
| | 02:55 |
Well, now here I can press and hold to
zoom out in a fluid way, or I can single
| | 02:59 |
click in order to zoom out in stages.
In this way, we can really easily zoom in
| | 03:05 |
and zoom out.
Alright, well, I'm going to continue to
| | 03:08 |
zoom out, so I'll press and hold the
Option key or the Alt key, and I'm just
| | 03:11 |
going to click and zoom out.
Now currently, I have zoomed out really
| | 03:15 |
far, and I've done this in order to
illustrate a way to zoom in so that you
| | 03:19 |
can see the entirety of the image at the
largest view.
| | 03:23 |
Without covering up any of the image with
the interface.
| | 03:26 |
And the way to do that is by way of a
shortcut.
| | 03:29 |
If you double-click the Hand tool, what
it will do is that it will take the zoom
| | 03:33 |
rate to the largest size so that it fits
with inside of Photoshop without covering
| | 03:39 |
up any of the image.
In this way you can see the whole image.
| | 03:43 |
And this is helpful whether you need to
zoom in or zoom out.
| | 03:46 |
Let me show you.
Here, I'll drag the navigator slider to
| | 03:49 |
the zoom in.
I have zoomed in too close.
| | 03:51 |
Here I am up close to the eyes.
And now I wannna see the whole image.
| | 03:55 |
To do that, simply double-click on that
Hand tool.
| | 03:58 |
Well, what about zooming in so that you
can see the actual detail that you have
| | 04:04 |
in your photograph?
To do that, you need to zoom to 100%,
| | 04:08 |
there's a shortcut for that.
Here it is.
| | 04:11 |
If you double-click the Zoom tool icon,
that will then take your image to this
| | 04:16 |
100% view.
You can see I'm now at 100% here.
| | 04:19 |
In this way this allows you to quickly
jump to this particular perspective.
| | 04:25 |
Alright well I know that I have included
a lot of information here, so if you feel
| | 04:29 |
like there is too much or if I've gone
too fast just keep in mind.
| | 04:33 |
You can always go back and re-watch this
movie.
| | 04:36 |
Alright well, I wanted to say that
because here I want to highlight one more
| | 04:40 |
keyboard shortcut combination which will
allow you to zoom in and to zoom out.
| | 04:46 |
And this keyboard shortcut combination
involves using the Cmd key on a Mac, the
| | 04:51 |
Ctrl key on Windows, in combination with
the plus or minus key.
| | 04:55 |
Here I'll press Cmd or Ctrl + minus in
order to zoom out, or, I'll press Cmd and
| | 05:00 |
Ctrl + in order to zoom in.
| | 05:02 |
| | Collapse this transcript |
|
|
7. Opening, Saving, and Viewing Your PhotographsOpening, saving, and closing a photograph| 00:00 |
In this chapter we're going to take a
look at how we can start to open view and
| | 00:04 |
work with our images inside a Photoshop.
And in this first movie we'll keep things simple.
| | 00:10 |
I'll work with one single image.
We're going to be working with this
| | 00:13 |
portrait that I captured of one of my
favorite people in the world, Linda herself.
| | 00:18 |
And I like this portrait.
I like her smile and the sparkle in her eyes.
| | 00:22 |
So let's take a look at how we can open
this image, make a modification to the
| | 00:26 |
file, and then save and close it.
First, what you want to do is select the file.
| | 00:31 |
Here I've simply clicked on it in Adobe
Bridge.
| | 00:33 |
Next, let's open up this image using a
keyboard shortcut combination.
| | 00:38 |
On a Mac press Cmd+O, on Windows press
Ctrl+O.
| | 00:42 |
That will open up this file here in
Photoshop.
| | 00:46 |
Next let's zoom in a bit.
So here I'll click on the Zoom tool and
| | 00:49 |
then position the cursor over the image
and just click once in order to zoom in.
| | 00:55 |
Next what I want to do is take a look at
our Layers panel.
| | 00:58 |
Over here in the Layers panel, you'll
notice that we have two layers.
| | 01:01 |
One of them is title background.
Another one black and white.
| | 01:05 |
Now, we'll be talking more about layers
and about black and white conversion in a
| | 01:10 |
subsequent chapter.
Yet, here I simply want to highlight that
| | 01:13 |
we can click on this icon here in order
to show or to hide a particular layer.
| | 01:18 |
And in this case, let's go ahead and
click on this icon in order to convert
| | 01:22 |
this image to black and white.
Now, once you've made a modification to
| | 01:26 |
your photograph, what you need to do is
to save it.
| | 01:30 |
Let's take a look at a few options that
we have when it comes to saving our
| | 01:33 |
photographs in Photoshop.
In order to save a file, we'll navigate
| | 01:37 |
to the File pulldown menu, and here we
have two options.
| | 01:40 |
We can either choose File > Save or File
> Save As.
| | 01:45 |
Let's start off with File > Save.
Here I'll go ahead and click on that option.
| | 01:49 |
In doing that, it simply saves this file
out.
| | 01:53 |
Now, if we want to to save this file out
as another version, or as another file
| | 01:57 |
type, we can do so by using File > Save
As.
| | 02:01 |
In this case we'll navigate to the File
pull down menu, here we'll choose File >
| | 02:05 |
Save As.
Now I can save this to this same folder
| | 02:08 |
that I have here, and I have a number of
different format options.
| | 02:12 |
In order to change the type of file that
your saving you can click on this pull
| | 02:16 |
down menu.
Let's say that we want to save this out
| | 02:19 |
as a JPEG, we'll simply choose that JPEG
option there, and be sure to embed that
| | 02:24 |
color profile.
In order to do that we'll simply choose
| | 02:28 |
that option.
Here we have the lynda dot com jpeg and
| | 02:31 |
then we'll click Save in order to save
that file out as jpeg.
| | 02:35 |
Next it will open up a dialogue which
gives us some compression options.
| | 02:40 |
Here we have different quality settings.
We can save this as a lower quality file
| | 02:44 |
or a higher quality file.
In this case, I'm going to keep my
| | 02:47 |
quality high.
So, I'll simply click OK.
| | 02:50 |
That will then save that file out as a
JPEG.
| | 02:54 |
Alright.
Well, after we've saved our document,
| | 02:57 |
now, it's time to close the file.
In order to close this file, here we'll
| | 03:01 |
simply navigate to the File pull down
menu and we can choose Close.
| | 03:05 |
Or, if you're viewing your image so that
you can see the tab.
| | 03:10 |
You'll notice that in the top left hand
corner of the tab there's an icon, it's
| | 03:14 |
an x.
If you click on that x it will allow you
| | 03:17 |
to close the document.
Now that being said, you may be working
| | 03:21 |
in full screen view, press F in order to
access that full screen view.
| | 03:26 |
Now here currently you can see that that
option has disappeared because we no
| | 03:31 |
longer see the tab.
So, if you are in full screen mode,
| | 03:35 |
you'll need to go back to the File pull
down menu.
| | 03:37 |
Here we'll select File and then we'll
choose Close in order to close this file.
| | 03:43 |
Now once we've done that we'll want to
navigate back to Adobe Bridge to do that.
| | 03:47 |
We'll go back to this File pull down menu
and here we'll choose Browse in Bridge.
| | 03:52 |
And once we click on that option, it will
take us back to Adobe Bridge.
| | 03:56 |
Now here we can see the files that we
worked on.
| | 03:59 |
We have that original PSD document that
we converted to black and white and saved.
| | 04:04 |
We also have the file that we created
using the File > Save As command.
| | 04:09 |
When we created this JPEG, it created a
copy of our file and it saved this out in
| | 04:14 |
a different file format.
In this case, the JPEG file format.
| | 04:18 |
In this way, you can see that you can use
that File > Save As command in order to
| | 04:22 |
save different versions of your
photograph.
| | 04:25 |
Alright, well, here in this first movie,
we kept things simple.
| | 04:27 |
We took a look at how we could open up
one image and work on it and view it in Photoshop.
| | 04:33 |
Well, in the next few movies, let's make
things a bit more interesting.
| | 04:36 |
And let's take a look at how we can start
to work with multiple documents inside of Photoshop.
| | 04:42 |
And lets do that in the next few movies.
| | 04:44 |
| | Collapse this transcript |
| Working with multiple open documents| 00:00 |
Working with one image in Photoshop is
simple and straightforward.
| | 00:04 |
Yet things become a bit more complicated
as we start to open up multiple documents
| | 00:10 |
in Photoshop.
So here, what I want to do is take a look
| | 00:13 |
at how we can understand that process and
make it easier.
| | 00:16 |
In particular, we'll be working with
these four photographs here.
| | 00:20 |
There are images that I captured and I
want to open up all of these photographs
| | 00:24 |
in Photoshop.
To do that in Adobe Bridge, click in the
| | 00:27 |
first image, then hold down the Shift key
and click in to the last image.
| | 00:32 |
In this way you can select all four.
Next let's use our shortcut key
| | 00:37 |
combination in order to open up these
photographs.
| | 00:41 |
To do that on a Mac press Cmd+O.
On Windows press Ctrl+O.
| | 00:45 |
Now here you can see that all of these
images are open in Photoshop and we can
| | 00:49 |
see their names on these tabs.
In order to navigate to another
| | 00:53 |
photograph, simply click on the tab as
you can see here.
| | 00:56 |
This is a really handy way to work on
multiple documents.
| | 01:00 |
Yet what happens if you decide to take
your view to a full screen mode?
| | 01:05 |
You can do that by pressing the F key.
Well, all of a sudden, all of those tabs
| | 01:10 |
are gone.
Now, are the images closed?
| | 01:13 |
No, they're still there.
It's just that we can't see the tabs.
| | 01:16 |
So how then can we navigate to the other
photographs?
| | 01:20 |
Well, here there are a couple of
different techniques that we can use.
| | 01:23 |
One easy and obvious technique is to
press the F key a couple times until we
| | 01:28 |
see those tabs again.
And then we can click on the tab.
| | 01:31 |
Another method that we can use is we can
navigate to our Window Pull-down menu.
| | 01:36 |
And at the base of the window pull down
menu, check this out.
| | 01:40 |
Here we have listed all of the names of
the documents that we have open.
| | 01:44 |
In this case I'll go ahead and select
one.
| | 01:46 |
Now this works in the current view mode.
Or if I access the full screen view mode
| | 01:50 |
by pressing the F key.
I can also perform the same task by
| | 01:54 |
choosing the Window pull down menu and
then by making a selection, here.
| | 01:59 |
Now as you can imagine that window pull
down menu is helpful.
| | 02:03 |
Yet it's going to be a little bit tedious
to navigate to the window pull down menu,
| | 02:07 |
to scroll all the way down to the bottom
and then to make your selection.
| | 02:11 |
There has to be a better way, well there
is.
| | 02:14 |
One way that you can navigate between
whatever documents you have open is by
| | 02:18 |
using a keyboard shortcut combination.
This is one of those shortcuts you just
| | 02:22 |
want to write down, because it's really
handy.
| | 02:24 |
Here it is.
Press Ctrl+Tab.
| | 02:27 |
When you do that, it allows you to toggle
or go through whatever documents you have open.
| | 02:32 |
In this way, you can quickly find the
image that you want to work on, and then
| | 02:36 |
you can begin to work on that photograph.
Alright well next what I want to do is
| | 02:40 |
press the F key a few times in order to
go back to that view, where we see all of
| | 02:45 |
these tabs.
So far we've talked about how we can
| | 02:48 |
access and work with the different
images.
| | 02:50 |
Next what I want to do is take a look at
how we can actually view more than one
| | 02:55 |
image at a time.
So go ahead and leave these images open,
| | 02:58 |
and we're going to pick up where we're
leaving off here in the next movie.
| | 03:02 |
And in the next movie we'll take a look
at how we can work with and arrange
| | 03:06 |
multiple documents inside of the
Photoshop workspace.
| | 03:10 |
| | Collapse this transcript |
| Arranging and viewing multiple documents| 00:00 |
In the previous movie, yeah, I
highlighted a few techniques that you can
| | 00:03 |
use when working with multiple documents
inside of Photoshop.
| | 00:06 |
And here I want to continue that
conversation and in particular I want to
| | 00:11 |
talk about how you can view more than one
image at a time.
| | 00:14 |
Currently I have four images open.
We can view those images by clicking on
| | 00:19 |
the tabs here.
Well let's say that we want to see all of
| | 00:22 |
the images all at once.
To do that navigate to the Window pull
| | 00:26 |
down menu and then choose Arrange.
Here I'll see a number of different options.
| | 00:30 |
Let's start off by trying the first
option, which allows us to tile all of
| | 00:34 |
these images vertically.
Now when we click on that option you can
| | 00:38 |
see that we can now see all of these
images at one glance.
| | 00:42 |
Here I can still click into the various
tabs and work on those photographs but
| | 00:46 |
this just gives me a handy perspective of
all of these images that I have open.
| | 00:51 |
Another way that we can change our
perspective is by zooming in or by
| | 00:55 |
zooming out on our pictures.
When you have an arranged view like this
| | 00:59 |
though it would be really nice to change
all of the zoom rate at one time.
| | 01:03 |
And we can do that.
Here click on the Zoom tool in the Tools panel.
| | 01:07 |
Next in the Options bar choose this
option to zoom all windows.
| | 01:12 |
In this way if I click on one image what
will happen is it will zoom in the other photographs.
| | 01:17 |
Here I'll hold down the Option key on
Mac, Alt key on Windows.
| | 01:21 |
That will change my zoom icon to have a
minus in it that will tell me I can zoom out.
| | 01:26 |
Here I'll click and in this way you can
see that I can zoom out.
| | 01:30 |
So by doing this we can zoom in or zoom
out and look at our images in a very
| | 01:34 |
similar way.
We can do the same thing with the Hand tool.
| | 01:37 |
If we want to scroll around the
photographs, we'll just click on the Hand
| | 01:41 |
tool and then turn on the option to
scroll all windows.
| | 01:44 |
Here now as I click and drag you can see
that I'm moving all of these four images
| | 01:49 |
at the same time.
There also are some other handy arrange views.
| | 01:53 |
You'll want to experiment with this.
But just to highlight another, lets go to
| | 01:57 |
Window choose Arrange.
This time I'll select four app.
| | 02:01 |
In this way you can see it's a different
configuration.
| | 02:04 |
It's arranging these images in a
different way.
| | 02:07 |
If ever you want to consolidate them all
back to tabs and kind of bring everything
| | 02:12 |
back to normal.
Well you can do so.
| | 02:14 |
Navigate to the Window pull down menu
then choose Arrange.
| | 02:17 |
And at the base of this menu here, you
have an option to Consolidate All to Tabs.
| | 02:23 |
Here we'll click on that option.
And now you can see these images are back
| | 02:26 |
to the way that they originally came into
Photoshop.
| | 02:30 |
And in this way over the last two movies,
we've started to see how we can
| | 02:33 |
effectively work with multiple documents
inside of Photoshop.
| | 02:38 |
| | Collapse this transcript |
|
|
8. Understanding Digital Images and ResizingThe relationship between pixels and image sizing| 00:00 |
Here in this chapter we're going to focus
in on understanding digital images so
| | 00:05 |
that we can effectively re-size our
photographs and achieve professional results.
| | 00:10 |
You know, I teach photography at the
college level and also to workshops.
| | 00:14 |
And many of my students, what they do, is
they re-size their images without really
| | 00:19 |
knowing what they're doing.
Therefore the results, well they just
| | 00:22 |
don't look very good.
So what I want to do here is I want to
| | 00:25 |
assure that we can achieve the best
results.
| | 00:28 |
And in order to do that, I find that it's
helpful to step back for a moment.
| | 00:32 |
Here, I want to step back before we get
to Photoshop and I want to talk a little
| | 00:36 |
bit about digital imaging.
So let's imagine that we're stepping back
| | 00:40 |
into the classroom and we're back in
Digital Imaging 101.
| | 00:43 |
Well one of the topics that we would talk
about there would be pixels and images.
| | 00:48 |
You know in digital photography we see
this continuous tone, beautiful photographs.
| | 00:53 |
Yet if we zoom in on an image what we'll
discover is that this photograph is made
| | 00:58 |
up of these little squares.
These pixels and each of these pixels
| | 01:02 |
together make that overall photograph.
Now the word pixel, it's just a
| | 01:07 |
combination of two words, picture
elements.
| | 01:11 |
All of these little picture elements
together, well they help us to create
| | 01:15 |
continuous tone and beautiful
photographs.
| | 01:18 |
You know when it comes to this whole idea
of pixels and image size sometimes I find
| | 01:23 |
its helpful to think about this
analgously.
| | 01:25 |
So here let me make a comparison.
At a recent holiday gathering my niece
| | 01:31 |
bought this particular art project that
she had been working on.
| | 01:34 |
Here you can see she had all of these
dried kidney beans and dried seeds.
| | 01:39 |
And what she did was she glued these on
to a paper plate.
| | 01:42 |
And when I saw this project I thought it
was the perfect comparison to digital images.
| | 01:48 |
Because really it's all of these little
elements that make up this image.
| | 01:52 |
And really when we compare this to
digital photography, we have these little
| | 01:56 |
kidney beans or these little pixels which
together help us to create a photograph.
| | 02:01 |
Alright well, how then does this relate
to image size or to re-sizing?
| | 02:06 |
Well let's take analogy a little bit
further.
| | 02:08 |
Let's say that we have a relatively small
sized paper plate and then we have a
| | 02:13 |
handful of dried kidney beans.
Well if have a smaller sized paper plate
| | 02:18 |
or a smaller document, having just a few
pixels, well that's probably fine.
| | 02:22 |
Yet let's say that all of a sudden we get
ambitious.
| | 02:27 |
We want to go big.
We want to print our image huge.
| | 02:30 |
So all of a sudden we now have this large
paper plate.
| | 02:34 |
Well we just don't have enough
information.
| | 02:36 |
We don't have enough pixels.
And if we don't have enough pixels when
| | 02:40 |
we re-size.
What happens is the image becomes pixelated.
| | 02:45 |
And we've all seen pixelated photographs.
And what that means is that we can
| | 02:49 |
actually see those little squares rather
than the overall picture.
| | 02:53 |
So then we want to create an image that
is bigger.
| | 02:55 |
Many times what we need to keep in mind
is that really what we have to think
| | 02:59 |
about is our overall document size.
This document size will help us determine
| | 03:04 |
how many pixels or how much raw material
we'll need.
| | 03:07 |
So again if we want to print this image
bigger, well we're going to need to have
| | 03:11 |
more kidney beans.
Now this analogy or comparison eventually
| | 03:15 |
falls apart, it isn't perfect.
Yet for me it's helpful to think about
| | 03:19 |
this comparison.
And it's helpful to keep in mind that
| | 03:22 |
when we're working with digital
photographs, we need to think about the
| | 03:26 |
pixels, the stuff that we have to work
with.
| | 03:28 |
We also need to think about our overall
file size.
| | 03:32 |
All right, well how then does this relate
to image re-sizing in Photoshop?
| | 03:35 |
Well here let's leave this analogy behind
and let's talk a little bit about image re-sizing.
| | 03:40 |
You know when it comes to image size, a
lot of times what we're going to do is
| | 03:43 |
we're going to take a bigger image.
And we're going to make that bigger image small.
| | 03:47 |
Still in other situations we may have a
small image that we need to increase in size.
| | 03:53 |
So how do we do this in Photoshop.
Well in Photoshop we have what's called
| | 03:57 |
the image size dialogue.
And here you can see I have screen draft
| | 04:01 |
of that dialogue.
And what I want to do is I simply want to
| | 04:04 |
highlight a few of the things that we'll
encounter in the Image size dialog.
| | 04:08 |
For starters on the left-hand side we
have the Preview window.
| | 04:12 |
Now we can change the zoom of this
Preview window.
| | 04:15 |
And this is really helpful because here
we'll get a preview perspective of how
| | 04:19 |
our image will look when we re-size it,
with our controls on the right.
| | 04:24 |
Next, on the right hand side of the
dialog at the top, we have two fields
| | 04:28 |
which are descriptive.
These describe different pieces of
| | 04:31 |
information about our file.
Here you can see it displays our image
| | 04:36 |
size and also the current dimensions of
our file.
| | 04:39 |
Next, underneath this area we have the
ability to re-size our photograph.
| | 04:44 |
These are the controls that we can use in
order to effectively re-size our pictures.
| | 04:49 |
Last but not least underneath that we
have an option to choose different
| | 04:53 |
re-sampling options.
Now we'll be talking about all of these
| | 04:56 |
elements yet here I simply wanted to
introduce you to them so that we can
| | 05:00 |
start to look at how we can use controls
effectively in order to resize our photographs.
| | 05:06 |
All right, well now that we've been
introduced to this topic of resizing,
| | 05:09 |
let's take a look at how we can resize
one of our photographs.
| | 05:12 |
And let's do that in the next movie.
| | 05:14 |
| | Collapse this transcript |
| Resizing an image to a smaller size| 00:00 |
Over the next few movies, we'll take a
look at how we can work with the image
| | 00:04 |
size dialog in order effectively resize
our photographs.
| | 00:08 |
And here in this first movie we'll keep
things simple and then as we move along
| | 00:12 |
we'll get to more complex topics.
Alright, well for starters you can access
| | 00:16 |
the Image Size dialog by navigating to
the Image pull-down menu.
| | 00:20 |
Next, simply click on Image Size in order
to launch this dialog.
| | 00:24 |
Now, for starters, one of the things that
you'll notice is that we have a Preview window.
| | 00:28 |
Currently, it's showing me irrelevant
information.
| | 00:31 |
To change that, simply click and drag to
scroll around your photograph so that you
| | 00:35 |
can see something that is more relevant.
Like in this case, the eye.
| | 00:39 |
Well, if you want a larger preview you
can have one by positioning your cursor
| | 00:44 |
over any of the corners of the dialog.
When you do that, the cursor will change
| | 00:49 |
and here you can click and drag in order
to increase the size of this Preview window.
| | 00:53 |
Now, if you want to go full screen, you
can.
| | 00:55 |
Simply click on this icon and this will
cover up the entirety of your screen, so
| | 01:00 |
that you have an even larger preview.
Now, for demo purposes, I'm going to make
| | 01:05 |
this smaller, because it kind of dwarfs
the controls which I want to focus in on next.
| | 01:10 |
Yet you want to choose the preview size
which will work best for your own workflow.
| | 01:14 |
Al right.
Well, here, I'm going to go ahead and
| | 01:16 |
reposition this.
Next, I want to focus in on these two
| | 01:20 |
fields that we have here.
These two fields simply display file information.
| | 01:26 |
The top field shows us our image size.
This file?
| | 01:29 |
Well, it's about 16 Meg.
Next, we have the file dimensions and
| | 01:34 |
currently the dimensions are displayed in
pixels.
| | 01:37 |
Now we can change this by simply clicking
on this pull-down menu icon here and here
| | 01:42 |
I can display this as percent or inches
or any of these options.
| | 01:47 |
Simply make a selection, and you see that
it will update what it's displaying.
| | 01:51 |
In this case, I'm going to go back to
pixels.
| | 01:54 |
All right.
Well, as I mentioned before, these top
| | 01:57 |
two fields, they simply display
information.
| | 02:00 |
You won't be using these two fields to
make any changes.
| | 02:04 |
Yet you will be referencing them to see
how it's affecting your file as you make
| | 02:09 |
changes to the image.
Well next, underneath we have the ability
| | 02:14 |
fit this image to specific preset sizes
and we can do this automatically.
| | 02:19 |
And I'm going to talk more about that in
the next movie.
| | 02:21 |
Next, underneath we have our controls
which allow us to resize our photograph.
| | 02:27 |
Here you can see currently the image is 8
by 12 at 240 pixels per inch.
| | 02:33 |
We can also change what's displayed here.
If you click on one of these pull-down
| | 02:37 |
menus, you can choose a new option, say
like Percent.
| | 02:40 |
And here you can see its current size.
To make a change back, simply click on
| | 02:44 |
this menu option and then choose another
option.
| | 02:48 |
Alright.
Well, next we have our resolution in our
| | 02:50 |
resampling options.
For resampling options, if you click on
| | 02:54 |
this menu, we have a few different
options that we can choose.
| | 02:57 |
We'll talk about some of the specifics
later, yet in most scenarios, automatic
| | 03:02 |
will work extremely well.
Alright.
| | 03:04 |
Well let's say that with this photograph,
we want to resize this to be a 4 by 6 at
| | 03:09 |
300 pixels per inch.
In order to make those changes, we'll
| | 03:13 |
simply click into one of these fields.
And we'll type a new number.
| | 03:16 |
In this case, it's now 4 by 6.
Next, I need to change the resolution.
| | 03:20 |
So I'll type in 300.
And then I'll click and drag this around,
| | 03:25 |
so I have a better area to look at, to
see how this photograph looks.
| | 03:29 |
And then you want to reference you image
size up top, because this shows you that
| | 03:33 |
you started off with 15 Megs.
You've resized the image to a smaller size.
| | 03:39 |
Now you have a file which is about 6
Megs.
| | 03:42 |
Here it's also showing the pixel
dimensions.
| | 03:45 |
Alright.
Well, that looks great.
| | 03:47 |
In order to resize this photograph to a 4
by 6 at 300 pixels per inch, all that we
| | 03:53 |
need to do is to simply click okay.
Now, that we've done that, we have
| | 03:57 |
effectively resized our first photograph.
Alright.
| | 04:01 |
Well, I have some more ground to cover
when it comes to resizing.
| | 04:04 |
So let's go ahead and continue to talk
about image resizing and let's do that in
| | 04:08 |
the next movie.
| | 04:09 |
| | Collapse this transcript |
| Constraining proportions and resetting the Image Size dialog| 00:00 |
Let's continue our conversation about how
we can effectively resize our photographs.
| | 00:05 |
And here I want to focus in on the
importance of constraining proportions.
| | 00:10 |
I also want to talk about how you can
reset the image size dialog if you make a mistake.
| | 00:16 |
Alright, well let's open up our image
size dialog.
| | 00:19 |
To do so, navigate to the Image Pull-down
menu and then choose Image Size.
| | 00:24 |
Click on this option to launch the
image-size dialogue, and what I'm
| | 00:28 |
going to do is zoom out here in the
preview window.
| | 00:30 |
I'm going to do that for demo purposes.
Alright, well, next, you may have noticed
| | 00:35 |
this little icon right here.
It's a little chain link icon.
| | 00:39 |
This allows us to constrain proportions
so that the aspect ratio of our image
| | 00:45 |
stays the same.
And so that our image looks good.
| | 00:48 |
Now you may accidentally click on this
and turn off this option.
| | 00:52 |
Now if you do that, it then unlinks the
these two fields, so that you can make a
| | 00:57 |
change to the width and not the height.
And this won't look good.
| | 01:01 |
Let me show you.
Here I'll go ahead and enter a number.
| | 01:04 |
I'll enter three.
You can see that my image looks horrible.
| | 01:08 |
It's completely stretched out.
It doesn't look any good at all.
| | 01:11 |
Well, what can you do When you make a
mistake to one of these fields, we have a
| | 01:17 |
few different options.
You could, of course, click the Cancel
| | 01:20 |
button and exit out of the dialogue and
then reopen it.
| | 01:24 |
Or on a Mac you can press Option, on
Windows press Alt, and that will change
| | 01:28 |
Cancel to Reset.
And then you can click into that field
| | 01:31 |
there, and that will reset the Image Size
dialogue back to the default settings.
| | 01:36 |
Alright, well so far so good.
We've talked about the importance of
| | 01:40 |
making sure this icon is turned on.
We almost always want to constrain
| | 01:44 |
proportions, except for really unique
scenarios.
| | 01:47 |
Well next I want to talk about another
way that we can reset this dialogue.
| | 01:52 |
Let's say that we're working in our
dialogue and we make a change.
| | 01:54 |
Here I'm going to go ahead and change my
width to one.
| | 01:57 |
This obviously isn't a very good file
size and what I want to do is take this
| | 02:02 |
back to the default dimensions.
To do that, you can click on this fit to
| | 02:07 |
pull down menu.
We'll talk more about this menu in the
| | 02:09 |
next movie.
Yeah, for now I want to highlight that
| | 02:12 |
when you click on this menu, when you go
all the way to the top, there's an option
| | 02:16 |
to choose original size.
When you choose that, it will take the
| | 02:19 |
image size dialog settings back to their
default state.
| | 02:23 |
Alright well, now that we've seen these
features, let's go ahead and leave this
| | 02:27 |
dialog open.
Because in the next movie, we're going to
| | 02:29 |
pick up where we've left off here.
And in the next movie we'll talk about
| | 02:33 |
how we can take advantage of presets, in
order to re-size our images in more
| | 02:38 |
effective ways.
| | 02:39 |
| | Collapse this transcript |
| Using the resizing presets| 00:00 |
This movie is all about using presets in
order to effectively re-size your photographs.
| | 00:06 |
Here you can see I have an image opened.
And I've launched the Image Size dialogue.
| | 00:11 |
And what I want to do is take a look at
how we can use one of the presets that
| | 00:14 |
you'll find in the Fit To, pull down
menu.
| | 00:17 |
Here I'll click on this menu.
And you can see that we have a number of
| | 00:21 |
different options.
And you can make a selection in order to
| | 00:24 |
quickly re-size one of your photographs.
Now let's say that we want to try this option.
| | 00:29 |
We want to re-size our image to a 5 by 7
at 300 pixels per inch.
| | 00:33 |
Now, if we make that selection, we won't
know if this will work perfectly, because
| | 00:38 |
it could be that the aspect ratio of our
image won't work perfectly as a 5 by 7.
| | 00:44 |
Yet lets go ahead and choose this option,
in order to choose it as a good starting point.
| | 00:49 |
Here, I'll simply click on that option
and you can see how it will re-size the photograph.
| | 00:54 |
My file was 16 megs.
Now its about 8 and a half.
| | 00:58 |
Next for the width its 4.6 and the height
it's 7, what happened here is it re-sized
| | 01:04 |
the file as close as it could to 5 by 7.
Yet often, when you don't have the same
| | 01:11 |
aspect ratio, it won't get it perfectly.
Yet that isn't a big deal.
| | 01:15 |
What we can do, is simply change these
values as needed.
| | 01:19 |
In this case, I know I need at least a
width of five.
| | 01:22 |
So, enter that in here.
I'll go ahead and enter 5.
| | 01:25 |
Now it's a 5 by 7 and a half inch image.
Now in order to lose that extra half inch
| | 01:31 |
on our height.
Well we would have to do that with the
| | 01:33 |
Crop tool.
And we'll talk about how we can re-size
| | 01:36 |
with the Crop tool in the next chapter.
Yet for now I just want to highlight how
| | 01:41 |
we can start off with these presets in
order to get our images really close.
| | 01:45 |
Now certain presets will work better than
others.
| | 01:48 |
For example, here from this pull down
menu, I'll choose 4 by 6 at 300 pixels
| | 01:53 |
per inch.
When I do that, you'll notice that this
| | 01:55 |
is really close.
I'll change that to 4 by 6.
| | 01:58 |
So, then it's practically a perfect 4 by
6.
| | 02:01 |
So, again in this way, some of the
presets will work great while others won't.
| | 02:06 |
The last thing that I want to highlight
here.
| | 02:08 |
Is that certain presets will require that
you will increase your over all file
| | 02:12 |
size, or that you will up-sample your
image.
| | 02:15 |
Now we'll be talking more about how to do
that effectively in the next movie.
| | 02:18 |
But I do want to highlight that here.
With this particular file, if I choose
| | 02:23 |
this option, 11 by 14 and 300 pixels per
inch.
| | 02:27 |
What's happened is the file was 16 megs,
now it's 46.
| | 02:32 |
In other words, Photoshop had to
up-sample or interpolate that information
| | 02:37 |
in order to create this new file.
As a result, the image may appear a
| | 02:41 |
little bit soft.
Now here's where the preview becomes
| | 02:44 |
really important.
What you'll want to do is zoom into 100%.
| | 02:48 |
And then click and drag around the image,
in order to see how this image will
| | 02:51 |
appear at these new dimensions.
All right, well in this case I don't
| | 02:55 |
want to dig too deep into up-sampling.
But I did want to highlight that
| | 02:58 |
sometimes that will happen.
Last but not least, if we click on this
| | 03:02 |
menu you notice that you can also load
external presets.
| | 03:05 |
Or you can create your own by saving a
preset here.
| | 03:08 |
An so as you can see here, you can use
these presets, in order to quickly an
| | 03:13 |
easily, re-size your images to specific
dimensions.
| | 03:16 |
| | Collapse this transcript |
| Quickly increasing your image size| 00:00 |
When it comes time to answering the
question, how best to increase a smaller
| | 00:05 |
file to a larger size, well there is a
short answer and there's a long answer.
| | 00:10 |
And in this movie, I want to provide you
with the short answer and then in the
| | 00:14 |
next movie we'll really dig into this
topic.
| | 00:17 |
All right, well what is the short answer?
How can we quickly re-size a smaller
| | 00:21 |
image to a larger size?
Well let's work with this portrait here
| | 00:24 |
that I captured of a world famous surfer.
I want to increase this file size, so
| | 00:29 |
here, we'll navigate to our Image pull
down menu.
| | 00:32 |
And then we'll select Image Size.
This will open up our Image Size dialogue.
| | 00:37 |
Now, when ever you're increasing your
file size, you want to have a really
| | 00:41 |
large preview, so therefore I'll click on
this icon in order to take this to the
| | 00:46 |
Full Screen view mode.
Now next, you want to become familiar
| | 00:49 |
with your image.
In this case I have about 4 megs.
| | 00:53 |
In this image, I could print it as a 4 by
6 set at 240 pixels per inch.
| | 00:58 |
And you want to be come familiar with
your image size because there are limits.
| | 01:02 |
You know, you can only stretch an image
so far.
| | 01:04 |
Well, I know that what I want to do here
is, I want to change my width to 6 so
| | 01:10 |
that i can create a 6 by 9 image.
Here the file was about 4 megs, and now
| | 01:15 |
it's about 9.
And in this way, I've more than doubled
| | 01:18 |
the file size.
And what you want to do, is you simply
| | 01:21 |
want to click around the image.
And for the most part, you know what?
| | 01:24 |
The image looks pretty good.
When it comes to re-sampling, which we'll
| | 01:28 |
take about later, I'm going to leave this
on automatic, which typically does a
| | 01:32 |
great job.
All right?
| | 01:34 |
Well, in order to apply these settings,
and in order to re-size this image so
| | 01:38 |
that it's a 6 by 9 at 240 pixels per
inch, simply click OK, in order to
| | 01:44 |
re-size the image at those new
dimensions.
| | 01:47 |
| | Collapse this transcript |
| Effectively resizing images to a large size| 00:00 |
Lets take a look at how we can take a
smaller image and make it larger and also
| | 00:05 |
along the way lets talk about resampling.
This is a photograph that I captured of
| | 00:10 |
Kelly Slater, a world champion surfer and
it's a relatively small file.
| | 00:15 |
What I want to do is increase the overall
image size so I can create a larger print.
| | 00:21 |
In order to do that, we'll navigate to
our Image pull-down menu, and then we're
| | 00:25 |
going to choose Image Size in order to
launch the Image Size dialogue.
| | 00:30 |
Now whenever you're resizing an image and
making it smaller, you don't really have
| | 00:34 |
to worry as much about the quality.
Yet when you have a smaller image and
| | 00:39 |
when you're making it bigger.
Well you really have to keep an eye on
| | 00:42 |
the quality because the image can fall
apart as it becomes bigger.
| | 00:46 |
So because of that, what I want to do
here is take this to the full screen mode.
| | 00:50 |
So that I can really focus in on the
detail that I'm seeing here, as I re-size
| | 00:55 |
my photograph.
Next, before we actually get to making
| | 00:58 |
the change to the picture, I want to
highlight a few options we have when it
| | 01:02 |
comes to re-sampling.
Now we have different re-sampling
| | 01:05 |
methods, and if we click on this pull
down menu, we'll see a few which are
| | 01:10 |
relevant when we are increasing our file
size.
| | 01:12 |
When we're creating an image that's
small, and then making it larger.
| | 01:16 |
These two here are helpful for that.
Next we also have an option which is
| | 01:20 |
great when we are reducing our file size.
And then we have a few options which are
| | 01:24 |
helpful in really unique situations.
And you know for the most part Photoshop
| | 01:29 |
would choose the best option in here.
Yet when it comes to re-sizing, I find
| | 01:33 |
that it's helpful to be informed about
the three options you can choose.
| | 01:38 |
In order to select the option which will
work best with your photograph.
| | 01:41 |
Alright.
Well for starters, let's re-size this image.
| | 01:45 |
Here, I'm going to re-size this to a much
larger size.
| | 01:49 |
Rather than image which is a four by six
at 240 pixels per inch, I'm going to take
| | 01:54 |
this up to an 8 by 12 at 240 pixels per
inch.
| | 01:58 |
I had a file which was 4MB, and now it's
about 16.
| | 02:02 |
And in this case, you can see that
Photoshop has done a phenomenal job at
| | 02:05 |
resizing this image.
That's one of the things that you'll be
| | 02:08 |
surprised with as you start to re-size
your photographs.
| | 02:11 |
Now, in this case as I look at the image,
one of the things that I notice is I can
| | 02:15 |
see some detail and some texture in the
photograph.
| | 02:18 |
Now, we can create a different version of
this by changing our re-sampling method.
| | 02:23 |
The three that are relevant to us in our
scenario are automatic Preserve details
| | 02:27 |
and by cubic smoother.
What you want to do is choose one of
| | 02:31 |
these option and then take a look at how
it appears.
| | 02:34 |
In order to really see how these options
vary from each other, what I'm going to
| | 02:39 |
do is increase my file size even more.
I'm going to go really big here and I'm
| | 02:43 |
going to over exaggerate this.
Am I overexaggerating this I think it
| | 02:47 |
will help you understand these various
options.
| | 02:50 |
Alright, well now that I've done that we
can see some of the detail that we have
| | 02:53 |
in the background.
And also some of the detail that we have
| | 02:56 |
on the skin.
Well how did these three options vary.
| | 02:59 |
Well bi-cubic smoother will give you a
bit of a softer look to your photographs.
| | 03:04 |
In comparison automatic what we'll see is
that we have detail which is little bit
| | 03:08 |
more intent.
So again let me make that comparison.
| | 03:11 |
Here is automatic and then the now here
is bicubic smoother.
| | 03:14 |
So if you want an image which as a bit of
a softer look well perhaps bicubic
| | 03:19 |
smoother will work better for you.
Next, what about the difference between
| | 03:24 |
preserve details and automatic.
Let's go back to automatic and let's take
| | 03:28 |
a look at our preview.
Here you can see the detail that we have,
| | 03:31 |
also the noise that's a result of
re-sizing this photograph.
| | 03:35 |
Let's compare how that detail and noise
looks on Preserve Details.
| | 03:39 |
Now, when I go to Preserve details, what
I notice is that I see even more detail
| | 03:44 |
in the image.
You'll really notice this in the background.
| | 03:47 |
Let me zoom in even further and see if I
can show you that up close.
| | 03:51 |
Here's the difference between automatic,
the background looks nice and smooth and
| | 03:55 |
then we have preserved details.
So preserved details allows us to bring
| | 04:00 |
out those little teeny details and it
also comes with a really handy slider.
| | 04:05 |
In order to see how this slider works,
I'm going to zoom out and when I zoom
| | 04:09 |
out, what I want to do is see a bit more
of the image.
| | 04:11 |
In particular, I want to see a bit more
of the skin tone here.
| | 04:14 |
Alright, well now that I've zoomed way
out on this photograph.
| | 04:18 |
Next, what I want to do is change my
reduce noise slider.
| | 04:21 |
And what this will allow me to do is to
soften the image.
| | 04:25 |
We'll take a look at this zoomed out, and
we'll also zoom in.
| | 04:28 |
Here I'll exaggerate.
I'm going to crank this up to 100.
| | 04:32 |
Now, in doing that, what we'll see is
that once it builds this preview is that
| | 04:37 |
things are going to look a little bit
soft and strange.
| | 04:39 |
And, as we can see, that's exactly how it
looks.
| | 04:43 |
Let's zoom in on the image so that we can
focus in on some of the skin tone and
| | 04:47 |
really see how this particular slider can
affect our photograph.
| | 04:51 |
Well, here, in this case, I'm just
zooming in really close so that we can
| | 04:54 |
see how this would appear.
And again, keep in mind that I'm
| | 04:56 |
exaggerating here so that we can see how
this slider works.
| | 05:00 |
Here's with a value of 100% on the
reduction of noise with preserved details.
| | 05:05 |
If we decrease that back to zero, what
you're going to see is much more detail
| | 05:10 |
in this area.
Now, very rarely will you take that
| | 05:13 |
slider to 100%.
But what you might do, is choose the
| | 05:17 |
option to preserve some details, and then
just take off the edge of it.
| | 05:22 |
And by increasing the slider.
What you can do is preserve details, yet
| | 05:25 |
at the same time, control how sharp or
how much noise you have in the photograph
| | 05:30 |
in this particular option.
Now, here, in this case, the file was 4 Megs.
| | 05:35 |
I've re sized it to an image which is 155
Megs.
| | 05:39 |
I mean, this re size is really
exaggerated or extreme.
| | 05:44 |
And so what I want to do here, is reset
the settings back to their default size.
| | 05:49 |
And then to show you a bit of a more real
world scenario.
| | 05:52 |
Yet I wanted to exaggerate things to kind
of illustrate how you can use these
| | 05:56 |
various options.
And I hope that was helpful.
| | 05:58 |
Alright, well here I'll click on this
pull down menu.
| | 06:01 |
And I'll go to the top and choose
Original Size that will take my image
| | 06:05 |
back to its default size of 4 by 6 at 240
pixels per inch.
| | 06:10 |
Well, as I mentioned I want to go for
something a little bit less extreme.
| | 06:14 |
In this case, 8 by 12.
Here, I want to pan around the image so
| | 06:17 |
that I can see some important detail.
Then, what you want to do is just experiment.
| | 06:23 |
You want to try out these different
methods, these different re sampling options.
| | 06:26 |
You know, bicubic smoother, it actually
looks pretty good.
| | 06:30 |
I like how it renders the skin tone in
particular.
| | 06:33 |
When I compare that to preserve details,
one of the things that I notice is that
| | 06:37 |
the detail in the skin doesn't look very
good.
| | 06:39 |
So I would need to increase the slider in
order to soften things up a bit.
| | 06:44 |
Then last but not least of course you'll
want to check out automatic.
| | 06:47 |
And typically automatic does a really
good job.
| | 06:50 |
Of course it depends upon the look that
you're going for.
| | 06:53 |
If you want one with a lot of nice detail
and whatnot, well, automatic in this case
| | 06:57 |
does a great job.
So here you can see, when it comes to
| | 07:01 |
increasing the size of a smaller image.
What you can do is, you can go through
| | 07:05 |
your different re-sampling methods until
you find the re-sampling method that
| | 07:09 |
would work best in your work flow.
Alright, well in this case I think
| | 07:12 |
automatic does a pretty good job.
So I'm ready to re-size this image.
| | 07:16 |
In order to do that, simply click the OK
button in order to re-size this image to
| | 07:22 |
those new dimensions.
| | 07:23 |
| | Collapse this transcript |
|
|
9. Cropping Your PhotographsRecomposing and cropping your photographs| 00:00 |
In this chapter I want to highlight a few
of the essential techniques that we can
| | 00:04 |
use when we need to crop or re-size or
recompose our photographs.
| | 00:09 |
In this first movie we'll keep things
simple and we'll start off with this
| | 00:12 |
portrait that I captured here of Sean
Thompson.
| | 00:15 |
Now if you are a surfer, you won't be
familiar with that name.
| | 00:19 |
But if you are, you may be familiar with
that because Sean is a legend, is a world
| | 00:23 |
champion surfer, just a really
fascinating person.
| | 00:26 |
And I like this portrait except there is
too much space in this area here.
| | 00:31 |
So I want to recompose the image and I
want to do that with the Crop tool.
| | 00:35 |
Let's take a look at how we can do that.
To select the Crop tool, press the C key
| | 00:40 |
on your keyboard.
Or simply click on the tool icon, which
| | 00:43 |
you'll find right here in the Tools
panel.
| | 00:46 |
Now here what I want to do is highlight
that we have a few options up top here in
| | 00:50 |
the Options bar.
I'll be talking more about these options later.
| | 00:53 |
Yet for this movie there's one important
option that I want to highlight.
| | 00:57 |
It's this one right here.
Delete Cropped Pixels.
| | 01:01 |
Now it is very important that you turn
that option off and here's why.
| | 01:05 |
By default that's turned on and with that
on, whenever you crop your image, well
| | 01:11 |
you will forever delete or remove
whatever pixels you have cropped away.
| | 01:15 |
In other words, once you've cropped the
image, you won't be able to make any
| | 01:19 |
changes later.
Yet, if you turn this option off, well
| | 01:23 |
you can always go back and make changes
after the fact.
| | 01:26 |
So in most scenarios or in almost all
scenarios I recommend that you leave this
| | 01:30 |
off just so that you have that extra
flexibility.
| | 01:34 |
Because when it comes to cropping or
recomposing your photographs, you may
| | 01:37 |
change your mind and you may need that
extra bit of flexibility to make a change later.
| | 01:42 |
All right, well, let me show you what I
mean.
| | 01:43 |
And let's take a look at how this works.
Well, now that we have the crop tool
| | 01:46 |
selected and now that we have turned off
the option for delete cropped pixels.
| | 01:50 |
What I want to do is crop the image.
And here in order to crop the image what
| | 01:54 |
I can do is I can click on this Pull down
menu and on this Pull down menu we have a
| | 01:59 |
few options.
We can select the Original Ratio and if I
| | 02:03 |
choose that particular option, it will
maintain the aspect ratio that I have here.
| | 02:08 |
Next I'll simply hover over the edge of
this crop area and then click and drag.
| | 02:12 |
In doing that you can see that it's
always maintaining that same aspect ratio.
| | 02:18 |
All right, well here I brought down the
crop area but now my subject is off center.
| | 02:22 |
Well, in order to fix that simply click
and then you can go ahead and drag.
| | 02:26 |
And here you can see how we can drag that
around so that we can then reposition
| | 02:30 |
this crop area.
We can also do this vertically as well,
| | 02:33 |
as you can see here.
Alright, well after you cropped in on
| | 02:36 |
your photograph, let's say that you're
ready to apply the crop.
| | 02:40 |
Well there are three different techniques
that you can use in order to do that.
| | 02:44 |
And here, I want to share those with you
and then you can decide which one you
| | 02:48 |
want to use.
One technique that you can use is to
| | 02:51 |
click on the check icon, which you'll see
here.
| | 02:53 |
Another technique is to position your
cursor over the crop area and then to double-click.
| | 03:00 |
And last but not least you can press
Enter or Return.
| | 03:03 |
That's Enter on Windows, Return on a Mac.
All right, we'll choose one of those
| | 03:07 |
techniques in order to apply the crop.
Now let's say that we've done that and
| | 03:11 |
we've decided, you know what?
I actually don't like this.
| | 03:14 |
Well to reactivate the crop area, all
that you need to do is to select the crop
| | 03:18 |
tool then position the crop tool over the
image area and click.
| | 03:22 |
That will then reactivate that crop area.
What I want to do is a crop which is a
| | 03:27 |
bit more free form.
In other words I don't want to have it
| | 03:31 |
maintain this original aspect ratio.
To change that, go to the Pull down menu
| | 03:36 |
here and just choose the option for
ratio.
| | 03:39 |
In this way you'll see here I can simply
click and drag and I can change the way
| | 03:44 |
that this crop area appears.
And here I'm going to really exaggerate
| | 03:48 |
this so you can see I have something very
different than my original aspect ratio.
| | 03:53 |
You'll also notice, if you click on this
Pull down menu, we have some preset
| | 03:57 |
aspect ratios as well.
Let's say that we want to crop this image
| | 04:01 |
to a square ratio, well here I can select
1 to 1.
| | 04:05 |
There are some other options you may
want to select as well.
| | 04:07 |
But just to illustrate, I'll choose this
option.
| | 04:10 |
All right, well, now I have a square crop
here.
| | 04:12 |
I'll click and drag to extend that out.
And I can go ahead and change this crop
| | 04:16 |
area, drag it out a little bit and then
click and drag to re-position where the
| | 04:20 |
subject is.
Alright, well another thing that we can
| | 04:23 |
do when it comes to cropping is we can
rotate.
| | 04:26 |
In order to show you how that works, I'm
going to go ahead and drag this in a
| | 04:30 |
little bit.
And I'm going to zoom in on the image so
| | 04:31 |
that you can see this a bit bigger.
Sorry I was zoomed out there.
| | 04:34 |
I think that was a bit too far.
Alright well now that I've zoomed in on
| | 04:38 |
the photograph as I position my cursor
over one of the corners.
| | 04:42 |
Notice that the cursor changes, a little
bent arrow.
| | 04:44 |
That's telling me I can click and drag in
order to rotate this.
| | 04:48 |
Well, now I've rotated it this way.
In order to apply that press enter on
| | 04:52 |
return on your keyboard or double click
inside that area or click on the little
| | 04:57 |
check button there.
Alright, well in this case you case see
| | 05:00 |
we have a completely different type of
image.
| | 05:02 |
And you know when it comes to cropping or
recomposing our photographs, we really
| | 05:07 |
can change our photographs in some
fascinating ways.
| | 05:10 |
And what this can do for us, it can help
us find different ways to work with our photographs.
| | 05:14 |
It can also teach us a bit about
composition so that the next time we're
| | 05:19 |
shooting we might try to tilt the camera
a little bit or just to try something
| | 05:23 |
else out as well.
Alright, well, in this case I actually
| | 05:25 |
don't like the tilt very much.
So here I'll select the Crop tool.
| | 05:29 |
Again, click onto the image to reactivate
it.
| | 05:31 |
In order to bring that back, I'm just
going to position the cursor by one of
| | 05:34 |
the corner points and then click and drag
in order to bring that in a different way.
| | 05:39 |
And here you can see you can have a lot
of fun with this Crop tool.
| | 05:42 |
You can make some phenomenal adjustments
to your photographs.
| | 05:45 |
You know, I've found that this particular
tool is especially helpful with people
| | 05:49 |
who are new to photography.
Because often when you're new to
| | 05:52 |
photography, your composition might be
just a little bit off.
| | 05:56 |
Well, you can use this tool to try to fix
those issues.
| | 05:59 |
Alright.
Well, last but not least, I'll apply this
| | 06:01 |
particular crop.
Here I'll press Enter or Return in order
| | 06:04 |
to apply that.
All right, we have more to learn about
| | 06:07 |
the crop tool, so let's go ahead and
continue to take a look at how we can
| | 06:10 |
work with this fun and fascinating tool.
And let's do that in the next movie.
| | 06:15 |
| | Collapse this transcript |
| Cropping your images to a specific size| 00:00 |
Let's continue our conversation about how
we can use the Crop tool.
| | 00:03 |
And here let's talk about how we can use
the Crop tool in order to re-size our
| | 00:08 |
photograph to specific dimensions and
also resolution.
| | 00:12 |
Now before we get to the Crop tool, let's
go back to our Image size dialogue.
| | 00:17 |
We talked about that dialogue in the
previous chapter.
| | 00:19 |
So if you aren't familiar with that
dialogue, go back and watch those movies first.
| | 00:24 |
Yet here lets open up the dialogue by
navigating to image and then by choosing
| | 00:29 |
Image size.
Now as we talked about previously,
| | 00:32 |
there's certain things that we can do
inside of this dialogue in regards to
| | 00:35 |
changing the overall file size and
resolution.
| | 00:38 |
But there also are some limitations.
For example, currently the aspect ratio
| | 00:43 |
of this image allows me to create a four
by six image at 300 pixels per inch.
| | 00:48 |
Yet what the client needs is a four by
five image.
| | 00:53 |
Well, if I change this value here, this
six to a five now it's a three by five.
| | 00:57 |
If I take this back to a four now it's a
four by six.
| | 01:01 |
So again what i need to do is use the
Crop tool in order to crop this to those
| | 01:06 |
four by five dimensions.
So when you can't finish your image
| | 01:09 |
re-sizing off with the image size
dialogue, well that when the Crop tool
| | 01:13 |
comes into play.
All right, well here we have it pretty close.
| | 01:16 |
It's a four by six.
So let's go ahead and cancel out of this.
| | 01:19 |
And then let's select the Crop tool by
clicking on it in the Tools panel or by
| | 01:22 |
pressing the C key.
Next up top from our Pull down menu in
| | 01:27 |
our Options bar, you notice that we have
two options here.
| | 01:30 |
We can either choose the ratio four by
five and just leave the resolution as it is.
| | 01:35 |
Or we can choose the option, which
includes our resolution right here.
| | 01:38 |
Four by five at 300 pixels per inch.
Let's make that selection.
| | 01:43 |
Here you can see in these fields we now
have the dimensions and also our resolution.
| | 01:48 |
Now, if you decide that you need to
change the orientation here, currently
| | 01:52 |
the crop is vertical.
I want to have this horizontal.
| | 01:56 |
Well, you can do that by clicking on this
icon here, which will flip-flop those values.
| | 02:00 |
So now it's a five by four versus a four
by five.
| | 02:04 |
I still have those same exact dimensions
it just works better with this particular photograph.
| | 02:09 |
Well next what I can do is I can also
customize or change the resolution.
| | 02:13 |
Lets say for example I want to print this
out at 240 pixels per inch well you can
| | 02:18 |
then select that there.
Now once you have this crop over this
| | 02:22 |
image you can do what we did in the
previous movie and that is you can click
| | 02:25 |
and drag this around.
You can also drag in your corner points.
| | 02:29 |
It will always maintain that aspect ratio
as you can see here.
| | 02:33 |
Now in this case, because my image size,
which we saw in the Image dialogue was
| | 02:38 |
really close to four by six, I don't
want to crop this in.
| | 02:41 |
Otherwise what will happen is that we
have to re-sample or up-sample the file.
| | 02:46 |
So again that's why it's a good idea to
start it off with looking at that image
| | 02:49 |
size dialogue.
So that you can get a feel for how far
| | 02:52 |
you might want to use or change the crop.
Alright, well now that I have this, in
| | 02:56 |
order to apply this crop all that we need
to do is to use one of our three
| | 03:00 |
techniques to do so.
This time I'll double-click in the crop
| | 03:04 |
area in order to apply that or you can
always press Enter or Return on your keyboard.
| | 03:09 |
Well next what I want to do is rotate the
image, because currently it's tilted to
| | 03:14 |
the side.
I want this upright.
| | 03:16 |
Here I want to show you a technique that
you can use to do that.
| | 03:19 |
I'll go to the image Pull down menu and
from this menu there's an option of Image Rotation.
| | 03:24 |
Here if we select 90 degrees clockwise,
what it will do is it will rotate that
| | 03:30 |
and now I have this in a little bit of a
better orientation.
| | 03:33 |
I'll zoom on the image a little bit so we
can evaluate how we've done.
| | 03:37 |
All right, well that looks great.
Now just to kind of finish this off,
| | 03:40 |
let's go back to our image dialogue.
Select Image and then choose Image Size.
| | 03:45 |
This will open up that dialogue.
And the reason why I wanted to go here
| | 03:49 |
was just to double check how we did.
Again we have a four by five, 240 pixels
| | 03:54 |
per inch.
Great.
| | 03:55 |
We have successfully re-size this to new
dimensions and also to new resolution.
| | 04:00 |
And we did all of the re-sizing using the
Crop tool.
| | 04:03 |
And then last but not least, I kind of
snuck in another tip there which allows
| | 04:08 |
you to rotate your image.
You can find that by going to the image
| | 04:11 |
Pull down menu and then by choosing Image
Rotation.
| | 04:14 |
In this way you can rotate that canvas so
that you can change the orientation of
| | 04:19 |
the file.
All right, well that wraps up our look at
| | 04:22 |
how we can re-size a photograph to a
specific size using the Crop tool.
| | 04:26 |
| | Collapse this transcript |
| Cropping and making the horizon level| 00:00 |
In an ideal world we compose our
photographs perfectly on camera.
| | 00:05 |
Yet I hate to break it to you it isn't an
ideal world.
| | 00:08 |
You know what, we all make mistakes
especially when it comes to composition
| | 00:12 |
and I made a mistake with this
photograph.
| | 00:14 |
Here if you look close you'll notice that
the image is leaning to the left.
| | 00:19 |
So what I need to do is to level or to
straighten the horizon.
| | 00:23 |
And you can use the Crop tool to do so
really easily.
| | 00:26 |
Let me show you how.
Press the C key to select the Crop tool,
| | 00:29 |
or click on the tool icon here in the
Tool's panel.
| | 00:32 |
Next you'll notice in the Options bar you
have this little straighten icon.
| | 00:36 |
If you click on the icon and hover over
your image, you'll notice a different
| | 00:41 |
cursor appears.
In this case, a little level icon.
| | 00:44 |
What we can then do is we can click and
drag over something that should be straight.
| | 00:48 |
Perhaps a line that's either horizontal
or vertical that we know should be level.
| | 00:53 |
When we do that and then let go, it will
automatically crop and rotate our
| | 00:58 |
photograph so that that line is level.
And you know, sometimes you'll do this
| | 01:02 |
and you'll be just a little bit off, well
you can always customize this further,
| | 01:06 |
right, you already know this.
You can click and drag one of those
| | 01:09 |
corner points to the left or to the right
here.
| | 01:11 |
Just to subtly get that exactly where you
want it.
| | 01:14 |
Now, once you have it perfect, simply
press Enter on Windows or Return on Mac
| | 01:18 |
in order to apply that crop.
And in this way, we have leveled out this photograph.
| | 01:24 |
Alright well, I also want to show you
another way that you can do this, so
| | 01:28 |
here, I'm going to undo that crop.
I've returned the image to its original state.
| | 01:33 |
And here you can see it's leaning over to
the left.
| | 01:36 |
Well, how else can we do this?
Well, you can also access this tool by
| | 01:40 |
way of a shortcut.
When you select the Crop tool, here I'll
| | 01:43 |
go ahead and click on my Crop tool, you
can position it over your image.
| | 01:47 |
Then hold down the Cmd key on a Mac or
Ctrl key on Windows.
| | 01:51 |
When you do that, you'll notice that the
cursor changes.
| | 01:55 |
And it changes to this little icon.
In this way, you can toggle to that icon
| | 02:00 |
by simply pressing that keyboard
shortcut.
| | 02:02 |
That's Cmd on Mac or Ctrl on Windows.
Just keep in mind, you obviously first
| | 02:06 |
have to select the Crop tool, right.
Then we'll go ahead and hold down the Cmd
| | 02:10 |
key on a Mac, Ctrl key on Windows, click
and drag over something that we think
| | 02:13 |
should be level or straight in our
photograph.
| | 02:16 |
Let go and voila it is now leveled and
fixed, that issue in our photograph.
| | 02:22 |
Now to apply this crop here, I'll simply
double-click inside of the crop area, and
| | 02:27 |
now we have successfully leveled our
photograph.
| | 02:32 |
| | Collapse this transcript |
| Using the Marquee tool to crop| 00:00 |
Alright, now that we know quite a bit
about the Crop tool, what I want to do
| | 00:04 |
here is highlight a few more tips that we
can use when working with the Crop tool.
| | 00:08 |
In particular, we'll take a look at a few
of our overlay options, and also talk
| | 00:13 |
about how you can crop with the Marquee
tool.
| | 00:16 |
Alright well lets select the Crop tool by
pressing on the C key or by clicking on
| | 00:20 |
the Crop tool icon right here.
Next what I want you to do is to simply
| | 00:24 |
crop the image and it really isn't that
important how you crop the photograph I
| | 00:28 |
just want you to crop in a bit.
Here you can see that I've cropped into
| | 00:31 |
this area and in this way we may notice
that there are these overlay lines.
| | 00:36 |
Well, what are those?
Well, those are the rule of thirds.
| | 00:39 |
And you can change the lines that you
have there or those overlay lines by
| | 00:44 |
clicking on this icon here.
When you do that, you notice you have
| | 00:47 |
various options.
You also notice that there's a shortcut
| | 00:50 |
which allows you to cycle through the
different overlays.
| | 00:53 |
So here I'll click off of that menu, and
then I'll press the O key in order to
| | 00:57 |
cycle through these different overlays.
Here we can get a good look at how these
| | 01:02 |
might appear.
You know, sometimes these overlays can
| | 01:04 |
help us to try to recompose our
photograph in a fascinating way.
| | 01:08 |
And, again, this overlay can be really
helpful.
| | 01:11 |
Here it can help us just to change our
crop around just a little bit or just to
| | 01:14 |
drag this into a different position.
Yet the trick is that the user won't see
| | 01:19 |
the overlay.
So there're never going to have this
| | 01:21 |
insight of this grid.
Therefore you may want to explore looking
| | 01:25 |
at some of the options that you have in
regards to the overlay.
| | 01:28 |
If you click on this Pull-down menu you
have three options.
| | 01:32 |
Never show overlay.
Well that's straightforward.
| | 01:34 |
Always, that's the one that's always on.
Its always there rr auto, now this is the
| | 01:38 |
one that I use most often.
I think it's the most interesting and helpful.
| | 01:42 |
When you select auto what will happen is
the overlay will dissappear until you
| | 01:47 |
start to crop your image, then it will
reappear.
| | 01:50 |
In this way you can then let go of the
crop and again, here you can see it's disappeared.
| | 01:55 |
So you can sort of focus back to the
image.
| | 01:58 |
Alright, well next I want to highlight a
few more options.
| | 02:00 |
So here I'll zoom out a little bit.
And so I want to highlight the options
| | 02:03 |
that we'll find by clicking on this
little gear icon right here.
| | 02:07 |
I'll go ahead and click on that.
And you know for the most part, these
| | 02:09 |
default settings will work really well.
I just want to talk about them so you
| | 02:13 |
know how they work.
The first option allows us to either show
| | 02:17 |
or hide the crop area.
Here you can see it's hiding all of the
| | 02:20 |
area where I've cropped this photograph
away.
| | 02:23 |
So, that if I re-crop, well that
disappears.
| | 02:25 |
You can turn that back on, by clicking
here, and choosing Show Cropped Area.
| | 02:30 |
I always like to have that on.
The next one that I want to highlight is
| | 02:34 |
you can turn the Enable Crop Shield on
and off.
| | 02:37 |
That's greying out the background area.
You can also control the opacity or the
| | 02:41 |
color of that as well.
So in this case I just wanted to
| | 02:44 |
highlight those few things in regards to
your crop settings.
| | 02:47 |
Alright, well let's say that you've
cropped and image like this and you've
| | 02:50 |
started to work on the file.
And you realize, you know what, I don't
| | 02:53 |
really like it.
Well, how can you undo a crop?
| | 02:56 |
Well, an easy way to do that is to press
the Escape key.
| | 03:00 |
So here I press the Escape key, and it
reset the image back to its original size.
| | 03:05 |
Next, I'm going to select the Move tool.
And here with the Move tool selected, I'm
| | 03:08 |
just going to look at the photograph, and
I realize that there might be a
| | 03:12 |
photograph within the photograph.
Do you know what I mean?
| | 03:15 |
Sometimes you'll see a picture like this
right here.
| | 03:17 |
I'd really like to have a nice close up
portrait.
| | 03:20 |
So we're going to crop that in.
I'm going to use the Marquee tool.
| | 03:23 |
You can use the Marquee tool for so many
different situation.
| | 03:26 |
Typically, you use it to make selections.
If you click and hold on the tool, you'll
| | 03:31 |
notice that there are different marquees.
Here we want a rectangular marquee.
| | 03:35 |
And I'm just going to click and drag this
over the photograph.
| | 03:38 |
Now, once you've done that, you can turn
this selection area into a crop area.
| | 03:42 |
Once you've made that marquee selection,
to do that all that you need to do is to
| | 03:47 |
then navigate to the Crop tool.
Notice that it turned into a crop area.
| | 03:53 |
Well now, I can go ahead and crop that
around or change that.
| | 03:56 |
And here I can then use what started as a
marquee selection, then turn that into a
| | 04:01 |
cropped area.
Next, what I can do is just really
| | 04:04 |
customize that to get it exactly where I
want it, and then you can press Enter or
| | 04:09 |
Return in order to apply that crop to
your photograph.
| | 04:12 |
So again, I just wanted to, sneak that
little tip in there because sometimes
| | 04:16 |
it's handy, to start off with the Marquee
tool, an then to finisher your cropping,
| | 04:20 |
using the Crop tool.
| | 04:21 |
| | Collapse this transcript |
|
|
10. Working with LayersIntroducing layers| 00:00 |
In this chapter, we're going to focus in
on the essentials of working with layers
| | 00:04 |
in Photoshop.
And you know, in Photoshop, layers are huge.
| | 00:09 |
There are so many things that we can do
with layers, therefore, in this first movie.
| | 00:14 |
What I wanted to do is, I wanted to show
you a few different images.
| | 00:18 |
And just conceptually talk about how we
can work with layers.
| | 00:22 |
Now, all of the images that I'll be
showing you here were created in some of
| | 00:26 |
my more advanced Photoshop courses.
Now, here in this chapter, we're going to
| | 00:30 |
be covering more of the basics.
Yet, I wanted to show you some of these
| | 00:34 |
more advanced things.
So that you can start to see where we'll
| | 00:38 |
go with layers.
Alright well lets start off with this
| | 00:40 |
project right here.
First, you can see that I minimized the
| | 00:43 |
Photoshop interface and then I brought
back our Layers panel.
| | 00:47 |
Here you can see we have many different
layers.
| | 00:50 |
Now we can show or hide the visibility of
layers by simply clicking on these eye icons.
| | 00:56 |
Or, for even more speed, you can click
and hold and then drag across those eye
| | 01:01 |
icons, in order to turn the visibility
off, of multiple layers.
| | 01:05 |
And this way we are back to the original
file as it was captured straight out of
| | 01:09 |
the camera.
And then, in the course where we worked
| | 01:12 |
on this image, we cleaned up the
background.
| | 01:14 |
We removed that window.
And then we just started to work on this
| | 01:17 |
image more and more.
And here you can see as I click on these
| | 01:21 |
eye icons how we worked on this
particular project.
| | 01:25 |
And eventually, we arrive at a point
where we are content with this particular image.
| | 01:30 |
And as you can see here, working with
layers really can help you to take an
| | 01:34 |
image to a completely new place.
And you know what?
| | 01:37 |
Layers are relevant whether we are
working on a project like this or if we
| | 01:41 |
are working on a different type of
project.
| | 01:44 |
In this case I have a composite, here's
the finished piece, yet if I click and
| | 01:48 |
drag across these eye icons you can see
the original file.
| | 01:52 |
Two guys holding a boat, then they held
the boat a bit higher, then I needed to
| | 01:57 |
remove those two guys and clean things up
a bit and then we brought in another photograph.
| | 02:01 |
A picture of a person sitting in a boat.
And then I've put her in the version of
| | 02:05 |
the boat a little bit higher and then
finally finish the project off.
| | 02:09 |
And you know, sometimes you can use
layers in order to create a surreal
| | 02:13 |
effect like this.
Still in other situations, perhaps you
| | 02:16 |
have a landscape photograph, like this
one here that I've captured up in Washington.
| | 02:21 |
In this case if we go to the original
file, you'll notice that the color is
| | 02:25 |
just a little bit lack luster but what we
can do, is use different layers in order
| | 02:30 |
to improve this image.
Here you can see the sky is coming to
| | 02:34 |
life, now the mountains and then the
overall color.
| | 02:37 |
Again, it's these layers which help us to
bring this particular image to life.
| | 02:43 |
And there are so many different scenarios
where layers can really save the day.
| | 02:47 |
Here's another photograph, this is a
fashion photograph.
| | 02:50 |
And again, here we have a bit of
retouching and then some overall color
| | 02:54 |
and tone work.
Or maybe you want to retouch something
| | 02:58 |
really up close.
Like with this picture here.
| | 03:00 |
And I click through these layers, again.
What you'll see is that our original file
| | 03:05 |
as it appeared straight out of the
camera.
| | 03:07 |
Then after a bit of cleanup work, some
work on the lips, the eyes.
| | 03:10 |
And then some overall adjustments.
And so by working with layers, we can
| | 03:15 |
accomplish great things.
Now in this chapter, we'll focus in on
| | 03:19 |
the basics of layers.
Yet keep in mind that the basics are
| | 03:23 |
really important.
That is the foundation for the rest of
| | 03:26 |
our work.
And it's because of layers.
| | 03:29 |
That we can do so many fascinating things
in Photoshop.
| | 03:32 |
Alright, well, at this point I hope that
you're starting to see how we can use layers.
| | 03:36 |
Or that you're starting to see how you'll
use layers in the future.
| | 03:39 |
Well, now that we know a little bit about
how layers can work, let's go ahead and
| | 03:43 |
continue to talk about layers.
And let's do so in the next movie.
| | 03:47 |
| | Collapse this transcript |
| Creating new layers| 00:00 |
Alright, are you ready to learn about
layers?
| | 00:03 |
You know two of the main reasons why we
use layers in Photoshop is for increased
| | 00:08 |
flexibility and creativity.
So, let's take a look at how we can start
| | 00:12 |
to work with layers with this portrait
that I captured here.
| | 00:15 |
And in particular, let's focus in on how
we can create new layers, and how we can
| | 00:20 |
add content to those new layers.
Now my intent or focus here is to help us
| | 00:25 |
to begin to understand how we can work
with layers.
| | 00:28 |
Therefore, what I want to do is something
that's silly.
| | 00:31 |
I want to draw on this photograph.
I want to draw on some glasses and also a
| | 00:36 |
mustache and a goatee.
Now I could draw on this background layer here.
| | 00:41 |
Yet if I did that, I couldn't ever undo
those adjustments.
| | 00:46 |
It wouldn't be very flexible.
Also, it would limit my creativity.
| | 00:50 |
Yet if I created new layers, and if I
added this content to the new layers,
| | 00:55 |
well then I would have more flexibility,
which would in turn allow me to be more creative.
| | 01:00 |
Alright, well, let's zoom in on this
photograph.
| | 01:02 |
To do that, you can click on the Zoom
tool here in the Tools panel.
| | 01:05 |
And here I'll just click once, so I can
zoom in a little bit more close to the photograph.
| | 01:10 |
Next what I'm going to do, is create a
new layer.
| | 01:12 |
There are couple of different methods
that we can use to do that.
| | 01:15 |
One is to go to the Layer pull down menu,
then here we can choose New.
| | 01:20 |
Then we can select Layer or you can also
make your way over to the Layers panel.
| | 01:25 |
And the Layers panel at the bottom you'll
notice that there's a little icon.
| | 01:29 |
It looks like a page with the bottom
corner being turned.
| | 01:34 |
If you click on that icon, it will allow
you to create a new layer.
| | 01:37 |
Currently this layer is called layer one.
Well you can rename your layer by
| | 01:42 |
double-clicking on the layer name.
Let's do that.
| | 01:46 |
Here I'll double-click on that layer name
and I'll call this layer, glasses.
| | 01:50 |
Next, what I want to do is I want to
paint some glasses or draw some glasses
| | 01:54 |
onto this image.
To do that we can use the brush tool.
| | 01:57 |
You'll find the brush tool in the middle
of the Tools panel here, click on the
| | 02:02 |
brush icon or press the B key to select
it.
| | 02:05 |
Next when you use this tool, you'll paint
whatever color you have here in your
| | 02:09 |
foreground color picker.
And in this case, the default color of
| | 02:13 |
black, that'll work fine.
Next we can also customize our brush by
| | 02:17 |
going to the Options bar up top.
If we click on this pull down menu, you
| | 02:21 |
can see here that you can select a brush
size.
| | 02:23 |
In this case the relatively small brush
should work fine.
| | 02:26 |
So, I'll just leave that as is.
Next, I'm going to go ahead and draw a
| | 02:30 |
few circles here.
I'm going to draw some circles to draw
| | 02:32 |
these glasses.
Now I"m not too concerned how this looks
| | 02:35 |
and I know this is a little bit silly and
goofy, yet I want to do this in order to
| | 02:39 |
illustrate how we can start to work with
layer.
| | 02:41 |
All right.
Well so far I have these glasses that
| | 02:44 |
I've drawn onto my photograph.
Yet, the great thing about this, is that
| | 02:49 |
these are on a separate layer.
If I click on the eye icon for this
| | 02:53 |
layer, I can show or hide the visibility
of that layer.
| | 02:57 |
In this way, this gives me some
flexibility.
| | 03:00 |
I can show or hide this layer, I can
continually add to it if I want to
| | 03:04 |
customize it.
I can also use my Move tool, which you'll
| | 03:07 |
find at the top of the Tools panel.
If you click on that, I could click and
| | 03:10 |
drag to move this around in order to
re-position this exactly where I want it.
| | 03:15 |
In this way, we have this extra
flexibility and this allows us to be creative.
| | 03:19 |
All right, well what about the mustache?
In order to be able to modify the
| | 03:24 |
mustache in a way that is independent
from the glasses, I'll create a new layer.
| | 03:28 |
In other words, whenever you want to make
an adjustment that you want to be
| | 03:32 |
distinct, or independent from another
adjustment, well just create a new layer.
| | 03:37 |
So, here I'll do that.
I'll click on the New Layer icon.
| | 03:40 |
You'll find it the bottom of the Layers
panel over there.
| | 03:43 |
Go ahead and click on that and let's name
this new layer by double clicking into
| | 03:47 |
the layer name mustache.
After you've done that, select your Brush
| | 03:52 |
tool once again.
Remember the shortcut for that one, its
| | 03:54 |
the B key or you can just click on the
brush icon.
| | 03:58 |
Next here I'll just draw a silly mustache
and again we're just having some fun with this.
| | 04:03 |
But, hopefully, this is starting to show
you how you can work with layers.
| | 04:07 |
Now, later, we'll look at more examples,
yet for now we're starting to see that we
| | 04:11 |
have a document with three layers.
We have our mustache layer here, we have
| | 04:17 |
our glasses layer and then, finally we
have the background layer.
| | 04:21 |
In this way, I can decide that, you know
what I don't like the glasses.
| | 04:24 |
We'll just turn off the visibility of
that layer.
| | 04:27 |
Or I can decide I don't lie the position
of the mustache.
| | 04:30 |
Well here we can use the Move tool.
Which you'll find at the top of the Tools panel.
| | 04:35 |
Click on that icon.
And then just click and drag this around.
| | 04:39 |
In this way we have this extra
flexibility when working with these
| | 04:42 |
different layers.
We can also customize these layers even further.
| | 04:47 |
For example, let's say that with this
layer, we like the mustache but the
| | 04:51 |
goatee just isn't working for us.
Well we have a tool which is called the
| | 04:56 |
Eraser tool.
If you click on the Eraser tool, which
| | 04:59 |
you'll find in the Tools panel, you'll
notice that you have a size for this tool.
| | 05:03 |
Currently my brush size is relatively
small.
| | 05:06 |
It's a size 13.
I want to increase that.
| | 05:09 |
So, I'll click on this pull down menu, an
I'll increase this brush size.
| | 05:13 |
An I'm going to go up to about 85 here.
An then I'll click into the Options bar
| | 05:17 |
in order to close that dialogue.
Now if I use the Eraser tool, I can click
| | 05:21 |
and paint over this.
And in this way, you can see that I'm
| | 05:25 |
erasing just part of this layer.
Now I'm not erasing the image.
| | 05:29 |
Rather I'm erasing what was on the layer
here.
| | 05:34 |
So, again here we're starting to see how
this can help us to make non-destructive
| | 05:38 |
adjustments that are really flexible.
This gives us extra flexibility to always
| | 05:43 |
make changes to what we're doing.
It also helps us to be creative.
| | 05:47 |
We can take some creative risks because
we're adjusting the layer, rather than
| | 05:52 |
adjusting the image.
Now if I had made all of these
| | 05:55 |
adjustments on the background layer, well
it would be really difficult to undo what
| | 06:00 |
I've done.
But because we made these adjustments on
| | 06:03 |
separate layers well, it gives us this
extra flexibility.
| | 06:07 |
Alright, well as I said before, I know
that this example is a little bit silly,
| | 06:11 |
yet I'm hoping that this example is
giving you some insight into how you can
| | 06:15 |
start to work with layers in Photoshop.
| | 06:19 |
| | Collapse this transcript |
| Duplicating a layer to create a special effect| 00:00 |
There will be times when it's helpful to
create a new layer and then to add some
| | 00:04 |
new content to that layer.
Yet, there also will be situations where
| | 00:08 |
it will be helpful to duplicate a layer.
To duplicate a pre-existing layer in
| | 00:14 |
order to be able to have some creative
flexibility with the way that you work on
| | 00:17 |
your photographs.
So here let's take a look at how we can
| | 00:21 |
duplicate a layer.
We'll be working with this portrait.
| | 00:25 |
And what I want to do is I want to
duplicate this layer so that I can apply
| | 00:29 |
a creative effect.
A creative filter.
| | 00:32 |
I also want to duplicate it again so that
I can apply a black and white effect.
| | 00:36 |
Well let's take a look at how we can do
this.
| | 00:37 |
In the Layer's panel, we have our
background layer.
| | 00:41 |
We can duplicate this or copy this by
dragging this to the New Layer icon.
| | 00:45 |
And you can do this with any layer in
Photoshop.
| | 00:48 |
Next you'll notice that I have an exact
duplicate of this, it's called background copy.
| | 00:54 |
I'll change the name of this by double
clicking into that name field there.
| | 00:57 |
And I'll name this Oil Painting.
Here, I want to apply a creative filter.
| | 01:02 |
Now, I'll be talking more about filters
later, yet here, I simply want to apply
| | 01:07 |
this filter in order to illustrate a
point.
| | 01:10 |
So, let's navigate to the Filter pull
down menu and then, near the top we have
| | 01:14 |
an option which is called Oil Paint.
Let's click on that.
| | 01:17 |
What we're going to do is leave that at
the default settings, we're not going
| | 01:21 |
customize this all but just leave it as
is.
| | 01:23 |
And here, I'll click OK.
Now in order to see this up close, I'll
| | 01:28 |
select the Zoom tool, you can find that
at the bottom of your Tools panel, there.
| | 01:31 |
Click on the Zoom tool and then I'll
click once, maybe twice in order to zoom
| | 01:35 |
in on the photograph.
Now here you can see that what we have is
| | 01:39 |
on this layer.
We have this oil painting effect.
| | 01:42 |
If I turn this Eye icon on and off,
you'll see here's the original or the
| | 01:47 |
background layer.
And then here's this new layer with this
| | 01:51 |
oil painting effect.
In order to create this effect, we had to
| | 01:55 |
duplicate that background layer.
Now, I could, of course, apply this
| | 01:59 |
effect to the background right here.
Yet if I did that, I would lose flexibility.
| | 02:04 |
I wouldn't be able to undo this
adjustment.
| | 02:07 |
Because sometimes, you may decide to take
a risk.
| | 02:10 |
Here, I'll try out this effect.
But, you know what?
| | 02:12 |
I actually don't like it very much.
Well, no big deal.
| | 02:15 |
We can always just delete the layer or
just turn off the layer visibility by
| | 02:20 |
clicking on the eye icon here.
Alright, well what about deleting a layer?
| | 02:24 |
How do we do that?
Well, you can delete a layer by pressing
| | 02:27 |
Delete on a Mac or backspace on Windows,
or you can click and drag a layer to the
| | 02:33 |
trash can icon.
When you do that, it will then delete
| | 02:36 |
that layer.
Well, next what I want to do is zoom back
| | 02:40 |
out of my image.
And I want to zoom out so I can see all
| | 02:43 |
of the image.
A really easy way to do that is to
| | 02:46 |
double-click on the Hand tool.
When you double-click on the Hand tool,
| | 02:50 |
it will change your zoom so that you can
see the entirety of your photograph.
| | 02:55 |
Well next, let's take a look at perhaps
another reason why we might want to
| | 02:58 |
duplicate our image.
Here, I'll click into the background
| | 03:02 |
layer, and then drag this down to the new
layer icon.
| | 03:05 |
Here, you'll notice that we have the
background.
| | 03:08 |
We also have a copy of it, background
copy.
| | 03:11 |
On background copy, what I want to do, is
I want to convert this image to black and white.
| | 03:16 |
So here I'll double click into my layer
name and I name this layer now bw for
| | 03:21 |
black and white.
We have some really power image
| | 03:24 |
adjustment tools again we'll be talking
about those more later.
| | 03:27 |
Yet for now I want to use one in order to
illustrate a point.
| | 03:31 |
Here, we'll go to the Image pull down
menu, we'll select Adjustments and then
| | 03:36 |
I'm going to choose Black & White, that's
this option right here.
| | 03:39 |
Again, Image > Adjustment and then Black
and White.
| | 03:43 |
You'll notice there are many other
adjustments there as well.
| | 03:46 |
Those allow us to do a number of
different things but for now, we'll
| | 03:49 |
convert this image to black and white.
So let's click on this option.
| | 03:53 |
Now in doing that, this dialogue is
covering up my image a little bit, so
| | 03:57 |
I'll press the Spacebar key and then
click and drag in order to reposition
| | 04:01 |
this over to the left.
Now, I can really focus in on the photograph.
| | 04:05 |
We can customize this black and white
conversion by using these controls, but
| | 04:09 |
again, we'll be covering that later.
So, for now, I'll use the default
| | 04:13 |
settings and simply click OK.
Now, I wanted to do this again to
| | 04:17 |
illustrate this point of how we can have
these two distinct layers.
| | 04:21 |
Here is the original file, the background
layer.
| | 04:24 |
Then, if I click the icon again, we can
see our black and white conversion.
| | 04:29 |
In this way, we can try out different
types of effects without actually
| | 04:33 |
modifying the original file.
We have this extra, added flexibility.
| | 04:38 |
And what's great about this, is we can
not only turn on or off the visibility of
| | 04:43 |
this layer.
We can also trash it, as we've seen before.
| | 04:47 |
Or we can lower the layer opacity.
What that allows to do is to see through
| | 04:53 |
the layer.
So for example, with this black and white
| | 04:56 |
effect, I can go to the layer, click into
it, and then drag the slider down.
| | 05:02 |
As we drag this to the left, what we'll
see the sum of that, our original color
| | 05:06 |
come back.
As we go further, we're going to see more
| | 05:09 |
and more of the underlying layer.
Now what's happening here?
| | 05:13 |
Well if we take the say to about 50%, and
if we turn off the visibility of our
| | 05:17 |
background layer.
What we can see is that we now just have
| | 05:21 |
a transparent version of this layer.
Notice that as I drag to the right, well
| | 05:26 |
I see more and more of this particular
layer.
| | 05:29 |
As I drag it to the left, well I notice
that it becomes more transparent.
| | 05:33 |
In Photoshop transparency is shown by
this little grid.
| | 05:37 |
These white and gray boxes show us areas
of our image or areas of our layer which
| | 05:42 |
are transparent.
So as I bring this up, you can see that
| | 05:46 |
I'm starting to see the photograph, and
less and less of what is transparency.
| | 05:50 |
In this way, we can start to really
customize our effects and customize the
| | 05:54 |
results of the effects.
Now with the black and white layer,
| | 05:57 |
typically you'll want that all the way up
to 100%.
| | 06:00 |
Yet, as we start to get more creative.
What you'll discover is that layer
| | 06:05 |
opacity, well it will give you a ton of
different creative options as you start
| | 06:09 |
to process your images in order to
achieve professional results.
| | 06:13 |
Alright.
Well, to reiterate so far we've taken a
| | 06:16 |
look at how we can duplicate a layer.
And how we can do that in order to have
| | 06:20 |
increased flexibility and also creative
options.
| | 06:23 |
I've also highlighted how we can change
opacity of a layer by using our Opacity slider.
| | 06:28 |
And then last but not least, we explored
how we can delete a layer and how we can
| | 06:32 |
do so by simply clicking and dragging the
layer to the trashcan icon.
| | 06:36 |
Or how you can press the Delete key on a
map or Backspace on Windows in order to
| | 06:41 |
delete a layer.
| | 06:43 |
| | Collapse this transcript |
| Combining multiple images together as layers| 00:00 |
Another advantage of using layers is that
it allows you to work with multiple
| | 00:05 |
photographs in one document.
And so here I want to take a look at two
| | 00:09 |
different examples where we can work with
multiple photographs in one document.
| | 00:13 |
In this first one, we'll create a really
simple composite.
| | 00:17 |
You can see that we have this photograph
of a can, and then if we click into one
| | 00:21 |
of our other tabs where I have another
photograph open.
| | 00:25 |
This one is titled rockclimber.PSD.
You can see that we have an image of a
| | 00:29 |
rock climber rappelling.
Now here I have deleted everything, but
| | 00:34 |
the rope and the rock climber.
What I want to do is I want to bring this
| | 00:38 |
image over to the other one, in order to
create a composite.
| | 00:43 |
To do so, select the Move tool, and then
if you have multiple tabs open.
| | 00:47 |
What you can do is, you can click and
drag a layer from one document, and then
| | 00:52 |
hover over the tab, and then bring this
into another.
| | 00:56 |
Here you simply re-position your cursor
while holding it down the whole time, and
| | 01:00 |
then let go.
In this way, you can see that I can bring
| | 01:04 |
over this image.
Into my other photograph.
| | 01:07 |
Now here you can see in our Layers panel,
that we have the ability to turn the eye
| | 01:11 |
icon on and off and if we get in close we
can see that we've created this simple composite.
| | 01:17 |
Now in one of my more advanced courses I
go into the details of creating a
| | 01:21 |
composite like this.
Yet here I simply wanted to highlight how
| | 01:25 |
we can start to combine multiple images
together.
| | 01:29 |
Well, what about in situations where we
are not creating composites but we just
| | 01:32 |
want to have two images in one document.
Let's take a look at that.
| | 01:37 |
If we navigate over to our other tabs of
the images that we've opened, we can do
| | 01:41 |
so by clicking on those tabs, you can see
that I have a couple of photographs.
| | 01:45 |
This is a photograph of my oldest
daughter Annika with our youngest when
| | 01:50 |
she was just one day old.
And I just love this picture because of
| | 01:54 |
the special moment.
And as you click back and forth between
| | 01:57 |
these tabs, you notice that these are two
different photographs.
| | 02:00 |
Well what I want to do is I want to
combine these two different images
| | 02:04 |
together, so that I have one document
where they're both in that document side
| | 02:09 |
by side.
Well how can we do that?
| | 02:11 |
Well with the Move tool, hover over the
layer or image that you want to move, and
| | 02:15 |
then click and drag that to the tab, of
the document where you want to bring that image.
| | 02:20 |
In this case, I want to bring it into
this photograph here or into this document.
| | 02:24 |
And to have this centered perfectly, you
can hold down the Shift key and then when
| | 02:28 |
you let go, it will bring this in exactly
in the center.
| | 02:31 |
Now in my Layers panel we can see here's
that background photograph,and now here's
| | 02:37 |
the one above it.
The problem with this of course, is that
| | 02:39 |
the layer above is covering the layer
underneath.
| | 02:43 |
In order to really focus in on this
project, I want to to press the F key to
| | 02:47 |
go to full screen mode.
Next, I'm going to zoom out just a little
| | 02:50 |
bit so that we can see what we have here.
Then with the Move tool selected, I'll go
| | 02:55 |
ahead and click and drag this over to the
left.
| | 02:58 |
In doing this, you can see that I'm
moving this over to the left.
| | 03:01 |
Yet I'm moving it over so far.
That now we can't see it at all, it's as
| | 03:06 |
if it's outside of my document
dimensions.
| | 03:08 |
In order to extend your document, what
you can do is navigate to your Image pull
| | 03:14 |
down menu.
Here I will select Reveal All.
| | 03:17 |
What this will do is it will change the
canvas size so that I can now see both of
| | 03:22 |
those images side by side.
Here, I'll zoom in a little bit so that
| | 03:25 |
we can focus in on what we have.
And you can see that we now have a two
| | 03:29 |
layer document, where we have both of
these images in one document.
| | 03:33 |
| | Collapse this transcript |
| Creating a layout of multiple images| 00:00 |
Now that we know how to combine multiple
images into one document.
| | 00:04 |
What I want to do is continue the
conversation of how we can work with the
| | 00:08 |
document with many images in it.
And in particular I want to highlight how
| | 00:12 |
we can customize the way that we can view
our Layers panel.
| | 00:16 |
Then we'll look at how we can target or
select layers and how we can do that by
| | 00:20 |
clicking into layers and also how we can
do that by way of a handy short cut.
| | 00:25 |
Last but not least we'll create a layout
of these six photographs on this page.
| | 00:30 |
All right for starters you can see that
in my Layers panel I have a number of
| | 00:34 |
different layers.
In order to view them, I have to scroll
| | 00:37 |
up and down.
So that's a little bit difficult.
| | 00:40 |
I can't see all of my layers.
Sometimes what you'll want to do is open
| | 00:44 |
up more space for the Layers panel.
To do so you can double click on the tabs
| | 00:49 |
of any of your panels and that will then
expand or collapse those tabs.
| | 00:54 |
Here I'll double click on the word
adjustments or on that tab in order to
| | 00:58 |
collapse those panels.
And then I'll also double click on histogram.
| | 01:02 |
Well now I have more space devoted to my
layers here.
| | 01:05 |
Yet still I have to scroll a little bit.
So you can change the size of the thumb
| | 01:11 |
nail preview that you have on your layer.
And you can do that by going to your
| | 01:15 |
Layers panel and by clicking on this icon
here which will open up a File out menu.
| | 01:20 |
Never the bottom of the File out menu is
an option called Panel Options, here
| | 01:25 |
click on that.
Next in the Layer Panel Options dialogue
| | 01:29 |
notice that you can change the thumbnail
size.
| | 01:32 |
Here I'll choose that Medium size
thumbnail and then click OK in order to
| | 01:36 |
view that updated perspective in my
Layers panel.
| | 01:39 |
In this way now I don't have to scroll up
and down in order to view all of those layers.
| | 01:44 |
So as you start to work with multiple
layers, this is a handy way to start to
| | 01:49 |
see what you actually have in your Layers
panel.
| | 01:52 |
Alright, well next I want to create a
layout.
| | 01:55 |
We have six photographs.
I'm going to have three on top, three
| | 01:58 |
underneath and I want to have equal space
around these images.
| | 02:01 |
Well in order to move these photographs
we can use to Move tool.
| | 02:04 |
So we can select that tool by clicking on
it in the Tools panel.
| | 02:08 |
Next if you make your way over to the
Layers panel you can just click into a
| | 02:12 |
layer and then start to click and drag
around.
| | 02:15 |
Yet in this way you kind of have to
guess.
| | 02:18 |
In other words I'll click here and then
hopefully get the right image.
| | 02:22 |
Yet what if you want to be more specific?
What if you want to target a specific
| | 02:27 |
layer and you want to do so really
quickly?
| | 02:30 |
Well, there's a great shortcut that you
can use in order to do that.
| | 02:34 |
This is one of those shortcuts that you
want to write down because it will really
| | 02:37 |
help you out as you start to work with
documents which have a lot of layers.
| | 02:42 |
Here it is.
On a Mac you simply Cmd+click, on Windows
| | 02:46 |
you simply Ctrl+click and you do that
with the Move tool.
| | 02:49 |
So here, if I hold down the Cmd key and
if I click on these different images,
| | 02:53 |
notice that it's selecting or targeting
these different layers each time I click.
| | 02:59 |
So again, the shortcut, it's really
simple.
| | 03:01 |
Simply Cmd+click on a Mac or Ctrl+click
on Windows in order to select a layer.
| | 03:07 |
Then I'll move the image to where I want
it.
| | 03:09 |
Cmd or Ctrl+click.
Select another one and then move that one
| | 03:12 |
around as well.
In this way I can quickly move through my
| | 03:16 |
photographs using the shortcut in order
to select a layer and then to click and
| | 03:20 |
drag and move it around.
So again, it's that Cmd+click on a Mac,
| | 03:24 |
Ctrl+click on Windows.
And I know I keep reiterating that but I
| | 03:28 |
want to do that so that you really learn
that.
| | 03:30 |
Because here you can see it allowed me to
create this dynamic layout without a lot
| | 03:35 |
of effort.
| | 03:35 |
| | Collapse this transcript |
| Applying layer style effects| 00:00 |
This movie is going to be interesting
because here we're going to focus in on
| | 00:04 |
how we can add layer style effects to our
individual layers.
| | 00:09 |
Before we start to work with layer style
effects, let's become familiar with our document.
| | 00:14 |
Let's check out our layers.
Now if we make our way over to the Layers
| | 00:18 |
panel, you may notice that my layer of
thumbnails are really, really small.
| | 00:22 |
I talked about in a previous movie, how
you can change the size of the thumbnails.
| | 00:27 |
And I mention how you can go to the
Layer's panel, and then click on this
| | 00:31 |
icon here.
And then choose Panel Options in order to
| | 00:34 |
open up the dialog which allows us to
change our thumbnail size.
| | 00:38 |
Yet there's also a shortcut that you can
use in order to do that.
| | 00:42 |
And here I want to highlight that
shortcut.
| | 00:44 |
Simply position your cursor over the
Layers panel and then right click or Ctrl+click.
| | 00:50 |
Here you'll see those same options.
In this case I'll go to Large Thumbnails
| | 00:54 |
and now I can see my layers much better.
Now what do we have here?
| | 00:58 |
Well if we click on the eye icon of our
background layer we can see that we just
| | 01:02 |
have a background which is white.
Next we have a photograph of a leaf.
| | 01:07 |
If I select the Move tool you can see
that we can click and drag this around.
| | 01:11 |
This is a photograph where the background
has been deleted.
| | 01:14 |
Alright, well let's go ahead and turn on
our background and start to take a look
| | 01:18 |
at how we can add layer style effects to
these different layers.
| | 01:22 |
The two layers that we have above are
Text layers.
| | 01:25 |
Here you can see how we can turn those on
and off.
| | 01:28 |
To add a Text layer to your document you
simply click on the Text tool, and then
| | 01:33 |
you type away.
I've already added a couple of Text
| | 01:35 |
layers, so let's just use those.
Well, next what I want to do, is apply a
| | 01:40 |
layer style effect in particular to the
leaf.
| | 01:42 |
I want to add a drop shadow.
To do that you want to select the layer
| | 01:46 |
you want to work on, and next click on
the fx icon.
| | 01:50 |
You'll find this at the bottom of the
Layers panel.
| | 01:53 |
Here, when you click on that, you'll
notice that you have a number of
| | 01:56 |
different options.
We can add a Brush Stroke around the edge
| | 01:59 |
of what we're doing.
An Inner-Glow or Shadow.
| | 02:01 |
We can also choose drop shadow.
Let's select that option there.
| | 02:05 |
Now when we do that, it opens up my Layer
Styles dialogue which is great but its
| | 02:10 |
also covering the image a little bit.
So, here I'll press the Space Bar key and
| | 02:14 |
click and drag in order to just position
this off to the left so we can see how
| | 02:18 |
this particular effect will appear as we
change its settings.
| | 02:22 |
Alright well, lets get familiar with the
Layers Styles dialogue.
| | 02:26 |
On the left hand side we have different
styles or effects we can apply.
| | 02:30 |
Currently we're working with drop shadow,
you can turn that option on or off here.
| | 02:34 |
Here, obviously, we want this on.
Next, we have some controls.
| | 02:39 |
Now, the main controls are located right
here.
| | 02:42 |
And some of these controls we can change
by simply clicking and dragging.
| | 02:46 |
Let me show you what I mean.
We can change the overall angle of the
| | 02:49 |
drop shadow by dragging this around or we
can change the distance from the object
| | 02:54 |
as you can see here.
In this way you can start to see how I
| | 02:57 |
can change this.
Now we can use these controls, but what I
| | 03:01 |
prefer to do, is just to hover over the
image and then click and drag.
| | 03:05 |
In this way you can see how I can change
the angle and the distance for this drop shadow.
| | 03:10 |
This allows you to really quickly, and
easily make a change to your drop shadow.
| | 03:14 |
All right, well next, we have a few
controls that you can only modify here.
| | 03:18 |
Let's first use Size.
Now what Size does, is it really controls
| | 03:23 |
the overall edge there as you can see.
Now, it's much softer.
| | 03:27 |
Spread, as I click and drag this up, you
can see how that's increasing or
| | 03:30 |
decreasing in this sense, the overall
size.
| | 03:33 |
So, here, we can use these controls in
order to dial in.
| | 03:36 |
The drop shadow, as we want it to appear.
Next, I want my drop shadow to be a bit
| | 03:41 |
closer to my object, so I'll go ahead and
bring that in closer here, so we now have
| | 03:45 |
just a little bit of a drop shadow
showing around the photograph.
| | 03:49 |
Once you're ready to apply a layer style
effect, simply click OK.
| | 03:54 |
Now you can see the layers style effect
shows up underneath the image.
| | 03:57 |
In this case underneath our Leaf layer.
Here we can turn the visibility of this
| | 04:02 |
on and off by clicking on this icon here.
You'll also notice that there's a new icon.
| | 04:07 |
The fx icon showing me that I have layer
style effect applied.
| | 04:11 |
You can open and close the view of the
layer style effects by clicking on this
| | 04:16 |
little icon right here.
Let's move to one of our text layers.
| | 04:21 |
Here I'll move up to the layer which is
titled, layers.
| | 04:24 |
Next, we'll go to our layer style effects
icon and this time what I want to do is
| | 04:29 |
add a drop shadow and another effect.
So, lets start off with the drop shadow.
| | 04:33 |
We'll click on drop shadow, and that will
open up this dialogue.
| | 04:37 |
Let me zoom in on this image a little
bit.
| | 04:39 |
So that you can see that up close.
Here if I click on this eye icon, you can
| | 04:43 |
see the before and then now the after.
In this drop shadow, we know we can
| | 04:47 |
change by clicking and dragging this
around.
| | 04:50 |
And so here I'm going to do that and drag
that around a little bit.
| | 04:53 |
Next if I want to change just this layer,
what I can do is I can control that with
| | 04:57 |
these sliders here.
When I click and drag you'll notice that
| | 04:59 |
I'm changing all of the layers.
And you can see that happening on the
| | 05:03 |
leaf drop shadow as well.
So, here I'll go ahead and just make a
| | 05:06 |
few changes to this.
In order to get that to look good.
| | 05:10 |
Then I also want to add a brushstroke.
A little outer edge.
| | 05:14 |
I want that outer edge to be blue.
To apply that effect, click in to this
| | 05:19 |
option here.
Next, we need to change the brushstroke.
| | 05:23 |
To do that you need to click into that
almost think of this like a layer right?
| | 05:28 |
Here you can see how we can click into
this and it changes the controls or the
| | 05:31 |
options we have on the right.
In this case I mentioned I'm interested
| | 05:35 |
in a blue brush stroke so I'll click into
the color chip.
| | 05:39 |
Then I'll go ahead and go into my color
picker and I'll choose the color blue in
| | 05:43 |
order to add that here to this layer.
Alright, well next I'll click OK, in
| | 05:48 |
order to apply that.
And here, again, we'll see that we have
| | 05:51 |
some layered style effects applied to
this particular layer.
| | 05:55 |
We can expand and collapse a view of
those by clicking on this icon here so
| | 06:00 |
that we can then either close or open the
view of the layer style effects.
| | 06:04 |
Now, if ever you decide, you know what?
I don't really like the color blue.
| | 06:08 |
I really want the color red.
Well, you can always change it just by
| | 06:13 |
double clicking on the layers style
effect.
| | 06:15 |
That will reopen our dialogue.
Rather than choosing blue, I'll go back
| | 06:19 |
to my color chip, this time, I'll choose
bright red.
| | 06:23 |
An now I have that.
I also am going to choose the overall
| | 06:25 |
size of this.
I'll decrease this a little bit so that
| | 06:27 |
it's a, thinner line, or I can make it
thicker as well.
| | 06:31 |
So, in this way you can see how you can
really easily, modify these layer style effects.
| | 06:36 |
Alright, well next click, OK.
Alright, well, here for my last layer,
| | 06:41 |
the Photoshop layer, I simply want to add
a drop shadow to it.
| | 06:45 |
So, rather than applying the layer effect
we've done previously, I want to share
| | 06:49 |
with you one more handy tip.
Previously we've talked about how you can
| | 06:54 |
target a layer and then navigate to the
fx icon and choose the effect.
| | 06:58 |
Well, another way to open up the layer
style effects dialog, is to simply double
| | 07:03 |
click on the layer.
Now you want to make sure you're not
| | 07:06 |
double clicking on the name of the layer.
So, position your cursor off the name and
| | 07:10 |
then double click.
In doing that, it will open up the layer
| | 07:13 |
style dialog without any effect applied.
Well the effect that I want, as I
| | 07:18 |
mentioned, is drop shadow, so I'll choose
that option.
| | 07:22 |
Click in the drop shadow here, and then I
can control how this appears.
| | 07:25 |
And in this way we can control the
overall effect which shows up behind that
| | 07:30 |
part of the image.
Next here we'll click OK in order to
| | 07:34 |
apply that.
And then I'll zoom out a little bit so
| | 07:37 |
that we can see this a bit better.
And here we can see our image which is
| | 07:40 |
finished after we've added these layer
style effects.
| | 07:44 |
We've created some interesting effects on
the photograph by creating a drop shadow,
| | 07:48 |
a brush stroke, and there are many other
layer style effects as well.
| | 07:52 |
So, if you haven't ever used layer style
effects, I recommend that you take a
| | 07:56 |
break in this course right now and just
experiment with those effects.
| | 07:59 |
Because they can allow you to really
modify your photos in some fascinating ways.
| | 08:04 |
| | Collapse this transcript |
| Changing layer opacity| 00:00 |
Now that we know some of the essentials
of how we can work with layers in
| | 00:04 |
Photoshop, what I want to do here is
provide you with a few more advanced tips
| | 00:08 |
for working with layers.
And in particular, I'm want to talk about
| | 00:11 |
how we can change layer opacity and how
we can group or organize our layers
| | 00:16 |
panel, and also how we can filter and
find layers.
| | 00:20 |
Well, let's start off by becoming
familiar with this project.
| | 00:24 |
Now, I've talked about before how you can
click on an eye icon in order to show or
| | 00:28 |
hide the visibility of a layer.
Yet you can also click and drag across
| | 00:33 |
multiple layers or groups in order to
turn off the visibility of those layers
| | 00:38 |
or groups, and that's what I've done
here.
| | 00:40 |
Now, this is a project that was created
in one of my more advanced Photoshop
| | 00:44 |
courses as we looked at how we could
create creative layer effects.
| | 00:48 |
And here, if we click through the layers
we can see how this particular project
| | 00:52 |
came together.
You can see there are some color
| | 00:54 |
adjustments and blending.
Other creative adjustments, adding
| | 00:57 |
texture, then modifying the overall color
and tone and again making some other
| | 01:02 |
adjustments, adding text and then finally
a border.
| | 01:05 |
Now one of the things that we can do
which is interesting is, we can click
| | 01:09 |
into one of our layers, like this text
layer here near the top, and we can
| | 01:13 |
change its opacity or intensity.
Here if I click and drag this to the
| | 01:17 |
right, we'll see that those words are
more legible.
| | 01:20 |
As we drag this to the left, well, that
becomes less intense and the words kind
| | 01:25 |
of blend into the background.
So, opacity allows us to control the
| | 01:30 |
intensity of a layer, and we can change
the opacity on a Text layer or on a Color
| | 01:35 |
Adjustment layer.
If you make your way down two layers
| | 01:37 |
below this Text layer, to one where you
have a balance icon, you can click into a
| | 01:44 |
Color Balance layer.
This is a layer adjustment which we'll be
| | 01:47 |
talking about later but for now, I simply
want to highlight that this allows us to
| | 01:52 |
affect the color.
Here's before and then here's after.
| | 01:55 |
Yet we can control the intensity of this
effect with the opacity slider.
| | 02:00 |
Drag this to the left, well, it becomes a
little bit less intense.
| | 02:03 |
Drag it to the right and we can really
crank this up.
| | 02:07 |
Well, in this way we're really starting
to see how we can change opacity which in
| | 02:11 |
turn will change a layer's intensity.
Alright, well next, I want to talk about
| | 02:15 |
how we can organize our layers; and also
how we can filter and find layers.
| | 02:20 |
So, let's go ahead and leave this image
open, and let's do that in the next movie.
| | 02:24 |
| | Collapse this transcript |
| Organizing and filtering layers| 00:00 |
Layers really do allow us to be creative,
they give us a lot of flexibility.
| | 00:05 |
Yet one of the downsides that can happen
when you're working with layers, is that
| | 00:09 |
sometimes, your layers can become a bit
disorganized.
| | 00:13 |
And here what I want to talk about is how
we can organize, or group our layers together.
| | 00:18 |
I also want to highlight a technique that
you can use in order to filter or find layers.
| | 00:22 |
Alright, well with this particular
document, you can see that we have a lot
| | 00:26 |
of layers.
And you may have noticed that there's
| | 00:28 |
this little icon here.
This is a layer group.
| | 00:32 |
You can click to expand this group, and
inside of it you can see that I have a
| | 00:36 |
number of different layers.
Click on this icon again and it will collapse.
| | 00:41 |
And one of the best ways that you can
organize your layers is to group them together.
| | 00:46 |
For example, here in this project,
really, the progress is the original
| | 00:50 |
file, some color and blending, creative
adjustments.
| | 00:52 |
And then all of our final adjustments.
I want to group together these final adjustments.
| | 00:58 |
And in order to do so, you want to click
in the topmost layer.
| | 01:02 |
Then hold down the Shift key.
And then click in the bottom-most layer.
| | 01:05 |
Of the layers that you want to group
together.
| | 01:07 |
Next what you can do is click and drag
these layers to the group icon.
| | 01:12 |
Which you'll find at the base of the
Layers panel.
| | 01:15 |
Now you'll notice that my layers are so
much better organized.
| | 01:19 |
Here I can click this icon in order to
open and close this group.
| | 01:23 |
Yet I don't have to look at all of the
clutter of those layers.
| | 01:26 |
Which helps in turn, to focus in on the
project.
| | 01:29 |
Or to focus in on the photograph, which
is really important.
| | 01:32 |
Alright, well to rename a layer group,
all that you need to do is to double
| | 01:36 |
click on a layer name there.
And I'll just name this out final adjustments.
| | 01:40 |
And again this is just a handy way to be
able to organize your layers.
| | 01:43 |
Yet one of the downsides of working with
groups, is that you can't really.
| | 01:48 |
See the underlying layers.
Like let's say I want to modify this text
| | 01:52 |
layer and I can't remember if it's here
or if it's here and so I have to go digging.
| | 01:58 |
Well there has to be a better way, right?
Well there is.
| | 02:01 |
What you can do is, you can filter the
layers that you're viewing inside the
| | 02:06 |
Layers panel.
If you notice up top we have a few
| | 02:09 |
options right here.
These options allow us to different things.
| | 02:13 |
We can filter it based on different
criteria.
| | 02:16 |
For example we can filter based on kind.
I want to view only my text layers.
| | 02:22 |
So here, I'll click on this icon which
will then just show me my text layers.
| | 02:28 |
Now, at first glance you may be a little
bit nervous, like, what happened to the
| | 02:31 |
rest of my layers.
Well, don't worry, they have just been
| | 02:34 |
hidden from view.
They all still exist, it's just showing
| | 02:38 |
us certain layers.
If you click on the toggle switch you can
| | 02:42 |
then turn that off and that will then
bring back all of the other layers.
| | 02:46 |
Well, here, what I want to do is get to
that text layer, so I will filter based
| | 02:50 |
on kind and the kind of the layer that
I'm looking for is a Type layer.
| | 02:54 |
So, here now, I have that Type layer.
I'll click into that and then, I'll
| | 02:58 |
increase my opacity in order to bring
that layer up, in order to be able to see
| | 03:02 |
the text a little bit more.
And now I have quickly and easily
| | 03:06 |
finished that task.
Again, after having performed that task,
| | 03:10 |
next, simply click on this flip switch
here.
| | 03:13 |
And that will then disable the filtering
so that you will see all of the layers
| | 03:17 |
that you have in your document.
| | 03:19 |
| | Collapse this transcript |
|
|
11. Improving Basic Exposure and ToneAdding brightness and contrast| 00:00 |
In the last chapter we focused in on
working with layers.
| | 00:03 |
Well here I want to take a look at how we
can build upon what we've learned.
| | 00:08 |
An I want to explore how we can create
new layers, in order to correct or
| | 00:12 |
enhance our photographs.
We'll start off with this portrait here
| | 00:16 |
that I captured of my daughter Annika,
one of her soccer practices that I was coaching.
| | 00:20 |
Well, this is one of those photographs
that looks good, but it looks like it's
| | 00:24 |
missing a little bit of brightness and
contrast.
| | 00:27 |
In order to improve the photograph, let's
take a look at how we can do that on a
| | 00:31 |
new layer.
Here, we'll navigate to our Layers panel,
| | 00:34 |
and we'll click into the Background
layer, and we'll drag to the new layer
| | 00:37 |
icon which we can find down below.
So, click on your background layer, drag
| | 00:41 |
that to the new layer icon that will give
you a copy of your background layer.
| | 00:45 |
Next, let's rename this layer.
You can do so by double-clicking on the
| | 00:50 |
layer name and then just typing a new
name.
| | 00:52 |
Here I'll double-click, and I'll type in
the new name, correction, because I
| | 00:56 |
want to apply a correction here.
What kind of correction?
| | 00:59 |
Let's take a look.
Here, we'll go to our Image pull down
| | 01:02 |
menu, and then choose Adjustments.
In the Adjustments panel, you'll notice
| | 01:06 |
that we have a lot of powerful controls.
I want to highlight the one that we have
| | 01:10 |
up top.
It's called brightness and contrast.
| | 01:14 |
Click on that, and it will launch our
Brightness and Contrast dialogue.
| | 01:18 |
Now this dialogue is small yet
nonetheless really helpful.
| | 01:22 |
Here what we can do is brighten the image
and also modify its contrast which in
| | 01:26 |
turn will also affect its overall color.
Let me show you what I mean.
| | 01:30 |
Well here as I click and drag my
Brightness slider I can either darken the
| | 01:34 |
image or brighten the image, and we can
go pretty far with this as you can see here.
| | 01:39 |
Well obviously, we won't want to go that
far so here I'll just go ahead and
| | 01:42 |
brighten the image up until it looks good
to my eye.
| | 01:44 |
Now when we brighten an image up
sometimes what happens is we lose a
| | 01:49 |
little bit of contrast or definition or
color saturation in the photograph.
| | 01:53 |
And that's the case here.
Yet we can fix that by using our Contrast slider.
| | 01:58 |
This one works the same way.
Drag to the left to reduce, drag to the
| | 02:02 |
right to increase.
So, here in this case we'll just bring
| | 02:05 |
the slider up a little bit until the
photograph looks good.
| | 02:08 |
All right well that looks great.
We can see our before and after by
| | 02:11 |
clicking on this check box here, here's
before and now here's after.
| | 02:16 |
And the great thing about this approach
is that we are making all of these
| | 02:19 |
adjustments to a seperate layer.
This will give us some flexibilty, let me
| | 02:24 |
show you what I mean.
Here, we'll click OK in order to apply
| | 02:28 |
those adjustments.
At this point, there is no going back.
| | 02:31 |
We can't go back to the brightness or
contrast sliders because those
| | 02:36 |
adjustments have been made.
Yet because the adjustments have been
| | 02:40 |
made to a separate layer as we can see
here in the Layers panel, we can always
| | 02:44 |
modify this.
In other words, if the adjustments are
| | 02:47 |
too strong, well I can just go to the
Opacity slider and I can decrease the
| | 02:51 |
opacity in order to bring that back a
little bit.
| | 02:54 |
In this way it just give us a bit of
extra flexibility.
| | 02:57 |
Alright, well let's take a look at the
overall before an after.
| | 03:00 |
Here it is before.
An then now, after.
| | 03:04 |
| | Collapse this transcript |
| Fixing an image that is too bright| 00:00 |
In this chapter our focus is Layers and
Adjustments.
| | 00:03 |
So let's continue that focus as we look
at how we can correct an image which is
| | 00:07 |
overexposed or too bright.
In this case the image is a bit too
| | 00:12 |
bright as we can see here.
So let's correct that by first
| | 00:15 |
duplicating the background layer and then
by applying some adjustments to the new layer.
| | 00:19 |
So here we'll navigate to the Layers
panel.
| | 00:22 |
Let's click and drag this layer to the
new layer icon in order to copy or
| | 00:26 |
duplicate it.
And then we want to rename this layer.
| | 00:29 |
Now you can rename you duplicate layer
whatever you want.
| | 00:33 |
Here I'll recommend we name this
Corrections.
| | 00:35 |
So we'll double-click in the layer name.
And we'll go ahead and type out Corrections.
| | 00:39 |
Also there's a side note.
It's a good idea to name your layer so
| | 00:43 |
that your layers are nice and organized.
Next we'll navigate to our Image,
| | 00:47 |
Pull-down menu.
Here we'll choose Adjustments, and once
| | 00:50 |
again we'll select brightness and
contrast.
| | 00:54 |
The brightness and contrast controls as
we've seen before, allow us to either
| | 00:57 |
brighten our image or in this case what
we need to do is darken it.
| | 01:01 |
So here I'll go ahead and darken the
image.
| | 01:04 |
Decreasing the exposure so that the image
looks better, yet now it is really
| | 01:08 |
lacking some contrast.
So in this case I'll click and drag my
| | 01:11 |
contrast slider to the right, in order to
improve the image.
| | 01:15 |
Then I'll modify the brightness slider.
It's a bit of a dance between these two
| | 01:18 |
sliders as we seek to find just the right
look for our photograph.
| | 01:22 |
I think that looks pretty good.
Click on the Preview checkbox.
| | 01:25 |
Here's before, and then now here's after.
We have much better detail there in the
| | 01:30 |
sky, we can see all of these beautiful
blue colors as well.
| | 01:34 |
We'll next click OK in order to apply
those adjustments and let's evaluate how
| | 01:39 |
we've done.
Here's before and then now here's after.
| | 01:42 |
Well now that I've corrected the overall
color and tone, what I want to do is get
| | 01:46 |
a little bit creative with this image.
And in order to do that, I'll continue to
| | 01:50 |
work on this layer.
Then I'll navigate to the Image,
| | 01:53 |
Pull-down menu, and here I'll choose
Adjustments.
| | 01:57 |
Now we'll be talking more about many of
the different options that we have for
| | 02:00 |
adjustments in regards to color.
This group right here, we'll be talking
| | 02:04 |
about that later.
Yet for now I just want to highlight how
| | 02:07 |
we can use these.
Simply click on an Option, for example,
| | 02:10 |
let's try color bounds.
Well here in color bounds, we have the
| | 02:14 |
ability to control the overall colors.
We can drag to the left or the right, and
| | 02:19 |
here we can change the characteristics of
our photograph.
| | 02:22 |
What I want to do is make this image more
blue.
| | 02:25 |
So I'll go down to the blue yellow slider
here and rather than dragging to the left
| | 02:29 |
to make this image more yellow I'll drag
to the right to make this image a bit
| | 02:33 |
more blue.
Now as we increase that blue color we can
| | 02:37 |
also modify the type of blue, in other
words we want this to be a bit blue-cyan.
| | 02:43 |
We might go to our cyan-red slider here
and drag to the left.
| | 02:47 |
In this way we have a shift in that blue
color.
| | 02:50 |
Here you can see how I can customize the
type of blue that I'm creating on my photograph.
| | 02:55 |
And this is where things get really fun
and interesting.
| | 02:58 |
Alright, well again here, I just wanted
to sneak in a little technique that we
| | 03:01 |
can use here when working with color.
So let's go ahead and modify the color balance.
| | 03:06 |
Modifying our cyan slider and also the
blue-yellow slider.
| | 03:09 |
Increasing the blues and increasing the
cyans there.
| | 03:12 |
And in order to apply those adjustments
just click OK.
| | 03:15 |
Now that we've modified the brightness
and contrast and the color, we can click
| | 03:20 |
on the eye icon to see the before and
after.
| | 03:22 |
Here's the before, and then now here is
the after.
| | 03:26 |
And once again, we're encountering this
idea that when we work with layers, well
| | 03:30 |
it gives us extra flexibility, and it
also helps us to be creative, as we start
| | 03:35 |
to work on our images, as we've done
here.
| | 03:38 |
| | Collapse this transcript |
| Brightening the shadow areas of a photo| 00:00 |
Let's continue our conversation about how
we can improve or enhance our photographs
| | 00:05 |
by making adjustments to new layers.
And here, I want to focus in on how we
| | 00:09 |
can take a photograph which looks a bit
lackluster and make it look amazing.
| | 00:13 |
Here we have a photograph of a surfer and
this is an interesting picture regards to
| | 00:18 |
it's composition.
And I want to improve the overall
| | 00:21 |
exposure in color and tone.
So therefore, let's start off by
| | 00:25 |
duplicating the background layer.
To do that click into the background
| | 00:28 |
layer and drag this layer to the new
layer icon.
| | 00:31 |
Next, let's rename the copy layer here.
The one up top you can do so by
| | 00:36 |
double-clicking into the layer name.
I'm just going to go ahead and rename
| | 00:39 |
this layer Corrections.
Next, we'll navigate to our Image,
| | 00:44 |
Pull-down menu just as we did before.
Here we'll select Image then we'll choose
| | 00:49 |
Adjustments, and we'll start off with
brightness and contrast.
| | 00:53 |
Click on that.
And as we saw in the previous movie, we
| | 00:56 |
can use these controls in order to
brighten up the image a little bit and
| | 00:59 |
also add some contrast.
Well here I can do that, yet it doesn't
| | 01:04 |
fully solve the problem.
Let me show you why.
| | 01:06 |
If we click on our Preview check-box,
here's before, and then now here's after.
| | 01:11 |
The image looks a little bit better, but
really the problem is all of the shadow
| | 01:15 |
area that I have here.
I need to brighten that area up specifically.
| | 01:20 |
Also, I need to be careful that I don't
brighten this image up too far.
| | 01:24 |
Because then I'll over expose the wave.
So, in this case we're discovering that,
| | 01:29 |
you know what?
The brightness and contrast controls
| | 01:31 |
here, well they can do a little bit for
us, but not that much.
| | 01:35 |
I need to dig deeper.
So, I'll dial in my settings here,
| | 01:38 |
increasing the brightness a little bit,
and also adding just a touch of contrast.
| | 01:42 |
And then I'll click OK.
Next what I want to do is navigate to a
| | 01:46 |
new set of controls which allow me to
really work on the shadow areas.
| | 01:51 |
So here, we want to make sure we've
targeted the layer we want to work on, in
| | 01:54 |
this case, Corrections, that layer there.
Navigate to your Image, Pull-down menu.
| | 02:00 |
Then chose Adjustments and here we'll
select Shadows and Highlights.
| | 02:04 |
This will open up our Shadow and
Highlights dialogue.
| | 02:08 |
In this case, you can see that right away
it's already improved the photograph.
| | 02:12 |
Here if we click on the Preview check-box
you can see the before and then now the after.
| | 02:17 |
It's a brighten up this part of the
picture.
| | 02:19 |
That's because this dialogue, it allows
us to make adjustments which primarily
| | 02:24 |
affect either the darker tones, the
shadows, or the brighter tones, the highlights.
| | 02:29 |
If we work with our shadow slider you can
see how I can leave those shadows as is
| | 02:34 |
or I can brighten those up so I can bring
in a lot of light onto this area of the photograph.
| | 02:39 |
In regards to our Highlights slider,
we'll talk about that more in another movie.
| | 02:43 |
Yet here I just want to highlight that we
can darken those highlights as you can
| | 02:47 |
see here.
And that's really darkening those
| | 02:49 |
brighter areas in the photograph, in this
case the wave.
| | 02:52 |
With this photograph we really don't need
to work on the highlights much.
| | 02:56 |
Really we need to work on our shadows.
So here we'll go ahead and bring this
| | 03:00 |
amount up a little bit, so we can
brighten up all of that part of the photograph.
| | 03:05 |
Once we have it where we want it, simply
click OK.
| | 03:07 |
And then back to the Layers panel.
We can click on the Eye icon.
| | 03:11 |
Here it is, our before and then now our
after.
| | 03:15 |
So in this case, to reiterate, we've
encountered that we can make multiple
| | 03:19 |
adjustments to one layer in order to make
some fascinating improvements to the
| | 03:24 |
overall tone and color in our
photographs.
| | 03:27 |
| | Collapse this transcript |
| Correcting overexposure| 00:00 |
Let's take a look at how we can correct
the highlights in this photograph.
| | 00:04 |
The highlights or the snow, the bright
areas in the image, it's a bit over exposed.
| | 00:09 |
One of the ways that we can correct that
area is by using the shadow and
| | 00:13 |
highlights controls.
Now we can apply these adjustments
| | 00:16 |
directly to the Background layer.Yet when
we do that we lose a little bit of
| | 00:21 |
control or flexibility.
Therefore what I like to do is to
| | 00:24 |
duplicate or copy the background layer.
So let's click into the Background layer
| | 00:28 |
then click and drag this to the new layer
icon.
| | 00:31 |
Next we'll rename the duplicate or the
copy layer to Corrections.
| | 00:35 |
So double-click that layer name then go
ahead and type the word Corrections.
| | 00:40 |
Next, we'll navigate to our Image Pull
down menu.
| | 00:43 |
Here we'll chose Adjustments and then
we'll select Shadows and Highlights.
| | 00:48 |
This will open up our Shadows and
Highlights dialogue.
| | 00:51 |
Now, this is an image that we already
worked in on one of the previous chapters
| | 00:55 |
in Adobe Camera Raw.
Yet I wanted to show you here how you can
| | 00:58 |
make a similar correction using shadow
and highlights.
| | 01:01 |
Now the default settings of the amount of
35% for my shadows doesn't help this
| | 01:06 |
image so here I will decrease that all
the way to zero.
| | 01:09 |
What I want to do is work on the
highlights.
| | 01:12 |
So in this case I'll click and drag this
to the right.
| | 01:15 |
Now I'm going to exaggerate for a moment
just so we can focus in on what's happening.
| | 01:19 |
The snow looks great down here yet
there's some problems in the other area
| | 01:23 |
of the photograph.
Here's the before and after.
| | 01:26 |
We click on the p key we can see the
before and now we can see the after.
| | 01:31 |
Now if ever you're working with either of
these controls, shadows or highlights and
| | 01:35 |
you just need to fine-tune things a bit
more.
| | 01:38 |
What you might want to do is click on
this option to show more options.
| | 01:42 |
Now when you do this, at first glance it
will look really confusing.
| | 01:46 |
Yet let me explain what happens here when
we click on that option.
| | 01:49 |
Well, up top we have our shadows
controls.
| | 01:53 |
Because the amount is zero, this isn't
affecting the image in any way, shape or form.
| | 01:57 |
In other words we've turned off shadows.
Next, we have our highlights.
| | 02:01 |
Remember the amount was 100%.
Well, here it is.
| | 02:04 |
Where we can control the overall amount
of our highlight correction.
| | 02:08 |
Then we have a few sliders underneath.
Tonal Width and Radius.
| | 02:13 |
And then some other adjustments, which
I'll get to in a minute.
| | 02:15 |
But what Tonal Width allows us to do is
to control which tones we're affecting.
| | 02:20 |
If we drag this to the right, you can see
we're affecting a lot of the image.
| | 02:24 |
If we drag this to the left, well here
you'll notice primarily I'm just
| | 02:29 |
affecting the snow.
Let me show you.
| | 02:31 |
If I click on the Preview check box,
here's before and then here's after.
| | 02:35 |
Now I'm affecting the snow and also some
of the other brighter tones in the image.
| | 02:39 |
Yet primarily it's really just focused in
on the brightest tones in the image.
| | 02:44 |
That's what Tonal Width allows you to
dial in.
| | 02:46 |
Next, you can think of your Radius as
controlling the edge.
| | 02:51 |
Here I'm going to exaggerate for a
moment.
| | 02:53 |
So I'll go ahead and bring this up just a
little bit more and then I'll drag my
| | 02:57 |
Radius slider over to the right.
Notice that underneath the boots where
| | 03:01 |
there's a bit of transition.
Its a bit of a softer transition.
| | 03:04 |
Drag to the left now its a bit more
harsh.
| | 03:07 |
It also looks a bit more strange in the
face with some of these brighter tones.
| | 03:11 |
So for smoother transitions, you can drag
that Radius slider up.
| | 03:15 |
Now here of course I have exaggerated
quite a bit by having an amount of 100%.
| | 03:20 |
That isn't very realistic.
We might have an amount perhaps of about
| | 03:24 |
40, that we could bring our radius down
as well.
| | 03:26 |
And also experiment with the overall
Tonal Width.
| | 03:30 |
In this case, like we've made a nice
correction to the snow area.
| | 03:34 |
Click on the Preview check box.
Here's before and then now here's after.
| | 03:38 |
If we need to bring back a little bit of
contrast, we can do so using this
| | 03:42 |
Mid-tone Contrast slider.
We can also work with the overall color
| | 03:46 |
because as we affect the brightness or
shadows or the highlights it can effect
| | 03:50 |
the color.
You can drag to the left in order to
| | 03:53 |
remove some color or drag to the right to
bring some color back.
| | 03:57 |
Or some increase contrast in color
saturation there with our color
| | 04:00 |
correction slider.
In other words contrast allows us to
| | 04:03 |
bring up a bit of contrast color allows
us dragging to the right to bring back
| | 04:08 |
some of that color.
Alright, so far so good, I think that
| | 04:11 |
looks great.
We'll click OK.
| | 04:13 |
Now when we turn on the eye icon or when
we click on the eye icon here, before and
| | 04:18 |
then after.
We have better detail in the foreground,
| | 04:21 |
let me zoom in on that so we can focus in
on that.
| | 04:23 |
Here's before and after.
I have good detail there, yet the image
| | 04:27 |
still is a bit lacking.
Well here is where we might revisit one
| | 04:30 |
of our other adjustment controls.
For example, you could go down to Image,
| | 04:35 |
choose Adjustments and then select one of
these other controls.
| | 04:39 |
Let's try Brightness and Contrast.
In Brightness and Contrast, all that I'm
| | 04:43 |
going to do is just add a bit more
contrast there.
| | 04:46 |
I'm also going to decrease the brightness
attach as well because I feel like the
| | 04:50 |
image in general was a bit too bright.
Next I'll click OK.
| | 04:54 |
And now we have two different adjustments
which have been applied to this layer here.
| | 04:59 |
We'll click on the Eye icon.
Here is our before and then now here is
| | 05:03 |
our after.
So as we're starting to see here we can
| | 05:06 |
use these adjustments to make small
little corrections.
| | 05:10 |
We can also use these adjustment controls
in order to make enhancements.
| | 05:14 |
And sometimes as we start to work on our
images we'll need to do a bit of both.
| | 05:17 |
We'll need to correct and enhance.
And here you can see how we can do that
| | 05:22 |
by using these controls that we'll find
in our Adjustments Pull down menu.
| | 05:26 |
| | Collapse this transcript |
|
|
12. Making Selections and AdjustmentsSelecting with the Elliptical Marquee tool| 00:00 |
In the Photoshop community, it's common
to hear people say, you need to select
| | 00:05 |
before you correct.
And it's true.
| | 00:07 |
And, you know, the better you can get at
selections.
| | 00:10 |
Well, the better your corrections and
enhancements.
| | 00:13 |
And so here, let's take a look at a few
selection tools that we can use in order
| | 00:17 |
to select a portion of our image.
In order to make a correction, an
| | 00:21 |
enhancement, or a change.
To that area of our photograph.
| | 00:25 |
We'll be working with this photograph of
my little Annie here dressed up in her
| | 00:28 |
Halloween costume as a sweet pea.
And what I want to do is change a portion
| | 00:33 |
of the costume.
I want to change an area of color.
| | 00:36 |
All right, let's navigate over to the
Tools panel.
| | 00:39 |
You know, if you have a toolbox,
typically, you have the tools which you
| | 00:43 |
use most often near the top or somehow
easily accessible in that toolbox.
| | 00:48 |
And so it is with our Selection tools.
We'll find those right up top up here.
| | 00:52 |
And let's start off with the very first
selection tool which is this one.
| | 00:56 |
It's called the Rectangular Marquee.
Now, when you select this tool, you can
| | 01:00 |
then position the cursor over your image,
and then you can click and drag.
| | 01:04 |
Now, when you click and drag over the
image, you'll see these little white and
| | 01:08 |
black dashes.
Now, these are called marching ants, and
| | 01:12 |
these are signifying that this area is
selected.
| | 01:16 |
Once we've selected an area, what we can
do is navigate to our image pull down menu.
| | 01:21 |
We can choose adjustments and then here,
just for fun, let's choose hue saturation.
| | 01:26 |
This will open up our hue saturation
dialogue, we'll talk more about this
| | 01:31 |
later but for now I just want to work
with this slider hue.
| | 01:34 |
As I click and drag this, you can see
that I can change the color of the area
| | 01:38 |
of the image inside of this selection.
Now it appears in a different color.
| | 01:43 |
Well in this case, this type of change
wouldn't really make sense, right?
| | 01:47 |
A rectangular selection on top of an
image.
| | 01:50 |
What I need to do is I need to make a
selection which is elliptical, which is
| | 01:54 |
closer to a circle.
So, here I'll go ahead and click cancel
| | 01:58 |
because that type of correction wont
work.
| | 02:01 |
Then, I need to deselect.
To do that we navigate to the Select pull
| | 02:04 |
down menu and then chose Deselect.
Next, we're going to click and hold on to
| | 02:09 |
the Rectangular Marquee tool and
underneath you'll notice a few others.
| | 02:12 |
The one that will work for us is called
the Elliptical Marquee tool.
| | 02:16 |
Go ahead and select that.
Then, position your cursor over the area
| | 02:21 |
that you want to work on and click and
drag.
| | 02:22 |
As you do that you notice that you can
drag out a circular or elliptical shape.
| | 02:27 |
Now in my case, I've brought out this
shape except it's anchored right there
| | 02:31 |
which doesn't really work.
I need to move the anchor point.
| | 02:36 |
Well to do that, once you have that
selection, you just press the spacebar
| | 02:40 |
key without letting go of your mouse
button.
| | 02:42 |
And then you can drag this around.
In this way, I can reposition this, and
| | 02:47 |
then resize by dragging, press the
Spacebar, resize by dragging.
| | 02:51 |
All the while, holding down the button on
your mouse until I have a selection
| | 02:56 |
exactly around this shape.
Alright, well that's perfect.
| | 03:00 |
The next step is going to be to go to our
Image pull-down menu.
| | 03:04 |
Here we'll choose Adjustments and then
we'll select Hue Saturation.
| | 03:08 |
This time we'll choose another color for
this area of the image and we'll just
| | 03:12 |
make this kind of fun.
We'll turn that into a purple color and
| | 03:15 |
then we'll click OK in order to apply
that adjustment.
| | 03:18 |
And then choose Select.
And then deselect.
| | 03:22 |
Alright, well so far so good.
We've made one change but we have a few
| | 03:25 |
more to make.
So let's take a look at how we can do
| | 03:28 |
this again.
And also I want to show you a shortcut in
| | 03:31 |
a moment.
So here we have our Elliptical Marquee.
| | 03:34 |
We click and drag across an area of our
image.
| | 03:37 |
If it isn't in the right spot we press
the spacebar key.
| | 03:40 |
Click and drag to reposition this.
Let go of the spacebar and then drag the
| | 03:45 |
mouse again.
You'll want to practice this a few times
| | 03:48 |
because this is really a helpful way to
select a specific area.
| | 03:51 |
Now if ever you make a selection and your
realize, you know what.
| | 03:54 |
This isn't right.
Well, just go to Select and choose Deselect.
| | 03:58 |
And try again.
And in this way, we can just keep trying
| | 04:01 |
this technique until we get a good
selection.
| | 04:04 |
Alright, well here, I think I'm pretty
close, at least for demo purposes, and
| | 04:08 |
then I'll navigate to my Image pull-down
menu.
| | 04:11 |
Choose Adjustments, and then Hue
Saturation once agin, and this time I'll
| | 04:15 |
change it to a different color and click
OK.
| | 04:19 |
Alright well, what about if you already
have a selection, like this here, and you
| | 04:23 |
want to reuse it.
Well, rather than clicking and dragging
| | 04:26 |
again, what you can do is position your
cursor over an active selection.
| | 04:30 |
Notice that the cursor changes as I do
that.
| | 04:33 |
What you can then do is simply click and
drag in order to reposition the selection.
| | 04:38 |
As I want to do down here so that I can
then change the color of this part of the
| | 04:42 |
image really easily as well.
And then we'll do the same thing as
| | 04:46 |
before image, adjustments and hue
saturation.
| | 04:50 |
And here really we're just starting to
see how we can modify certain areas of
| | 04:54 |
our photograph.
Again I'll click OK.
| | 04:56 |
And now that we've realized that we're
going to make selections a lot and that
| | 05:01 |
we'll need to deselect those selections
quite frequently.
| | 05:05 |
Here I want to share with you a short cut
to do so.
| | 05:08 |
It's Cmd+D on a mac, or Ctrl+D on
windows.
| | 05:11 |
Think D for deselect.
If ever you forget that just go to the
| | 05:15 |
Select pull down menu and you'll see it
listed right there.
| | 05:18 |
That is one of the shortcuts you want to
write down, you want to memorize because
| | 05:22 |
you'll be using this one quite
frequently.
| | 05:25 |
So here let's go ahead and deselect that
selected area.
| | 05:29 |
Alright, well that looks pretty good.
We had some fun.
| | 05:31 |
We learned how to work with the
Elliptical Marquee tool.
| | 05:35 |
In particular we looked at how we could
make a selection and move that selection
| | 05:39 |
around and then apply a correction,
enhancement, or adjustments.
| | 05:43 |
To that selected area.
So, as you can start to see, selections
| | 05:47 |
really do allow you to modify specific
areas of your image.
| | 05:51 |
So let's continue to talk about how we
can work with the selection tools, and
| | 05:55 |
let's do that in the next movie.
| | 05:56 |
| | Collapse this transcript |
| Working with the Rectangular Marquee tool| 00:00 |
As we've seen so far, the Marquee tools
allow us to make elliptical or
| | 00:05 |
rectangular selections of specific areas
so that we can then perform or apply
| | 00:10 |
adjustments to those areas.
Well, let's continue this conversation,
| | 00:14 |
but here what I want to do is take a look
at how we can make a selection.
| | 00:18 |
And then I want to look at how we can
invert or reverse that selection so that
| | 00:23 |
we can select everything, but the
specified area.
| | 00:26 |
Let me show you what I mean.
This is a photograph that I captured in
| | 00:29 |
the UK, and what I want to do is I
want to desaturate everything in this
| | 00:34 |
image except for this red door here and
the light.
| | 00:38 |
So, let's go ahead and reach for one of
our Marquee tools.
| | 00:41 |
The one which will work better is the
rectangular Marquee tool, select that.
| | 00:46 |
Next, we'll go ahead and we'll position
our cursor over the image, and then click
| | 00:50 |
and drag in order to create a selection
of the area that we want to work on.
| | 00:54 |
In this case, this part of the image.
Well now currently, if I want to make an
| | 00:58 |
adjustment, it would only affect this
area.
| | 01:01 |
Let me show you what I mean.
Here, when we go to Image and choose
| | 01:06 |
Adjustments, and then let's try Hue
Saturation.
| | 01:09 |
If I were to desaturate this area by
dragging the Saturation slider to the
| | 01:13 |
left, what would happen is it would make
this area black and white, everything
| | 01:18 |
else would be color.
Well, that's the opposite of the effect
| | 01:21 |
that I actually want.
So, let's click Cancel here.
| | 01:25 |
Well, rather than affecting this area, I
want to affect everything else.
| | 01:29 |
To invert a selection, what you do is you
navigate to your select Pull-down menu
| | 01:34 |
and here you choose Inverse.
Now, everything but the door is selected,
| | 01:39 |
and here is where I can go back to that
adjustment.
| | 01:42 |
Now, we'll go to Image, we'll choose
Adjustment and then Hue Saturation.
| | 01:47 |
And this is where things get really
interesting because what we can do now,
| | 01:51 |
is we can remove all the color in the
entire image except for this part of our photograph.
| | 01:57 |
Here we'll click OK in order to apply
that, Select and then Deselect in order
| | 02:02 |
to see the overall effect.
And in this way, you are starting to see
| | 02:06 |
how you can make these selections, but
also at the same time, you can invert
| | 02:10 |
those selections when you want to work on
the opposite area of what you've selected.
| | 02:14 |
| | Collapse this transcript |
| Using the Polygonal Lasso tool| 00:00 |
Here I want to take a look at how we can
use our Lasso tools in order to make
| | 00:04 |
selections and then to apply adjustments
to those areas.
| | 00:08 |
The next tool that we will encounter in
our Tools panel is a Lasso tool.
| | 00:12 |
If you click on this tool, you will
notice that what you are doing is simply
| | 00:15 |
click and drag around a large area.
And you can create any kind of a shape as
| | 00:20 |
you work to make a selection.
All that you need to do is to make your
| | 00:24 |
way back to where you originally selected
the photograph.
| | 00:27 |
This is helpful for making free form or
rough selections.
| | 00:31 |
Often, what you'll do is make a selection
like this.
| | 00:34 |
And then you may modify it further with
some other tools.
| | 00:37 |
So again, the Lasso tool just allows you
to make these free-form selections.
| | 00:41 |
Well, that isn't what I want to do with
this photograph, so here I'll choose
| | 00:45 |
Select and then Deselect.
What I want to do is select this large
| | 00:49 |
area, so that I can have this area in
color and all of the rest in black and white.
| | 00:55 |
In order to select a large area where you
have straight lines, what you'll want to
| | 00:59 |
do is use the Polygonal Lasso tool.
This tool allows you to click in a
| | 01:03 |
certain area.
I'll click right here.
| | 01:05 |
And then drag down and click again.
Every time you click it will create a
| | 01:10 |
straight line between those points.
And here you can see how I've moved over
| | 01:13 |
to this spot.
I'll click there.
| | 01:16 |
And then I'll move my cursor to the back
of the image and click and click again
| | 01:20 |
and simply move and click.
And in doing that, you can see how you
| | 01:24 |
can start to make these selections or to
create the boundaries for your selection
| | 01:29 |
by clicking on these different points.
And in this case, you can see that I have
| | 01:33 |
made a selection out of straight lines.
So whenever you need to do that, when you
| | 01:37 |
have something which isn't really that
elliptical or rectangular but it has many
| | 01:42 |
sides well a Polygonal Lasso tool really
helps.
| | 01:46 |
Here with this particular selection, I
need to invert it as we did in the
| | 01:50 |
previous movie.
So we'll choose Select, and then Inverse.
| | 01:55 |
Next step will be to apply an adjustment.
And to keep things simple, let's apply
| | 01:59 |
this same adjustment as before.
Here we'll choose Image > Adjustments,
| | 02:02 |
and then Hue Saturation.
This control allows us to remove the saturation.
| | 02:08 |
And again, just removing the saturation
from all of the area which isn't selected.
| | 02:14 |
Next, we'll click OK, and then we'll go
to Select and choose Deselect.
| | 02:18 |
Or you may want to start using the
shortcut which I highlighted, which is
| | 02:22 |
Cmd+D on a Mac or Ctrl+D on Windows.
Either way, let's make that selection to
| | 02:28 |
deselect here, we'll click on that
option.
| | 02:30 |
And now we have finished our work on this
photograph, and along the way, we learned
| | 02:35 |
a little bit about how we can work with
our Lasso tools, which we can find here
| | 02:39 |
in the Tools panel.
And again, keep in mind the Lasso tool
| | 02:42 |
works well with free-form shapes.
The Polygonal Lasso tool, well, that one
| | 02:46 |
works really well when you have shapes
which have straight lines and, or when
| | 02:50 |
you have selections you need to make with
straight lines or straight edges.
| | 02:54 |
| | Collapse this transcript |
| Adding to or subtracting from your selection| 00:00 |
Now that we know a few things about
making selections, what I want to do next
| | 00:04 |
is dig a bit deeper.
In particular, I want to look at how we
| | 00:08 |
can add or subtract to the selected area.
And in order to illustrate how this
| | 00:13 |
works, we'll have a bit of fun.
And what we're going to do, is we're
| | 00:16 |
going to create a shape which is the
shape of a moon.
| | 00:19 |
And we're going to fill in that shape by
painting into it with our Brush tool.
| | 00:23 |
We'll be making this adjustment on a
separate layer, you can see that this
| | 00:27 |
particular document has two layers, and
we'll be working on this moon layer here.
| | 00:32 |
Alright, well for starters, let's go back
to making the selection itself.
| | 00:36 |
Now, we're going to use the Elliptical
Marquee tool, you can find that in the
| | 00:40 |
Tools panel over here.
So go ahead and select that tool.
| | 00:43 |
Next, I want you to click and drag to
create a shape.
| | 00:47 |
Currently we have a circle.
We have a full moon.
| | 00:51 |
Well, we an add to this selection size,
or we can decrease to this by using two
| | 00:55 |
modifier keys.
Press and hold the Shift key, and you'll
| | 00:59 |
notice there's a plus icon next to your
cursor.
| | 01:02 |
Press and hold Option on a Mac, Alt on
Windows, you'll notice there's a minus icon.
| | 01:07 |
So Shift key allows us to add, Option or
Alt allows us to subtract.
| | 01:13 |
Let's first add to this.
Here I'll hold down the Shift key, and
| | 01:16 |
I'll simply click and drag.
As I do this, you can see that I'm
| | 01:19 |
increasing the overall size of the
selection.
| | 01:22 |
And we can do this in creative ways so
that we can build up the overall shape.
| | 01:27 |
In this way, perhaps we want to create a
cloud like shape that we could put in the sky.
| | 01:31 |
And here you can I am simply just
clicking and dragging over this selection
| | 01:35 |
in order to create this unique shape.
So the Shift key allows us to increase
| | 01:41 |
the size of our selected area.
Just as a side note, we can use these
| | 01:45 |
modifier keys with the Lasso tool as
well.
| | 01:47 |
Well, this isn't the shape that I want to
work with now.
| | 01:50 |
So here, let's Deselect.
To do so click on the Select Pull-down
| | 01:54 |
menu and then choose Deselect.
Once again with the Marquee tool, now
| | 02:01 |
let's make a selection.
And this time we'll make a selection
| | 02:04 |
which is a circle.
Well, what I want to do is create a shape
| | 02:07 |
which is a moon which isn't very full
like a little slice or sliver of the moon.
| | 02:10 |
I need to reduce the size of moon.
Well, the easiest way is to hold the
| | 02:13 |
Option key on the Mac, Alt on the PC and
then click and drag.
| | 02:25 |
Now, when you do that, when you click and
drag, you'll notice that you can create
| | 02:29 |
this shape and it's overlapping the other
one.
| | 02:32 |
Now, the new shape that we're creating
here, what it will allow us to do is to
| | 02:36 |
remove whatever is covering the original
selection.
| | 02:40 |
When you let go, you can see I've now
reduced the size of that selection.
| | 02:45 |
And you can do this in a number of
different ways.
| | 02:48 |
In this case, we simply took a circle and
then overlapped another circle on top of
| | 02:53 |
it in order to cut away part of that
selection.
| | 02:57 |
Well, great.
This now gives us our moon shape, or
| | 03:00 |
something that is kind of close to a
moon.
| | 03:02 |
Here we're not going for realism, but
rather I'm trying to illustrate how you
| | 03:06 |
can add or subtract to selections.
Well, let's fill in the shape with a color.
| | 03:11 |
One easy way that you can do that is to
select the Brush tool, which you'll find
| | 03:16 |
in the Tools panel.
Next, you need to choose a color.
| | 03:19 |
So if we go down to our color chip down
here, you can click on that, and it will
| | 03:22 |
open up the Color picker.
Here, in order to get access to different
| | 03:26 |
colors, you drag the slider around, and
you can see how there are many different colors.
| | 03:31 |
I want to go for a nice bright yellow.
So move it to that location, and then
| | 03:35 |
click in to the yellow color there, and
this will show me the color that I can
| | 03:39 |
paint onto my image.
Next step is to click OK.
| | 03:43 |
And then from here, we want to choose a
brush size.
| | 03:45 |
It wouldn't hurt to have a pretty big
brush size, so go ahead and increase your
| | 03:49 |
brush size there and then simply click
and paint over that selected area.
| | 03:54 |
Now you don't really have to be too
careful about how you paint because this
| | 03:57 |
will only affect the selected area that
we have created.
| | 04:01 |
In this case, the selection in the shape
of a moon.
| | 04:04 |
Well, so far so good, we've made this
adjustment.
| | 04:07 |
Let's now deselect.
You remember how to do that?
| | 04:10 |
Press Cmd+D on a mac, Ctrl+D on windows,
or go to Select and then choose Deselect.
| | 04:17 |
Well, now that we have this moon shape in
our photograph, what we can now do is
| | 04:20 |
move this around.
Here we can select the Move tool.
| | 04:23 |
And because this is on a separate layer,
we can click and drag this around in
| | 04:27 |
order to reposition it exactly where we
want it.
| | 04:30 |
Or if we want to change the shape that
we've made, we can navigate to our Edit
| | 04:35 |
Pull-down menu.
Then we can choose Free Transform.
| | 04:38 |
That's the command which allows us to
make dramatic changes to things, in
| | 04:43 |
regards to their overall shape.
Here, when we choose Free Transform,
| | 04:47 |
we'll notice we have these little handles
which we can drag on in order to re-size this.
| | 04:52 |
We can also position our cursor near the
edge in order to rotate.
| | 04:55 |
And we can make a lot of changes here in
regards to how this shape appears in our photograph.
| | 05:01 |
Once you're ready to apply those changes
press Enter or Return.
| | 05:05 |
Now in this case, we wouldn't necessarily
want to add a moon to this photograph.
| | 05:10 |
Yet I wanted to this in order to
illustrate how we can add or subtract to
| | 05:14 |
the areas that we've selected.
And knowing how to do this is really
| | 05:18 |
helpful, because it can help us to make
better selections.
| | 05:21 |
Because keep in mind, the better that you
can select, well then the better you can correct.
| | 05:26 |
| | Collapse this transcript |
| Using the Magnetic Lasso tool| 00:00 |
In order to continue to deepen our
understanding of making selection, what
| | 00:05 |
we'll do here is we'll take a look at how
we can use the Lasso tool in order to
| | 00:09 |
make a few selections with this
photograph.
| | 00:12 |
The first tool that we'll start off with
is the Polygonal Lasso tool.
| | 00:15 |
Now we've seen this before.
And I wanted to revisit that tool here to
| | 00:19 |
show you a bit more of a real world
scenario.
| | 00:22 |
Here I'm going to select the Polygonal
Lasso tool, and then what I want to do is
| | 00:26 |
make a selection of this window.
Because lets say that I want to darken
| | 00:30 |
that area.
So here we simply click Reposition the
| | 00:34 |
Cursor, click again.
In order to create a selection that has a
| | 00:38 |
straight line, and you keep going along
those edges or staight lines until you go
| | 00:42 |
back to where you started.
Next, once you've done that, you want to
| | 00:46 |
target the layer you want to work on, in
this case the Background layer, and then
| | 00:50 |
here, choose an adjustment.
There are many different adjustments that
| | 00:53 |
we can make.
So let's try one.
| | 00:55 |
Here we'll choose Image > Adjustments and
then brightness and contrast.
| | 00:59 |
In this case, let's say the client just
wants that window to be a bit darker.
| | 01:02 |
You can see how we can control the
brightness there.
| | 01:05 |
So I'll just darken that up a bit in
order to make that adjustment.
| | 01:09 |
And so here I just wanted to show you how
this tool is helpful, not just for color
| | 01:14 |
effects but also when you want to target
a specific area, like windows as we have
| | 01:19 |
here or other areas where you have
straight edges or lines.
| | 01:22 |
Alright, well here I'll click OK and then
chose Select and then Deselect.
| | 01:28 |
That was just a bit of review.
Well, next I want to take a look at how
| | 01:32 |
we can select the pool.
You know when you have more complex
| | 01:37 |
shapes, when you have decent or defined
edges, what you can do is you can use
| | 01:42 |
another Lasso tool which is called the
Magnetic Lasso.
| | 01:45 |
This tool allows you to make selections
in really handy ways.
| | 01:49 |
You simply click and then you drag your
cursor along that defined edge.
| | 01:55 |
Notice that the selection is magnetically
snapping to that edge.
| | 01:59 |
Now, if Photoshop has a tough time making
that selection, go ahead and just click
| | 02:03 |
to Add a Few Points as I've done here.
Next I'm going to zoom out a little bit
| | 02:08 |
so I can make my way around the edge of
the pool, and as I do that, Photoshop
| | 02:12 |
does a decent job, but it has a little
bit of a tough time finding the edge there.
| | 02:16 |
We'll go back to that in a moment.
And, again, here I'm just going to go
| | 02:20 |
around the edge of the pool, and, by
doing that, we can make a decent
| | 02:23 |
selection of this part of our photograph.
And just want to get in there really
| | 02:27 |
close and then make my way back to where
I started.
| | 02:31 |
When you do that, it will then activate
the selection.
| | 02:34 |
Now, if we zoom in on this selection, we
can see here that this tool did a great
| | 02:38 |
job on all of these edges except along
the outer edge it had a tough time.
| | 02:44 |
Well, here is where that shortcut to add
or to subtract from a selection can
| | 02:48 |
really help out.
So what I'll do, is choose one of my
| | 02:51 |
selection tools, like, perhaps the Lasso
tool.
| | 02:54 |
Here, when we select that tool, we can
hold down the shift key to add to the selection.
| | 02:59 |
And I'll just click and drag around this
outer edge.
| | 03:02 |
In doing that, I can then add all of that
to the area of selection.
| | 03:07 |
So, that it actually goes to the outer
edge of the photograph.
| | 03:10 |
I need to do the same thing as over here
as well.
| | 03:12 |
I know this may be difficult to kind of
see what I'm doing here but I just want
| | 03:16 |
to highlight that if an edge isn't
perfect what you can do is use those
| | 03:21 |
shortcut modifier keys to add or
subtract.
| | 03:24 |
Again here I have a little area which
doesn't look good.
| | 03:27 |
I'll hold in the Shift key and I'll lasso
that area up.
| | 03:30 |
Yeehaw, got that one.
And then I have another area over here
| | 03:34 |
which went too far.
So hold down the Option key on a Mac, Alt
| | 03:37 |
key on Windows.
Then carefully lasso that up in order to
| | 03:41 |
subtract that from that area of the
selection.
| | 03:45 |
In this way, you can see how, when it
comes to selections, there isn't one king tool.
| | 03:50 |
Rather it's all about learning how to use
all of these tools together and also
| | 03:55 |
learning how to find the right tool for
the particular job.
| | 03:59 |
Now this particular tool, the Magnetic
Lasso, it helped us to make this selection.
| | 04:04 |
Which really would have been near
impossible if we were to use the Lasso
| | 04:08 |
tool by itself or the Marquee tool as
well.
| | 04:10 |
So whenever you have defined edges or
borders you want to reach for that tool,
| | 04:15 |
it's called the Magnetic Lasso tool.
| | 04:18 |
| | Collapse this transcript |
| Working with the Quick Select tool| 00:00 |
Perhaps one of the most fun selection
tools to use in Photoshop is the Quick
| | 00:04 |
Select tool.
The Quick Select tool allows you to paint
| | 00:08 |
over an area to make a selection very
quickly.
| | 00:11 |
Let's take a look at how we can use that
here.
| | 00:13 |
Yet first, what I want to do is set up
the problem.
| | 00:16 |
Now, what I want to do with this image is
I want to change the color of the tent,
| | 00:20 |
and this is a photograph that I captured
in the High Sierras.
| | 00:23 |
And let's say that the client wants the
tent color to be red.
| | 00:27 |
Well, what we might do is we might try to
select this opening right here, the door
| | 00:31 |
opening, and then invert the selection
and make the change.
| | 00:34 |
Right?
Well, you might think that, why don't we
| | 00:36 |
try our tool, which allows us to select,
define edges, which is the Magnetic Lasso tool?
| | 00:42 |
Well, if we click and start to drag
across the edge, it will work really well
| | 00:47 |
up there where we have the sky, yet when
we get down to this area with the trees.
| | 00:51 |
Photograph is going to have a tough time
finding that edge.
| | 00:54 |
And if I make my way back around just to
activate the selection.
| | 00:58 |
And then zoom in what you can see is
happened here, is that it did a good job
| | 01:03 |
along the sky.
But then here it just went all over the place.
| | 01:07 |
So, the Magnetic Lasso tool does have
some limitation.
| | 01:10 |
It does fall apart when you have complex
edges as we have here.
| | 01:15 |
So, that didn't work.
So, here I'll choose Select.
| | 01:18 |
And then Deselect.
What we might try, rather than using the
| | 01:22 |
Magnetic Lasso tool, is the Quick Select
tool.
| | 01:25 |
In order to select that one, we simply
click on its icon, which is right here,
| | 01:29 |
the Quick Selection tool.
Next, what you do, is you choose a brush size.
| | 01:33 |
Now if you're working on a larger area,
you want a larger brush size.
| | 01:37 |
A smaller area, you want a smaller brush
size.
| | 01:39 |
Next, you simply paint over your image.
In doing that, notice that it
| | 01:43 |
automatically selected that portion of
the photograph.
| | 01:46 |
Then click and drag along this area here.
Now go ahead and do so all the way down
| | 01:50 |
to the bottom of the image.
And over the right side as well, just
| | 01:54 |
looking to select all of this area of the
image.
| | 01:57 |
Now, at one spot you may notice that it
went a little bit out of the boundaries here.
| | 02:02 |
It went too far.
Well, we can remove that from our
| | 02:05 |
selection using the shortcuts which we've
been introduced to.
| | 02:09 |
Remember the shortcut on a Mac is Option,
on Windows it's Alt.
| | 02:13 |
Notice the cursor changes to a minus
sign.
| | 02:15 |
Well, here, just click in paint over that
area in order to fix up that edge.
| | 02:20 |
And if ever you want to get more specific
with this, just change your brush size
| | 02:24 |
and you can paint in really specific ways
in order to clean up those edges.
| | 02:28 |
Now, the great thing about the Quick
Selection tool is that, it obviously
| | 02:32 |
allows you to make selections quickly.
The downside is that usually these
| | 02:37 |
selections are a little bit rough.
So, you almost always need to refine the
| | 02:42 |
edge of the selection.
Fortunately there's an easy and handy way
| | 02:46 |
to do this.
You can simply access the refine edge
| | 02:49 |
controls by clicking on this button up
here.
| | 02:52 |
Which is located in the Options bar.
When we click on this, we have a preview
| | 02:56 |
of the selected area.
Now, we can change the preview by going
| | 03:00 |
to View mode.
Then here we can click on this pull-down menu.
| | 03:04 |
Notice that there are different options
which will show us different previews of
| | 03:07 |
how this will appear.
Let's leave this on the default on layers
| | 03:11 |
so that we can focus in on our edges.
Now, if I were to zoom in a little bit on
| | 03:16 |
this, one of the things that we will
notice is that the edges were a little
| | 03:19 |
bit too softer.
Strange here, you can see they're a
| | 03:22 |
little bit bumpy, they are not perfect.
Well you can fix that using Smart Radius.
| | 03:27 |
Here we'll click on this option, and then
drag up the radius.
| | 03:30 |
Now the edge looks much more defined.
The edge detection you almost always need
| | 03:36 |
to increase your radius a little bit, and
this almost always helps.
| | 03:39 |
So start off there.
Next we have the ability to adjust the edge.
| | 03:43 |
We'll talk more about all of these
controls also in another movie, so here,
| | 03:47 |
this one just a bit of an introduction.
We can smooth out the edge a little bit.
| | 03:52 |
We can also add some contrast to create
an edge which is more defined.
| | 03:56 |
We can feather that edge.
Increase this.
| | 03:58 |
It will become softer.
Decrease that.
| | 04:01 |
It will be more defined at stronger edge.
With this image, really, I think we'll
| | 04:05 |
just need a touch of radius, a little bit
of smoothing, and a little bit of contrast.
| | 04:10 |
Next, when we click OK, all that happens
here is that we have a better selection.
| | 04:15 |
We haven't changed the image, we've just
changed that selected area.
| | 04:20 |
So here, we're encountering that when you
work with the Quick Select tool, you make
| | 04:24 |
your selection, then you refine it up
here.
| | 04:27 |
After having done that then you go to
correcting or enhancing or changing the photograph.
| | 04:33 |
Alright remember what we need to do with
this image.
| | 04:36 |
We need to change the color of the tent.
So, as we've learned before we can flip
| | 04:41 |
what's selected by going to our select
pull down menu and choosing Inverse.
| | 04:46 |
When we do that, if we choose Select, and
then click on Inverse, it will select
| | 04:51 |
everything except for the view outside of
the tent.
| | 04:55 |
Alright, well that's great because that's
exactly what we need.
| | 04:58 |
Here we want to change color.
One easy way to do that is to go to the
| | 05:03 |
Image pull down menu, then to choose
Adjustments and then next chose Hue Saturation.
| | 05:09 |
Hue saturation allows us to make dramatic
and quick color adjustments.
| | 05:13 |
So, here as I mentioned I simply want to
change that to color red so you can see
| | 05:18 |
how we've done that.
And here we're encountering how this
| | 05:21 |
Quick Select tool can really help us out
when we need to make specific adjustments
| | 05:26 |
to certain areas of our photographs.
Now whenever people see the Quick Select
| | 05:31 |
tool they tend to think, all right,
great, this is the solution, this is the answer.
| | 05:35 |
And many times it is yet keep in mind,
there is no one selection tool which is best.
| | 05:41 |
Rather, it's about knowing how to use all
these tools, and it's about knowing how
| | 05:45 |
you can work with these tools together in
order to come up with the best results.
| | 05:50 |
| | Collapse this transcript |
| Removing the background with Quick Select| 00:00 |
Alright, well we are back to this
photograph of my daughter, Annie.
| | 00:03 |
And what we're going to do is take a look
at how we can use our selection tools in
| | 00:07 |
order to modify specific areas of the
image.
| | 00:10 |
In particular, we'll look at how we can
work with Quick Select and the Magic Wand.
| | 00:15 |
And what we're going to work on is how we
can change multiple areas, and also how
| | 00:19 |
we can remove the background from this
photograph in order to clean it up a bit.
| | 00:24 |
Well, if we navigate over to the Tools
panel, we'll notice that we have the
| | 00:27 |
Quick Selection tool here, and underneath
we have a tool called the Magic Wand.
| | 00:32 |
I simply want to highlight how this tool
works.
| | 00:35 |
What you can do with the Magic Wand, is
you can define a tolerance, and then, you
| | 00:39 |
can click on an area of your photograph.
In doing that you can see that it's
| | 00:43 |
selecting things which are similar to the
area where I clicked.
| | 00:47 |
Currently the option of contiguous is
turned off.
| | 00:50 |
In this way it's selecting areas of the
photograph throughout the entire image.
| | 00:55 |
Now if we turn that option on, and then
choose Deselect, and then click again.
| | 01:00 |
Notice that it's making a very small
selection.
| | 01:03 |
Because the pixels have to be contiguous
or touching.
| | 01:08 |
As we increase the tolerance, and as we
click again, you can see it's selecting a
| | 01:12 |
larger area.
And again, as you click on your image,
| | 01:15 |
it's looking for things which are
similar.
| | 01:18 |
So here, I'll click on the Skin Tone, and
you see how it's trying to select areas
| | 01:21 |
of the face.
Or if we click on the background, you can
| | 01:24 |
see how it's, trying to select similar
areas in the background.
| | 01:27 |
So, the Magic Wand allows us to make
selections of similar areas.
| | 01:31 |
Yet here on our background, it just
doesn't quite cut it.
| | 01:35 |
So, what we'll need to do is take a
different approach.
| | 01:39 |
Let's chose Select and then Deselect.
Next, let's go back to the Quick Select tool.
| | 01:44 |
Well here, let's start off by making some
changes to the subject of the photograph.
| | 01:48 |
In this case, if we click and drag across
this area you can see it quickly selects
| | 01:53 |
that area, well, I also want to select
another one.
| | 01:56 |
So, I'll click on that and then also
another one.
| | 01:58 |
Well, this last one it did a pretty good
job but it also selected some of the
| | 02:02 |
costume fabric here, so we want to
subtract that from our selection.
| | 02:06 |
Hold down the Option key on a Mac Alt key
on Windows and click and drag over that
| | 02:11 |
in order to subtract that from the
selection.
| | 02:13 |
Then paint in the area that you need.
Well now that we have these three areas
| | 02:18 |
selected quickly, we might need to refine
the edge.
| | 02:21 |
Remember, whenever you use this tool, you
almost always go to Refine Edge.
| | 02:26 |
You almost always need to turn on Smart
Radius and just increase that a bit.
| | 02:31 |
Notice how those edges look much better.
Then here we'll smooth them out a little bit.
| | 02:35 |
And increase their contrast.
Now, if we zoom in a bit you can click to
| | 02:39 |
see your before and after.
Here's before and then now, here's after.
| | 02:43 |
We now have a much better selection with
just a few slight adjustments.
| | 02:49 |
Next click OK in order to improve that
selected area.
| | 02:53 |
Well then here, in order to make some
changes to this area of the photograph,
| | 02:56 |
we'll go to Image, we'll choose
Adjustments and then we'll select Hue Saturation.
| | 03:01 |
And then I'll just drag this to the left
to make these a bit more purple.
| | 03:05 |
Next click OK in order to apply those
changes.
| | 03:10 |
Alright, well, here we'll choose Select
and then Deselect.
| | 03:13 |
Stage one is complete.
We modified a portion of the image using
| | 03:17 |
quick select.
Well, next I'm going to zoom out.
| | 03:20 |
To do that, I'll press Cmd+minus on a Mac
or Ctrl+minus on Windows.
| | 03:24 |
What I want to do is I want to now select
the subject so that I can change the background.
| | 03:31 |
Here we'll use the Quick Select tool, and
we'll just click and drag around the image.
| | 03:35 |
This time we're just clicking and
dragging and position the cursor close to
| | 03:39 |
the edge of the photograph.
In doing that, you can see we have a
| | 03:42 |
pretty decent selection of the subject.
Now, a lot of times what you'll need to
| | 03:47 |
do, of course, is refine the edge.
So, if ever you notice an area which
| | 03:52 |
isn't very good, you want to fix it
before you go to Refine Edge.
| | 03:56 |
For example, up top I notice that it
selected a little bit of this blanket on
| | 04:01 |
the background.
So here I'll decrease my brush size.
| | 04:05 |
Press the left bracket key to decrease
your brush size.
| | 04:08 |
Next, hold down Option on a Mac, Alt on
Windows and paint over those little areas
| | 04:13 |
where it selected too much.
In this way, you can help out the process
| | 04:18 |
even before you get to Refine Edge.
Next press the Space Bar key and make
| | 04:24 |
your way around your image.
Hold down Option on a Mac, Alt on Windows.
| | 04:27 |
And click and drag over the areas that
you need to correct.
| | 04:31 |
And the reason why we want to do this, is
we're just trying to get a good selection.
| | 04:35 |
And of course, you just want to make your
way around the image.
| | 04:37 |
Little by little until you have a pretty
decent selection as I think we have here.
| | 04:42 |
Alright well, after having done that
we'll go to Refine Edge.
| | 04:46 |
In Refine Edge you can see that the edge
is pretty choppy, it needs some help.
| | 04:50 |
Here we'll click on the option for Smart
Radius.
| | 04:52 |
We'll drag this over until we see a bit
better edge.
| | 04:56 |
Then while it did improve the edge it
also made it a bit too rough.
| | 05:00 |
That's where smoothing comes into place.
Smooth out all of those rough edges and.
| | 05:05 |
If you ever have dips or whatever you
need to do it kind of just smooths all of
| | 05:08 |
those out.
Then we'll had a little bit of feather
| | 05:11 |
here and in this case increase the
contrast a little bit as well.
| | 05:14 |
What about shift edge?
This allows us to bring the edge in or
| | 05:18 |
extend it out.
As we extend it our we see more of the background.
| | 05:22 |
As we bring it in, we're just creating a
little bit of a tighter edge there which
| | 05:26 |
I think looks nice.
Remember that you can view your edge in
| | 05:30 |
different ways.
Currently it's viewing this on white in
| | 05:33 |
the background.
You can view this on black.
| | 05:36 |
You can also view it on a overlay mode.
And some of these different view modes,
| | 05:40 |
they'll help you see problems with your
edge.
| | 05:42 |
For example if we look at the preview on
white you can you can see the before and
| | 05:46 |
after much more clearly.
Then say for example, If you saw this
| | 05:50 |
just on transparent layers, the preview
before and after, those problems with the
| | 05:55 |
edges aren't as noticeable.
The whole point here is to experiment
| | 05:58 |
with these different options until you
find one that helps you to evaluate the
| | 06:03 |
edge in the best way.
Well, next we walk through the controls
| | 06:07 |
from top to bottom.
We work with Smart Radius, increase them.
| | 06:10 |
We smooth things out a little bit, add a
touch of feather, softening the edge.
| | 06:14 |
Then we increase the contrast to define
the edge, and then we shift the edge as
| | 06:19 |
needed to either increase or decrease the
area that's selected.
| | 06:24 |
Last but not least, click OK.
And again, all that this has done, is
| | 06:28 |
cleaned up the edge here.
In this image.
| | 06:32 |
Now we've been working on selecting the
subject.
| | 06:34 |
What I really need to do is change the
background.
| | 06:37 |
So, once again we'll go back to the
select pull down menu.
| | 06:40 |
And once again we chose inverse.
And the reason why I selected the subject
| | 06:45 |
is because she's more defined than the
background and it gave me an easier way
| | 06:50 |
to build a better selection and then I
inverted it.
| | 06:54 |
So, you always want to select which will
be easiest, because you can always flip
| | 06:57 |
flop or invert the selection later.
Next step, let's fill that background
| | 07:01 |
with another color.
You can do that by going to your Edit
| | 07:05 |
pull down menu.
About halfway down you'll see an option
| | 07:08 |
for Fill, click on that option and it
will open up our Fill dialog.
| | 07:13 |
Now at the top we have the ability to
control the contents and you have a
| | 07:17 |
number of different options.
What I want is a full white background.
| | 07:21 |
So, I'll select white and then click OK
and in doing that you can see now that we
| | 07:26 |
now have this image on a new background.
Just the solid color white.
| | 07:30 |
Here if we go to Select and choose
Deselect, we can see the final results of
| | 07:35 |
our fun project.
| | 07:36 |
| | Collapse this transcript |
| Using Color Range| 00:00 |
In this movie we'll work with two
photographs.
| | 00:03 |
And we'll take a look at another
technique that we can use in order to
| | 00:06 |
make selections.
Lets say that the client really likes
| | 00:10 |
this photograph, but that they need this
to change the color of the shirt.
| | 00:14 |
They need it to be a darker green.
Well how can we do that?
| | 00:19 |
Well we could try to use our selection
tools yet a quicker way would be to build
| | 00:24 |
a selection based on the color that we
have in the photograph.
| | 00:28 |
To do that you can navigate to your
select pull down menu and then you'll
| | 00:31 |
notice there's an option which is called
Color Range.
| | 00:35 |
Click on that and it will launch the
Color Range dialogue.
| | 00:38 |
Now what this dialogue allows us to do is
to click on a color in our image and then
| | 00:43 |
to build up a selection.
Lets walk through some of our menu
| | 00:47 |
options so that we understand how this
works.
| | 00:50 |
We have an option to detect faces.
This works well if you're trying to
| | 00:53 |
select skin tone.
We aren't, so we'll leave that off.
| | 00:57 |
Next we have the ability to chose
localized color clusters.
| | 01:00 |
When you have this checked off and you
click in your image it will select colors
| | 01:05 |
througout the photograph.
When you have this turned on well it will
| | 01:08 |
limit those to the area that you click.
In most scenarios, I find that you'll
| | 01:13 |
want to have that on.
So how does this work?
| | 01:15 |
What you do, is you use the Eyedropper
tool which you have selected by default
| | 01:19 |
and you click in the photograph.
Here it shows you the beginning of your selection.
| | 01:24 |
Whatever is white is selected.
Then we have a few sliders.
| | 01:28 |
Fuzziness allows us to increase the
selected area, so that it's sort of
| | 01:33 |
diffusing or softening the selected
edges.
| | 01:36 |
Range allows us to increase the range of
the area that we're selecting.
| | 01:41 |
Well still, I need more of the shirt.
To add more to our selection, use this
| | 01:46 |
eyedropper right here, the one with the
plus icon.
| | 01:48 |
And in this way we can click on the
image, or we can click into this little
| | 01:52 |
preview, and again whatever is white, is
selected.
| | 01:56 |
A quicker way to add to the selection is
to use the regular Eye dropper tool.
| | 02:01 |
Then to hold down the modifier key which
we've learned in one of our previous
| | 02:04 |
movies which allows us to add to a
selection.
| | 02:08 |
Remember that one?
It's the Shift key.
| | 02:10 |
So, here if we Shift click and drag
across the image or across the mask as
| | 02:14 |
you can see there the little preview.
You can start to see how it's building up
| | 02:18 |
this selection.
What you want to do is you just want to
| | 02:20 |
make your way through your photograph and
make sure that you're selecting all of
| | 02:24 |
the areas that you need.
In this case, I need all of these little
| | 02:27 |
areas of the shirt.
So I'm going to go ahead and click and
| | 02:29 |
drag through that part of the image.
And then, once you've built up the
| | 02:33 |
selection, what you'll do is click OK.
This'll then create a selection for you
| | 02:38 |
based on color.
Now, whenever you have a selection that
| | 02:43 |
you've created, it can help to refine the
edge of the selection, as we've seen before.
| | 02:48 |
And if you look up top, you'll notice I
have the Move tool selected.
| | 02:52 |
I don't have that option, or that option
is hidden.
| | 02:55 |
To bring that back choose one of your
selection tools and then there you'll
| | 02:58 |
notice we now have the ability to open up
Refine Edge.
| | 03:01 |
That's what we want to do.
So again just to reiterate when you use
| | 03:05 |
select color range, afterwards choose one
of your selection tools in order to
| | 03:10 |
access Refine Edge.
Click on Refine Edge and here you can see
| | 03:14 |
we have the shirt.
Well, we know how this works, right.
| | 03:17 |
We turn on smart radius, we crank that up
a little bit, and then we modify these
| | 03:22 |
edges in any way that we might need, and
that looks pretty good.
| | 03:25 |
Next, we'll click OK in order to apply
the refinements to the selection.
| | 03:31 |
Next to change the color, why we don't
use the technique we've used before,
| | 03:35 |
which is Hue saturation.
Here we'll go to Image adjustments and
| | 03:40 |
then Hue saturation.
I should also highlight that I'm limiting
| | 03:44 |
what I'm showing here in regards to the
adjustments because we'll talk about
| | 03:47 |
those more later.
I'm just choosing Hue saturation because
| | 03:50 |
it's a really easy way to make color
changes.
| | 03:53 |
And those can be really visual which is
helpful when you're trying to create a demo.
| | 03:56 |
I'll drag my slider to the left to make
this green.
| | 03:59 |
They wanted a darker green.
So, I'll decrease the saturation also the
| | 04:03 |
lightness slider here.
And we can just control the way that this
| | 04:06 |
green will appear in the image here.
And again we can customize this to our
| | 04:10 |
hearts content.
But here you can see how we can make a
| | 04:13 |
change to a specific area in our image by
building a selection using color range.
| | 04:19 |
To apply that change simply click OK and
then choose Select and then Deselect.
| | 04:25 |
Alright well that is a pretty powerful
adjustment that we made with a few simple steps.
| | 04:30 |
Well lets take a look at one more image,
in order to dig into how this can work further.
| | 04:35 |
Here I'm going to pull up a photograph
that I captured of a Fall leave.
| | 04:39 |
And this is a beautiful leave.
Yet let's say that what we want to do is
| | 04:43 |
remove this from the background.
So we think, well this is a bright color,
| | 04:47 |
it's pretty consistent.
Let's go to Color Range.
| | 04:50 |
So we navigate to the Select pull-down
menu, and we choose Color Range.
| | 04:54 |
Here we click on the image and that gives
us our initial selection.
| | 04:58 |
Then we can control the overall range or
the fuzziness.
| | 05:01 |
We decide we need to add to the selection
so we hold down the Shift key.
| | 05:04 |
And we click and drag around the leaf.
And we do a pretty good job in making a
| | 05:08 |
selection of this.
We can drag around the preview here or we
| | 05:12 |
can drag around on the image itself.
Now, as we make our way through the
| | 05:16 |
selection, we select all the areas of the
image and then we click OK.
| | 05:20 |
Yet when we come back to seeing the
actual selection.
| | 05:24 |
We realize that this image wasn't as
consistent as we thought.
| | 05:29 |
Notice that it isn't selecting certain
little variations on the leaf, it's also
| | 05:34 |
Selecting part of the stem.
Well I don't want the stem.
| | 05:37 |
Well in this case, Color Range didn't
work.
| | 05:41 |
I wanted to bring up this example just to
highlight that sometimes, certain tools,
| | 05:45 |
while you think they will work, they just
might not.
| | 05:48 |
So here, we would choose Select >
Deselect.
| | 05:51 |
A better option would be Quick Select.
Let's try it out.
| | 05:56 |
Here, we click on the icon for Quick
Select.
| | 05:58 |
We drag across the image, really quickly,
and you know what?
| | 06:02 |
That's a pretty good selection.
Right there, that's it.
| | 06:05 |
Next step, we'll click on Refine Edge,
because we know that quick selection
| | 06:10 |
always needs a little bit of refinement.
Here we'll turn on smart radius and crank
| | 06:14 |
that up.
We''ll smooth out the edge, increase the contrast.
| | 06:18 |
You're getting the drill by this point.
And in doing that, if we zoom in on the
| | 06:21 |
leaf a little bit and if we click on our
preview checkbox here's before, then now
| | 06:26 |
here's after.
That looks a ton better.
| | 06:29 |
Simply click OK in order to refine that
selection and then now having done that
| | 06:35 |
we could then further modify this image
however we wanted to.
| | 06:38 |
And again I wanted to show you this extra
example here.
| | 06:41 |
Just to illustrate the point that there
isn't one selection technique which is best.
| | 06:46 |
Rather, it's all about knowing all of
these techniques so that you can find the
| | 06:51 |
technique which will work best for the
task at hand.
| | 06:53 |
| | Collapse this transcript |
|
|
13. Advanced Control with MaskingIntroducing masks| 00:00 |
In this chapter we're going to focus in
on one of the most powerful features in
| | 00:04 |
Photoshop, that is masking.
And in order to get good at masking, it's
| | 00:09 |
helpful to have a strong working
understanding of selections.
| | 00:13 |
Therefore if you aren't very comfortable
with selections, I recommend that you go
| | 00:18 |
back to the chapter before this one and
learn a little bit about selections and
| | 00:22 |
then revisit this chapter.
Alright, well one of the reasons why its
| | 00:26 |
important to understand selections is
because masks and selections, well they
| | 00:31 |
are in a way similar.
When we make a selection of our
| | 00:34 |
photographs, lets say this picture that I
captured here, we can select and modify
| | 00:38 |
or adjust a certain area in our image.
Yet after we've applied the adjustment,
| | 00:43 |
we can never go back.
We can never change the selection, yet
| | 00:47 |
with masks we can.
With a mask we can make a selection and
| | 00:52 |
then we can constantly and continually
adjust or modify it.
| | 00:56 |
And so here in this movie I simply
want to introduce you to the concept of masking.
| | 01:01 |
And then in the subsequent movies we'll
dig a bit deeper.
| | 01:05 |
All right, let's start by making a
selection.
| | 01:07 |
We know how to do that, right?
Navigate to the Tools panel and in the
| | 01:11 |
Tools panel chose the Elliptical Marquee
Tool.
| | 01:13 |
You'll find that underneath the
Rectangular Marquee Tool.
| | 01:16 |
Next, simply click and drag over an area
of your photograph.
| | 01:21 |
In this case I'll make a selection over
this area.
| | 01:24 |
Now lets say that all that I want to view
is this part of the image and that's it.
| | 01:28 |
I want to hide or get rid of everything
else.
| | 01:32 |
Well we can do that by creating what's
called a layer mask.
| | 01:35 |
Notice that I have my background layer
here.
| | 01:37 |
I'm in the Layers panel.
We can click on this icon here in order
| | 01:41 |
to add a layer mask.
When we do that what we'll see is that
| | 01:45 |
everything will be hidden except for the
area that we selected.
| | 01:49 |
And if we look in the Layers panel we'll
notice that the area that was selected,
| | 01:53 |
well that's white, the area that's hidden
is black.
| | 01:57 |
That's why in masking they say that white
reveals and black conceals.
| | 02:02 |
Now the rest of the image is still there
its just that its hidden by this mask.
| | 02:07 |
Well we can also change this mask as I
mentioned before.
| | 02:10 |
Currently you'll notice that the mask and
the Image layer, they are linked.
| | 02:15 |
There's a little linked icon connecting
the two.
| | 02:17 |
We can unlink these by clicking on that
icon.
| | 02:21 |
Then we can select a tool like the Move
tool.
| | 02:25 |
You'll find that at the top of the Tools
panel.
| | 02:27 |
Go ahead and click on that tool.
Then while you're clicked into the mask
| | 02:31 |
area and you'll know that you are by
seeing these little brackets around the edge.
| | 02:34 |
If you click in the image, you'll see the
brackets around the edge of the image.
| | 02:38 |
Click in the mask.
See the brackets there.
| | 02:41 |
And while you're targeting or while
you're this mask what you can do is click
| | 02:45 |
and drag and move this around.
And here you can see that I can see
| | 02:48 |
different areas of my image.
I can also change the shape of this mask.
| | 02:54 |
If the selection that I made wasn't quite
right I can always go to my Edit Pull
| | 02:59 |
down menu.
Here we can choose the tool which we've
| | 03:01 |
seen before, which is called free
transform.
| | 03:04 |
Click on that option by navigating to
Edit and then Free Transform.
| | 03:08 |
And what that will do is it will open up
some options for us.
| | 03:12 |
Here I can click and drag these and in
this way I can change what is revealed or
| | 03:17 |
I can change the shape of the selection
so that I can control what I'm viewing in
| | 03:21 |
my image.
In order to apply that transformation you
| | 03:24 |
can press Enter or Return.
And there are other characteristics that
| | 03:28 |
you can change as well.
Yet we'll dig into those in the next few movies.
| | 03:33 |
Yet here I simply want to illustrate this
whole concept that what a mask does is
| | 03:37 |
that it allows us to work on a selective
area of our focus.
| | 03:42 |
And we can have a mask that shows or
hides different parts of our image.
| | 03:47 |
Or we can create a mask that reveals or
conceals a certain color effect or adjustment.
| | 03:52 |
Really we can do so much with masks.
So as you start to think about this
| | 03:56 |
concept of working with masks, keep this
in mind.
| | 04:00 |
In a sense what a mask is, is a selection
that you can continually modify or adjust
| | 04:06 |
| | Collapse this transcript |
| Building and editing a mask| 00:00 |
Now that we've been introduced to the
concept of a mask, let's take a look at
| | 00:04 |
how we can modify a mask.
How we can increase or decrease it's size
| | 00:08 |
and also how we can change the edge so we
can have a edge which is harder or softer.
| | 00:13 |
We'll be working with this photograph
here and again in order to keep things
| | 00:17 |
simple let's start off in the same way.
Here we'll choose our Elliptical Marquee Tool.
| | 00:22 |
And then next, we're going to click and
drag over the image in order to make a
| | 00:26 |
selection of a portion of the image.
This case I've selected this area.
| | 00:30 |
Next, we'll create a layer mask.
To do so we'll navigate to the Layers
| | 00:35 |
panel and then we'll simply click on the
icon that allows us to create a layer mask.
| | 00:39 |
In this case the mask is revealing this
area.
| | 00:42 |
It's concealing the rest of the image.
Well I want to modify this edge.
| | 00:47 |
There are a couple of ways that we can do
this.
| | 00:50 |
One technique that we can use is to
actually paint right on the mask.
| | 00:54 |
Here, if we grab our Brush tool by
selecting it in the Tools panel or by
| | 00:59 |
pressing the b key and then my painting
with the color, either black or white.
| | 01:04 |
What we can do is either reveal or
conceal, more or less of the image.
| | 01:09 |
You can flip between these by clicking on
this icon here.
| | 01:12 |
And do that until you have the ability to
have the foreground set to white.
| | 01:17 |
Next, with your brush what you'll want to
do is choose a relatively large brush size.
| | 01:22 |
And here then what you can do is define
the brush hardness.
| | 01:25 |
If you increase this, you'll have a
really defined edge as we have here.
| | 01:30 |
Lets first try this out with the hardness
at 100%.
| | 01:34 |
Next we'll simply start to paint over the
image.
| | 01:37 |
Now as I do this you can see that I can
then reveal more of the photograph.
| | 01:41 |
And in this way I can see some of the
image and you can see how I'm customizing
| | 01:45 |
the mask.
Well if we look at the mask we can see
| | 01:48 |
that the icon here has completely
changed.
| | 01:51 |
The more that we paint on the image well
the more that we'll see here in the mask.
| | 01:55 |
The white are reveals.
The black area conceals.
| | 01:58 |
Now currently this looks quite a bit
awkward because of the hard edges that I
| | 02:03 |
painted in with the brush and also the
selection.
| | 02:07 |
We can soften those edges a couple of
different ways.
| | 02:10 |
One technique that you can use is to open
up the Mask panel.
| | 02:14 |
The easiest way to find and access the
Mask panel is to double click the Mask.
| | 02:18 |
When you do that you notice you have the
properties for your mask..
| | 02:21 |
And we have a few different controls.
The one I want to focus in on here is feather.
| | 02:27 |
As we drag this to the right we can
soften all of those edges.
| | 02:30 |
So that now that when I paint even with a
brush with a hard edge, we can see the
| | 02:35 |
mass characteristics or the feather
amount takes over and creates an edge,
| | 02:40 |
which is really soft.
All right.
| | 02:42 |
Well that is one method that we can you.
We can use this Feather slider in order
| | 02:46 |
to change the edge characteristics of our
mask.
| | 02:49 |
Another technique that we can use is we
can close this and we simply paint with a
| | 02:54 |
brush which has a soft edge.
So here we'll click on this Pull down menu.
| | 02:59 |
We'll remove all of the hardness, set
that to zero and then I'm going to
| | 03:03 |
increase my brush size a little bit as
well so I can do this a bit more quickly.
| | 03:06 |
And what I want you to do is just to
paint across the edge of the image.
| | 03:10 |
In this way you can see that we have a
nice soft look in regards to all of those edges.
| | 03:15 |
And so here we're controlling that edge
by the brush or the type of brush that
| | 03:20 |
we're working with.
And in this way you can start to see how
| | 03:23 |
you can customize that mask.
Now let's say that you've decided that
| | 03:27 |
you've painted in too much detail.
And you want to remove part of the mask.
| | 03:32 |
Well you can do that by painting with
black.
| | 03:34 |
The easiest way to change your color
picker here is to either click on this icon.
| | 03:40 |
Or to press the x key.
The x key allows you to flip flop the
| | 03:45 |
colors which you have as your foreground
or your background color.
| | 03:49 |
Either way what you want is to paint with
black.
| | 03:51 |
Now here when I paint with black I can
then conceal more of the image or more of
| | 03:56 |
the area of the image which I don't
want to see.
| | 03:58 |
In this way I can control the overall way
that the images appears in the mask.
| | 04:03 |
Again if I make a mistake and if I go to
far we'll just press the x key or click
| | 04:08 |
on this icon to paint with white and then
I'll bring more back.
| | 04:12 |
Now so far we're looking at an example
which is either revealing or concealing a
| | 04:16 |
portion of the image.
And many times this is how you'll use masks.
| | 04:21 |
Yet in other situations, you might use a
mask in order to make a specific color
| | 04:25 |
adjustment into one area of your
photograph.
| | 04:28 |
So if you're thinking that, okay this is
great but I don't really get it, keep in
| | 04:32 |
mind that there is so much more that you
can do with masks.
| | 04:35 |
What I'm trying to do here is simply
introduce you to the concept.
| | 04:40 |
One step at a time so that you can become
comfortable with how you can work with a mask.
| | 04:45 |
And then later as you learn more, you'll
see how you can apply this whole concept
| | 04:49 |
of working with a mask to many different
scenarios.
| | 04:52 |
Alright, well so far we have this
particular mask, it looks pretty good.
| | 04:56 |
We have revealed or concealed a portion
of that image using this mask.
| | 05:00 |
And here I've really started to highlight
how we can customize the mask.
| | 05:04 |
In particular I wanted to highlight how
we can work with our brush tool in order
| | 05:07 |
to paint with black or white to reveal or
conceal.
| | 05:10 |
And also how we can double click the mask
icon to open up our Properties panel.
| | 05:15 |
And how we can work with this Feather
slider which allows us to control the
| | 05:19 |
overall characteristics of the edge of
our mask.
| | 05:22 |
As we increase that our edges are softer.
As we decrease that amount, those edges
| | 05:27 |
are harder.
Alright, we'll now that we've learned
| | 05:29 |
these concepts, let's dig a bit deeper.
And we'll do so in the next movie.
| | 05:33 |
| | Collapse this transcript |
| Removing a person from the background with masking| 00:00 |
Now that we know a little bit about how
masking works, let's take a look at a
| | 00:04 |
real world scenario.
Where we need a bit more precision when
| | 00:08 |
it comes to working with a mask.
And what I want to to at this portrait is
| | 00:12 |
I want to first select the subject.
We'll do that using the Quick Select tool.
| | 00:16 |
Then I want to create a mask.
And I want to refine the edges of the
| | 00:20 |
mask using our masking panel controls and
also we'll look at how we can paint onto
| | 00:24 |
the mask using our Brush tool.
Lets start off using the Quick Select tool.
| | 00:29 |
You'll find that in the Tools panel.
Now with this tool sometimes what you'll
| | 00:33 |
want to do is position your cursor over
your image and change the brush size.
| | 00:38 |
You can do that by pressing the right
bracket key to create a larger brush.
| | 00:42 |
Sometimes its helpful to have a large
brush and to go over your image quickly
| | 00:46 |
and then next to go back with a smaller
brush and to really work on the edges.
| | 00:50 |
So here I'm just going over the
photograph with a really big brush in
| | 00:54 |
order to work quickly yet that doesn't
allow me to select everything that I'll
| | 00:58 |
need to select.
So next what I'll do is decrease the
| | 01:01 |
brush size.
You can do so by pressing the left
| | 01:04 |
bracket key, then here with the smaller
brush, I'll make sure that I'm selecting
| | 01:08 |
the hair.
Also want to make sure that I'm selecting
| | 01:11 |
the subject, all the way to the edge
there, and the hand.
| | 01:15 |
That's good.
This side of the photograph needs some
| | 01:17 |
help too.
So I'll just patiently paint over these
| | 01:21 |
areas in order to make all the
selections.
| | 01:23 |
If there's an area that you need to
deselect, well you can always do so by
| | 01:27 |
holding down the Option key on a Mac and
Alt on Windows.
| | 01:30 |
In this case I'm going to press Option
and click and paint over the train tracks
| | 01:34 |
here, I don't need those as part of the
selection.
| | 01:36 |
Alright, well great.
Well with this image it's going to be a
| | 01:39 |
little bit tricky, right?
Let's zoom in just a bit.
| | 01:42 |
The reason it's going to be tricky is
because we have all of this hair.
| | 01:46 |
Our edge isn't very defined there so
we'll need to fix that up.
| | 01:50 |
Let's take a look at how we can do that.
Rather than using Refine Edge here what
| | 01:55 |
we're going to do is simply click to Add
or Create a Layer Mask.
| | 01:59 |
Now that we have this layer mask we can
see that Quick Select did a decent job
| | 02:03 |
but we want to make this even better.
To do that double-click on the mask itself.
| | 02:09 |
Next you'll notice that you have an
option to Refine the Mask edge.
| | 02:13 |
This is identical to refining the
selection edge, which you can choose up here.
| | 02:18 |
Except, the advantage of doing this on a
mask, is that you can always modify it later.
| | 02:24 |
So here we'll click on Mask Edge, to open
up the dialog.
| | 02:28 |
We already know how this dialog works.
Here I'll view this on transparency.
| | 02:33 |
Next, typically it's helpful, to turn on
smart radius and to crank up your radius
| | 02:38 |
a little bit there.
That makes those edges much better.
| | 02:41 |
Then we may need to increase these
sliders a bit.
| | 02:43 |
Now because there's hair involved, Smooth
and Feather will want to keep pretty low.
| | 02:49 |
Contrast will help us to define the edge
a bit more.
| | 02:51 |
And then sometimes you may need to shift
the edge just a touch, in order to bring
| | 02:55 |
that in.
Another thing that you can do is you can
| | 02:58 |
use this tool here.
It's called the Refined Radius tool.
| | 03:02 |
If you click and paint over areas, it can
Photoshop to pay attention to those.
| | 03:07 |
And to refine the edge selection in those
areas.
| | 03:10 |
Here when we click on our Preview
check-box, we can see the before and then
| | 03:14 |
now the after.
The edges look much better.
| | 03:17 |
In order to apply the refinements to the
mask, simply click OK.
| | 03:21 |
So here what this has done is it's made
our mask even better.
| | 03:25 |
And the great thing about working with a
mask is that we can always adjust this.
| | 03:29 |
In other words, here you can see I've
clicked into the mask.
| | 03:32 |
I can grab my Brush tool and with the
Brush tool I can decide you know what I
| | 03:36 |
really want to get a rid of a few of
those little hairs that are flying out on
| | 03:39 |
the edges there.
Or maybe I'll notice that I've made a mistake.
| | 03:43 |
Here I can paint with white in order to
bring out a little more detail on the shoulder.
| | 03:48 |
I noticed that my selection wasn't very
good right there.
| | 03:51 |
In this way we can fine-tune this mask so
that we can achieve really good results.
| | 03:55 |
Speaking of that, I notice that there is
an area of the hair which isn't really good.
| | 04:00 |
So, I'll use this brush and I'll paint
with black this time to conceal that.
| | 04:04 |
I just want to conceal this little
portion of the photograph back here.
| | 04:07 |
Again, in this way we have this little
bit of extra control.
| | 04:11 |
We can remove portions of the image, or
bring more in.
| | 04:14 |
And this gives us extra flexibility.
The other thing that's great about
| | 04:18 |
working with the mask is that you can
always temporarily disable the mask.
| | 04:23 |
In other words, let's say that you've
decided.
| | 04:25 |
You know what, I actually want to have
the subject in this environment.
| | 04:29 |
Well, you can undo the mask, so to speak,
by temporarily disabling it.
| | 04:33 |
Let me show you two shortcuts that you
can use in order to do that.
| | 04:36 |
The first involves right-clicking or
control-clicking on the mask.
| | 04:40 |
The top menu item allows you to choose
Disable Layer Mask.
| | 04:44 |
Right-click or Ctrl-click again and you
can bring that back.
| | 04:48 |
Now, that is something that you can't do
with selections.
| | 04:51 |
Once you've selected the background and
deleted it, you can't bring it back.
| | 04:55 |
With a mask, you can.
Another way you can do this same thing,
| | 04:59 |
is to hold down the Shift key and then to
click on the mask.
| | 05:02 |
And here you can see that I can turn that
mask on and off by simply Shift-clicking
| | 05:06 |
on the mask icon in the Layers panel.
Alright, to reiterate a few things we
| | 05:11 |
learned here.
We start off using the Quick Select tool.
| | 05:14 |
We created a selection over the image.
Next with that selection active we
| | 05:19 |
clicked on the Add Layer Mask icon to
create a mask based on our selection.
| | 05:23 |
Then we double-clicked the mask to open
up our Properties panel and to control
| | 05:28 |
our settings for our mask, in particular
we looked at how we could refine the
| | 05:32 |
masked edge by clicking on this button
here.
| | 05:35 |
And then, last but not least, we explored
how we can work on our mask further by
| | 05:39 |
targeting the mask.
And then by painting with our Brush tool
| | 05:42 |
and painting with black or white to
either reveal or conceal portions of the mask.
| | 05:48 |
And then as a little bit of a bonus, I
highlighted a short cut which you can use
| | 05:52 |
in order to enable or disable the mask.
And I think the best shortcut is to hold
| | 05:57 |
down the Shift key and then to click on
the mask icon so that you can then change
| | 06:01 |
your view or enable or disable the mask.
| | 06:04 |
| | Collapse this transcript |
| Removing color with a mask| 00:00 |
To further understand how we can work
with masks, I want to work with this
| | 00:04 |
photograph here.
And in this case we're going to look at
| | 00:06 |
how we can create a new layer and how we
can apply a mask to a new layer and then
| | 00:11 |
paint in a particular adjustment.
What I want to do with this photograph is
| | 00:15 |
convert it to black and white, so that
everything is black and white except for
| | 00:19 |
the pumpkin.
So here I'll zoom in on the picture a
| | 00:22 |
little bit.
And our first step will be to duplicate
| | 00:25 |
the background layer.
To do that, click on your background
| | 00:28 |
layer, drag that to the new layer icon.
Next, now that we have a copy of the
| | 00:32 |
background, lets rename this layer.
We can do that by double-clicking into
| | 00:36 |
the layer name.
And here we'll rename this layer BW for
| | 00:40 |
back and white.
Next what I want to do is apply an
| | 00:43 |
adjustment to this layer.
Here, we'll navigate to our image
| | 00:47 |
pull-down menu.
And then choose Adjustments and then
| | 00:50 |
select Black and White.
We'll dig dipper into how we can work
| | 00:54 |
with these Black and White controls
later.
| | 00:56 |
For now, let's simply let's leave the
default settings as is and click OK.
| | 01:01 |
Alright, well here we have the set up.
If we click on the eye icon of the top
| | 01:05 |
layer, you can see I have my background
image.
| | 01:07 |
And then above it, I have a photograph
which is converted to black and white.
| | 01:12 |
I'm going to create or add a layer mask
to the black and white layer.
| | 01:16 |
To do so, simply click into the layer
that you want to add the layer mask to
| | 01:20 |
and then click on the Layer Mask icon.
Here you can see we currently have a mask
| | 01:25 |
which is white.
And you remember that white reveals and
| | 01:29 |
black conceals.
Well, what I want to do, is I want to
| | 01:32 |
conceal the black and white effect in a
certain area.
| | 01:36 |
I want to conceal this in the area of the
pumpkin.
| | 01:39 |
So in order to do that, I'm going to use
my Brush tool.
| | 01:43 |
Here I'll select the Brush tool.
And what I need to do is, I need to paint
| | 01:47 |
with black.
So I'll choose black as my foreground
| | 01:50 |
color by clicking on this little icon
here.
| | 01:52 |
Next we need to choose a brush size.
We also will probably want a brush
| | 01:57 |
without any hardness.
So, decrease my brush size there a little
| | 02:00 |
bit, and then I'll simply start to paint.
As I start to paint over this area, what
| | 02:05 |
we'll see, is that we'll see through to
the underlying area.
| | 02:09 |
If you look at the layer mask what you'll
discover is that there now is an area
| | 02:13 |
which is black.
That area which is black is concealing
| | 02:17 |
the black and white effect.
Here I'll make my brush smaller by
| | 02:21 |
pressing the left bracket key.
With a little bit of a smaller brush I
| | 02:24 |
can get in closer to the edge there.
As you start to paint over this area of
| | 02:28 |
your picture, if ever you make a mistake
you can always correct that mistake, and
| | 02:33 |
that's the beauty of working with a mask.
For example as I work on this if I'm
| | 02:37 |
painting on one of my edges and all of
the sudden I go too far out to the side.
| | 02:42 |
Well, no big deal.
Simply paint with white or whatever the
| | 02:45 |
opposite color is.
And here I'll increase my brush size a
| | 02:49 |
little bit by pressing the right bracket
key and you can see how I can remove that
| | 02:53 |
from this portion of the image.
All right, well, what exactly is
| | 02:57 |
happening here?
How was this effect created?
| | 03:00 |
Well, if we turn off the visibility of
the underlying layer we'll discover the secret.
| | 03:06 |
This top layer, it's a black and white
layer right?
| | 03:09 |
And this black and white layer is shown
in its entirety except for one small area.
| | 03:15 |
This area here on the mask, I painted
with black.
| | 03:19 |
And the black is concealing this part of
the image.
| | 03:23 |
So therefore, this layer contains a black
and white photograph except for in this area.
| | 03:28 |
Well because I have two layers of the
same image and because underneath we have
| | 03:33 |
a version of the photograph which is a
color version.
| | 03:36 |
Well here we're seeing through to that
portion of the photograph.
| | 03:40 |
So in this case this mask right here, its
allowing us to dial in a specific effect
| | 03:47 |
into a certain area of our photograph.
In this particular example, well it's
| | 03:51 |
pretty vivid,easy to see the difference.
And I wanted to show you to show you this example.
| | 03:57 |
To start to illustrate or highlight how
you can make selective adjustments to
| | 04:01 |
certain areas in your photograph.
Remember the shortcut to enable or
| | 04:06 |
disable the mask?
Hold down the shift key and then click on
| | 04:09 |
the mask.
Here you can see the before, shift click
| | 04:11 |
again and then you can see the after.
Again it's this mask which is allowing us
| | 04:17 |
to apply or to make this selective
adjustment.
| | 04:20 |
Alright, well, now that we've been
introduced to this concept of making
| | 04:23 |
selective adjustments, let's take a look
at another example of how this might be helpful.
| | 04:28 |
And lets do that in the next movie.
| | 04:30 |
| | Collapse this transcript |
| Selectively sharpening an area of your photograph| 00:00 |
Let's take a look at another example
where working with a mask will help you
| | 00:04 |
to make a selective adjustment.
And in particular, in this image what I
| | 00:08 |
want to do, is I want to duplicate the
Background layer and apply a Sharpening
| | 00:12 |
effect to the entire image.
Then I want to mask in the sharpening
| | 00:17 |
effect so that it is only affecting the
eyes.
| | 00:21 |
Because with this photograph, we really
don't want to sharpen the skin or the background.
| | 00:26 |
You know, in most of your photographs,
you want to apply adjustments in really
| | 00:29 |
specific or selective ways, and that's
the case here with sharpening this picture.
| | 00:34 |
So let's explore how we can do that.
First off, we'll duplicate the Background layer.
| | 00:39 |
Click and drag the background layer to
the new layer icon, and then rename this
| | 00:43 |
new layer by double clicking into its
layer name.
| | 00:45 |
Rename this one sharpen.
Now, I'll be talking more about
| | 00:49 |
Sharpening in one of our subsequent
chapters.
| | 00:51 |
Yet here I simply want to highlight how
we can use some sharpening and apply it
| | 00:55 |
selectively using a mask.
So with this image, we'll navigate to the
| | 00:59 |
Filter Pull-down menu.
Then, we'll select Sharpen.
| | 01:02 |
Then, we'll choose Smart Sharpen.
Smart Sharpen is a great way to sharpen
| | 01:07 |
your photographs.
This will open up our Smart Sharpen
| | 01:10 |
dialog as you can see here.
Now, if we look at our image in this
| | 01:14 |
preview, we'll notice that we have some
sharpening being applied to the entire image.
| | 01:19 |
If I click and hold, what you'll see is
the original file, let go after the
| | 01:23 |
sharpening effect has been applied.
Now, we can control the amount of the
| | 01:28 |
sharpening using these different sliders
here.
| | 01:30 |
We can decrease the amount or increase
it, and then view how it looks over here
| | 01:34 |
on the left.
For demo purposes, I have an exaggerated
| | 01:39 |
amount of sharpening.
And I've done that so we can really see
| | 01:41 |
how it's sharpening a lot of the image.
If we Zoom in even a bit more close, and
| | 01:46 |
if I click and hold, you can see here's
before, let go, here's the after.
| | 01:50 |
Notice how it's sharpening all of the
little texture and all the little details
| | 01:54 |
on the skin.
Well, I don't want that.
| | 01:57 |
So, what we'll do is click OK to apply
that sharpening effect to the entire layer.
| | 02:03 |
Next, I'll zoom in on the image a little
bit, so we can see this a bit better.
| | 02:07 |
Then I'll create a Layer mask.
To do so click on the Add Layer Mask icon.
| | 02:11 |
Well, currently the layer mask is white.
A white layer mask reveals, revealing the
| | 02:17 |
sharpening effect everywhere.
It's sharpening the background, the hair
| | 02:20 |
that's out of focus, the skin,
everything.
| | 02:23 |
I don't want that.
So what I want to do is invert the mask,
| | 02:26 |
or flip the mask so that it's black.
To do that, double-click it and open up
| | 02:31 |
the Mask panel.
At the bottom of the Mask panel, you'll
| | 02:35 |
find a really handy button.
It's the Invert button.
| | 02:38 |
This will take your mask and flip it to
the exact opposite of whatever it is.
| | 02:43 |
Currently mine's white, so when I click
it, my mask becomes black.
| | 02:47 |
Click it again and it goes back to white.
So here you can see, you can really
| | 02:50 |
quickly invert your mask.
So, why do I want a black mask here.
| | 02:55 |
Well, I want this to be black because
remember that conceals, that hides all of
| | 03:00 |
the sharpening effect.
If we're to turn off the eye icon in the
| | 03:03 |
background layer, we'll see that this top
layer, it isn't doing anything at all.
| | 03:08 |
There is nothing there, because the mask
is black.
| | 03:10 |
Yet, if I paint into the mask, in certain
areas.
| | 03:15 |
And here we'll do by grabbing our Brush
tool.
| | 03:18 |
Next we want to paint with white, so I'll
choose white as my foreground color.
| | 03:23 |
Then we want to select the brush, one
relatively small brush without any hardness.
| | 03:28 |
And then we simply want to paint over a
few areas.
| | 03:30 |
Then we're going to paint a bit more than
I need here in order to illustrate a point.
| | 03:34 |
I paint across the lips and perhaps a
little bit on the hair as well, in order
| | 03:37 |
to bring out some of these nice details
that I'm seeing here.
| | 03:40 |
Well, after I've done that, what we can
do is turn off the eye icon of the
| | 03:45 |
background layer.
Notice, now, that this top layer.
| | 03:47 |
Well, this is just showing us these
areas.
| | 03:50 |
These are the only areas in our image
which will be sharpened.
| | 03:54 |
And here I'm just painting over these
with white in order to reveal a little
| | 03:58 |
bit more.
And the great thing about this is that it
| | 04:01 |
allows me to control the area of my image
that's being sharpened.
| | 04:04 |
And here's an extra little tip that you
can use here.
| | 04:07 |
When you're painting in selective
adjustments, sometimes you'll want to
| | 04:11 |
increase the feather.
What that will do is it will just soften
| | 04:14 |
those edges so that the transition from
an area that's sharp to one that isn't is
| | 04:19 |
just a bit more smooth.
Alright, well, I know that this
| | 04:22 |
perspective looks a little bit strange,
but I hope that it's helpful to start to
| | 04:26 |
see that this top layer, well, all that
it's doing is just sharpening the eyes
| | 04:31 |
the lips and a little bit of the hair.
Now, if ever you make a mistake and
| | 04:35 |
realize, you know what, I've sharpened a
bit too much in a certain area.
| | 04:39 |
Well, just click into the mask, and in
this case paint with black, use black as
| | 04:43 |
a foreground color.
And then paint away the area where you
| | 04:46 |
want to paint away that sharpening
effect.
| | 04:49 |
And here I'll do that in a few little
locations.
| | 04:51 |
And in this way I'm able to selectively
modify or adjust my photograph.
| | 04:56 |
And keep in mind, that while I'm showing
you this with sharpen, you can use this
| | 05:01 |
technique with brightness, or with
contrast or with color.
| | 05:04 |
You can use this technique in so many
ways.
| | 05:07 |
Really what I'm trying to highlight here
is the principal.
| | 05:10 |
And the principal is, that you can apply
an adjustment, and then you can use a
| | 05:15 |
mask in order to selectively decide where
and how that will affect your photograph.
| | 05:21 |
| | Collapse this transcript |
|
|
14. Improving Exposure with Adjustment LayersAutomatically improving your images| 00:00 |
In this chapter I'm excited to introduce
you to how you can work with Adjustment layers.
| | 00:05 |
Adjustment layers is one of those
features in Photoshop that will change
| | 00:10 |
the way you work on your photographs.
Adjustment layers allow you to work with
| | 00:13 |
a lot of flexibility, they allow you to
be creative, they allow you to make non
| | 00:17 |
destructive adjustments that you can
always undo or change after the fact.
| | 00:22 |
You know, so far we've talked about how
we can make adjustments to a particular layer.
| | 00:26 |
We select the layer.
And then we navigate to the Image,
| | 00:29 |
Pull-down menu.
Here we choose Adjustments.
| | 00:32 |
And I've highlighted a few, like
Brightness and Contrast or Hue and Saturation.
| | 00:36 |
Yet one of the problems of adjusting our
images this way is that we can't undo or
| | 00:42 |
modify these adjustments.
One of the things that you'll notice is
| | 00:45 |
that the list of adjustments that we have
here, Brightness and Contrast, Levels,
| | 00:49 |
Curves, Exposure, Vibrance, Hue
Saturation, and so on.
| | 00:52 |
Well all of these controls, they can also
be accessed in our Adjustments panel.
| | 00:58 |
Here again, we have Brightness Contrast,
Levels, Curves, Exposure, Vibrance, Hue
| | 01:03 |
Saturation, and so on.
And we can click on one of these icons in
| | 01:08 |
order to access the controls which allow
us to adjust our image in that way.
| | 01:12 |
For example, with this photograph that I
captured of this family down at a local
| | 01:17 |
beach at sunset.
I was shooting right into the sun so it
| | 01:20 |
has this beautiful look.
Yet, the image is a bit soft.
| | 01:24 |
I want to brighten it up.
I also want to add a bit of contrast or punch.
| | 01:28 |
So first, i'll zoom in on the photograph
a little bit.
| | 01:31 |
Then next, I'll hover over one of the
Adjustment layer icons until I find the
| | 01:35 |
one that I'm looking for, which is,
Brightness and Contrast.
| | 01:39 |
You'll see the name of the Adjustment
layer listed right above it.
| | 01:42 |
Next click on that Icon.
What it will do, is it will create a new
| | 01:45 |
layer in your Layers panel.
You'll notice that this new layer has the
| | 01:49 |
same Icon as the Icon above, for
Brightness and Contrast.
| | 01:53 |
You'll also notice that it has a mask
built into it.
| | 01:56 |
We'll talk more about that later.
Next you'll discover that it will open
| | 02:00 |
the Properties panel, with the controls
for this particular adjustment.
| | 02:04 |
Here in this case, we can control
brightness and also contrast.
| | 02:08 |
Well as I mentioned previously, what I
want to do, is add some more contrast,
| | 02:12 |
and maybe a bit of brightness.
The great thing about this, is that this
| | 02:16 |
Adjustment layer, it can always be undone
or changed or modified later.
| | 02:22 |
First though, let's take a look at our
before and after.
| | 02:25 |
We can do so by either clicking on the i
icon here.
| | 02:28 |
Here's before, and then now here's after.
We can also click the i icon in the
| | 02:33 |
Layers panel as well.
Either way will work.
| | 02:35 |
Well, lets say that we apply this
adjustment and then we close the panel
| | 02:39 |
and then we close the image and then we
decide, you know what I want even more contrast.
| | 02:44 |
Well, when we reopen the file we'll find
this Adjustment layer right above the
| | 02:49 |
Background layer.
To re-access those controls simply
| | 02:52 |
double-click the icon for the adjustment
and that will reopen these controls in
| | 02:57 |
the Properties panel.
Now here, I'm going to bring up the
| | 03:00 |
contrast even more, and also brighten the
image a bit more.
| | 03:04 |
I want to go for ,a really dramatic look
here.
| | 03:05 |
Alright well now we can see, if we click
on the i icon, there's our before, and
| | 03:11 |
then our after.
And again the great thing about this is
| | 03:15 |
that these layers are relatively light
weight.
| | 03:17 |
In other words they don't take up a lot
of file size.
| | 03:20 |
And they give us flexibility when it
comes to making different type of
| | 03:23 |
adjustments to our photographs.
Alright well now that we've been
| | 03:27 |
introduced to the topic of working with
the Adjustment layers, let's take a look
| | 03:30 |
at a few more examples of how we can use
Adjustment layers.
| | 03:33 |
To improve or change our photographs, and
let's do that in the next few movies.
| | 03:37 |
| | Collapse this transcript |
| Making custom levels adjustments| 00:00 |
Now that we have been introduced to the
concept of working with Adjustment
| | 00:04 |
layers, let's take a look at how we can
use another Adjustment layer.
| | 00:08 |
This time, we'll focus in how we can use
levels.
| | 00:11 |
Also along the way I want to highlight or
we can take advantage of the Auto button
| | 00:16 |
which will allow us to apply some auto
corrections to the photograph.
| | 00:20 |
We'll start off with this picture here
which is a sunrise photograph that I captured.
| | 00:25 |
Now if we click on one of our Adjustment
layer icons, say like Brightness and
| | 00:28 |
Contrast, that will then add this
particular adjustment.
| | 00:31 |
And open the Properties panel and here we
have access to the controls.
| | 00:36 |
And I wanted to highlight that there's
also a button.
| | 00:38 |
It's an automatic button.
When you click Auto what it will do is
| | 00:42 |
that it will automatically analyze the
image and then apply a correction.
| | 00:46 |
Now this correction doesn't always work.
So sometimes what you can do is use this
| | 00:51 |
as a starting point and then you can make
further adjustments.
| | 00:55 |
Well here I actually don't want to work
with Brightness and Contrast.
| | 00:58 |
I want to work with levels.
So what I want to do is get rid of this
| | 01:01 |
Adjustment layer.
There are two ways to do so.
| | 01:04 |
We can either click on the Trash Can icon
here or you can click on the layer in the
| | 01:09 |
Layers panel and drag this to the Trash
Can icon.
| | 01:12 |
That will then delete that Adjustment
layer.
| | 01:14 |
Now no pixels were harmed, we still have
our original file.
| | 01:17 |
And now what I want to do is simply
create another Adjustment layer.
| | 01:21 |
This time we're going to create
Adjustment layer, which is called Levels.
| | 01:25 |
Levels allows us to modify image in some
pretty powerful ways.
| | 01:30 |
Here you can see that we have three
little icons.
| | 01:33 |
We have one which is really dark, one
which is gray and then one which is
| | 01:36 |
bright and white.
Each of these icons allow us to adjust
| | 01:40 |
our image in different way.
Here I can adjust the overall shadows.
| | 01:43 |
I can also control the overall brightness
of the image and then I can of course
| | 01:47 |
control the brightest tones as well.
Now if you make adjustments and if you
| | 01:52 |
decide if, you know what, this just
doesn't look that good.
| | 01:55 |
It's just over the top, it's just over
done.
| | 01:56 |
You can reset one of these dialogues by
clicking on this icon here.
| | 02:01 |
You'll find this at the base of many of
our Adjustment layers.
| | 02:05 |
Alright, well great.
Everything is reset, it's back to normal.
| | 02:08 |
What I want to do is take advantage of
the Auto button.
| | 02:11 |
Sometimes this is a good place to start.
Here it will automatically correct the
| | 02:16 |
levels in the photograph.
And what it did is it simply brought in
| | 02:20 |
these two points so that I had good
detail.
| | 02:22 |
This graph by the way is called the
histogram.
| | 02:26 |
This is a visualization of the data that
we have in our photograph.
| | 02:30 |
Here we can see the tones that we have
which are darker and also the brighter tones.
| | 02:34 |
This image has more darker tones than
brighter.
| | 02:37 |
That's why the histogram appears this
way.
| | 02:40 |
Now after automatic takes a stab at
correcting the image, you can always go
| | 02:44 |
further yourself.
Here you can click and drag on these
| | 02:47 |
icons if you want an image which is even
darker.
| | 02:50 |
And you can control these settings until
the photograph appears exactly as you
| | 02:54 |
want it.
In this case I like the look.
| | 02:57 |
Here's before and now here's after.
And so levels allows us to make these
| | 03:02 |
type of tonal and also color adjustments
to our photographs.
| | 03:06 |
In this case though really focusing in on
tone.
| | 03:08 |
Alright, well lets take a look at one
more example and here I'll open up a
| | 03:12 |
photograph which is a portrait.
In this case, this portrait looks nice
| | 03:16 |
but the colors feel a little bit washed
out.
| | 03:18 |
I want to increase the contrast and also
the overall color saturation.
| | 03:22 |
We can do that by working with levels.
So here I'll click on the icon for Levels.
| | 03:26 |
Again, just to start out, I'll click on
the Auto button.
| | 03:31 |
And sometimes all you'll need to do is to
click on Auto in order to automatically
| | 03:35 |
correct the levels in your photograph.
Let's take a look at this image.
| | 03:39 |
Here's before, a little bit washed out,
here's after.
| | 03:42 |
Now the image looks much better.
And again we can go further.
| | 03:46 |
We can work with these icons in order to
modify the overall brightness, color of
| | 03:50 |
the image and here I'm just creating a
different look.
| | 03:53 |
And at this point really I'm just
modifying the image so that it looks good
| | 03:57 |
to my eye.
I'm subjectively trying to use these
| | 04:01 |
controls in order to improve the
photograph.
| | 04:04 |
Next lets look at our before and after.
Here it is the overall before and now after.
| | 04:10 |
All right, well now that we've been
introduced to working with Brightness and
| | 04:13 |
Contrast and Levels.
Next, let's take a look at how we can
| | 04:16 |
work with curves.
And let's do that in the next movie.
| | 04:19 |
| | Collapse this transcript |
| Fine-tuning an image with Curves| 00:00 |
The next adjustment layer that we'll be
taking a look at is called Curves.
| | 00:04 |
We'll be looking on a few different
photographs yet we'll start off with this
| | 00:08 |
image here, which we've seen previously.
Because I thought it would be helpful to
| | 00:12 |
compare the results as we work with these
different adjustment layers.
| | 00:15 |
In order to apply a Curves adjustment,
simply click on the third icon that
| | 00:19 |
you'll find there at the top.
This will open up our Curves dialogue.
| | 00:23 |
Now, at first glance this dialogue will
appear a bit strange.
| | 00:27 |
You'll notice that there is a dividing
line.
| | 00:29 |
You'll also notice that we have the
histogram in the background.
| | 00:33 |
What's happening here?
What this is, is the current values that
| | 00:36 |
we have in our image.
We can change or remap those values by
| | 00:40 |
creating what's called a Curve.
If you click on this curve, you can drag
| | 00:44 |
it up to brighten the image, drag it down
to darken the image.
| | 00:48 |
You can also set multiple points on the
curve.
| | 00:51 |
In other words, if you have a point on
the curve, you could work on the brighter
| | 00:54 |
tones and brighten those up.
And you could also work on the darker
| | 00:58 |
tones and darken those.
In this case creating more contrast and
| | 01:02 |
color saturation and this is perhaps one
of the most basic curve adjustments that
| | 01:07 |
you can apply.
Its called an S curve because it takes on
| | 01:10 |
the shape of an s as you can see here.
And it involves setting a few curve points.
| | 01:16 |
Well let's say that you adjust your image
in this way, and that you've decided you
| | 01:20 |
don't like it.
Well you can always reset the curve by
| | 01:23 |
clicking on this icon here.
You can also add points by simply
| | 01:27 |
clicking and dragging or.
If you want to remove a point click and
| | 01:31 |
drag it off to the side and then it will
disappear.
| | 01:33 |
Okay, well now that we know a little bit
about curves, let's apply an S curve adjustment.
| | 01:39 |
So with this image, we'll click and drag
up here in the highlights.
| | 01:43 |
The brighter tones are off to the right
as you can see down below.
| | 01:46 |
Then we'll click and drag down in these
darker tones in order to create this S curve.
| | 01:51 |
In this case we've increased the contrast
and color saturation by adding these two
| | 01:56 |
points to our image.
Now you'll notice that all of these
| | 01:59 |
adjustment layers they come pre installed
or pre built with a mask.
| | 02:04 |
And that gives us the ability to mask in
adjustments into specific areas and in
| | 02:09 |
order to look at how we might do that
lets open up another photograph.
| | 02:13 |
Here with this photograph what I want to
do is take a look at how I can brighten
| | 02:17 |
up just a portion of the image.
This side over here.
| | 02:21 |
To do that, we'll click on our Curves
Adjustment Layer icon.
| | 02:24 |
Next, I'm going to keep this curves
adjustment really simple.
| | 02:27 |
I'll simply click and drag up in order to
brighten the image, so that this side of
| | 02:32 |
the image looks good.
Well currently, it's brightened
| | 02:35 |
everything, because the mask is white.
Revealing all of this effect.
| | 02:39 |
Well I want to conceal it from this side
of the image.
| | 02:43 |
To do that, you can select your Brush
Tool and here I'll paint with black.
| | 02:48 |
Remember black conceals and white
reveals.
| | 02:50 |
Next is to choose a really big brush.
Here I have a brush size of about 400 or
| | 02:55 |
500 or so.
And you want a brush without any hardness.
| | 02:59 |
Then when you paint with black over this
area, what this will do is it will
| | 03:03 |
conceal that adjustment from this portion
of the image.
| | 03:06 |
You can see that this is now showing up
in this icon here for the mask for the
| | 03:10 |
Curves adjustment.
So that if I click on the eye icon to
| | 03:14 |
look at the before and then now the
after.
| | 03:16 |
You can see that this curves adjustment
is just affecting that left side of the image.
| | 03:22 |
In this way you can use curves in
combination with mask in order to come up
| | 03:27 |
with some really stunning results.
Now so far we're really focusing in on
| | 03:31 |
how we can work with brightness.
But curves can also help you to work with colors.
| | 03:36 |
Yet, we'll talk about that later.
Let's look at one more image so that we
| | 03:39 |
have one more example of how this can
work.
| | 03:42 |
Here with this photograph, what I want to
do is I want to brighten up the middle
| | 03:46 |
area of the image.
We can do this again by working with our
| | 03:50 |
curves adjustment layer and also with the
mask.
| | 03:52 |
So here lets click on the adjustment
layer icon for curves.
| | 03:56 |
We'll brighten the image up and we're
just focusing in on this part of the
| | 04:00 |
image and now that I've done that what I
need to do is invert the mask.
| | 04:05 |
Do you remember how to do that?
You navigate over to the Mask panel.
| | 04:08 |
You can do so by clicking on this icon.
All the adjustment layers that have pre
| | 04:13 |
installed masks simply allow you to
navigate back and forth by clicking on
| | 04:17 |
these two icons.
Next, we'll click invert.
| | 04:20 |
Now the image is unaffected by this curve
adjustment.
| | 04:24 |
The black is concealing all of our
curve's adjustment.
| | 04:27 |
Next we'll choose our Brush Tool.
This time we'll paint with white.
| | 04:32 |
Because we want to paint this adjustment
in.
| | 04:34 |
This brightening effect, we want to bring
it in.
| | 04:37 |
So here we'll increase our brush size so
that we have an even bigger brush.
| | 04:41 |
Nice large brush size there.
And then just start to paint over the image.
| | 04:45 |
In doing this, you can see how I'm
painting in this brightening effect into
| | 04:49 |
this area of the photograph.
Currently, we can see how that's
| | 04:53 |
affecting the middle of the image and if
we click this on and off we can see that
| | 04:58 |
before and then after.
And the great thing about working with
| | 05:01 |
the Mask panel is that we can soften the
edges even more of this adjustment by
| | 05:06 |
increasing the feather amount.
You may remember that from the previous chapter.
| | 05:10 |
As I increase this it creates more of a
diffused look.
| | 05:14 |
In this case its sort of a softer effect.
Now when we click on the eye icon, you
| | 05:19 |
can see here's before and now, here's
after.
| | 05:22 |
Just a subtle brighten effect to this
portion of the image.
| | 05:25 |
If we want to change the characteristics
of the curve's adjustment, we'll go back
| | 05:30 |
to the icon which allows us to access
those controls.
| | 05:33 |
And here we can control that portion of
the image which is confined or limited by
| | 05:38 |
the mask.
And in this way we could set other points
| | 05:41 |
or modify the characteristics of this
curve even further.
| | 05:44 |
Again, here's that before, and then now
here's the after.
| | 05:48 |
And so what I wanted to illustrate here
is simply how we can start to work with curves.
| | 05:52 |
How we could use curves in order to
brighten or darken our photographs.
| | 05:57 |
And also, how we can integrate with
curves the use of masking.
| | 06:01 |
When we use curves and masking together,
it allows us to make selective or
| | 06:05 |
specific adjustments to our photographs.
| | 06:07 |
| | Collapse this transcript |
|
|
15. Adding, Changing, and Removing Color with Adjustment LayersChanging color with Hue/Saturation| 00:00 |
This is going to be one of those chapters
which is really fun.
| | 00:03 |
Because here, we're going to take a look
at how we can modify, enhance, and change
| | 00:08 |
the colors in our photograph.
And we'll take a look at how we can do
| | 00:12 |
all that using Adjustment layers.
We'll start off with this picture that I
| | 00:15 |
captured here of Evan Vasso as he was
doing some aeordynamic testing and the
| | 00:20 |
wind tunnel and preparation for the Tour
De France.
| | 00:23 |
And let's work with this image and let's
work the Hue Saturation adjustment layer
| | 00:28 |
in order to make some dramatic changes to
the color in this photograph.
| | 00:31 |
To access Hue Saturation, simply click on
this icon here in the Adjustments panel.
| | 00:37 |
When you click on that, it will open up
our Properties panel with all of our Hue
| | 00:42 |
Saturation adjustments.
Also you'll notice that it's created a
| | 00:45 |
new layer for us and this new layer has a
built in mask.
| | 00:49 |
All right, well how can we work with Hue
Saturation or even better, how can we
| | 00:54 |
understand how we can change color with
all of these controls?
| | 00:57 |
Well first I want to skew my image over a
bit so I'll press the space bar key and
| | 01:02 |
then click and drag to the left.
So that we have a little bit more space
| | 01:05 |
there so we can focus in on the controls.
Straight at the top we have three sliders.
| | 01:10 |
Hue, saturation, and lightness.
The hue slider allows us to remap all of
| | 01:16 |
the colors in the image.
And here I'm going to make an adjustment
| | 01:19 |
which will look a little bit silly.
But will really illustrate how this
| | 01:23 |
slider works.
As I drag this to the right you can see
| | 01:26 |
that all of the colors in the image have
completely changed.
| | 01:30 |
The helmet and jersey are pink as well as
the bike.
| | 01:32 |
And the skin, well it's green.
Well, how in the world did that happen?
| | 01:38 |
Well, when you work with this slider, you
may notice that it's changing something
| | 01:42 |
below, as well.
Let's bring this back to the default
| | 01:44 |
setting, or at least close to it.
Here you can see we have these two lines.
| | 01:49 |
These are showing the color spectrum in
the image.
| | 01:52 |
Whats on top is the original color.
Whats underneath is the new color.
| | 01:57 |
So as I change this slider you notice
that its remapping the color.
| | 02:01 |
So whatever was once blue well that's now
green.
| | 02:05 |
In this way we can shift all of the
colors in our photographs and sometimes
| | 02:09 |
its helpful to do so.
Well next we have Saturation.
| | 02:13 |
That's pretty straight forward.
We click and drag to the right to
| | 02:16 |
increase saturation, drag to the left in
order to decrease saturation.
| | 02:21 |
Last, but not least, at least with these
sliders, we have Lightness.
| | 02:24 |
This allows us to either brighten or
darken the overall image or specific colors.
| | 02:29 |
Then, underneath, we have a button which
is called Colorize.
| | 02:33 |
What Colorize does is, it affects the
overall image and here, you'll see how
| | 02:38 |
this works.
When we click this on it's as if it
| | 02:41 |
removed all the color and now it's only
applying one color effect to the photograph.
| | 02:46 |
Let's increase the saturation so we can
see how this works.
| | 02:49 |
Notice how the entire image is tinted
with one color.
| | 02:54 |
So, rather than having multiple colors,
what colorize does is it removes a color
| | 03:00 |
and then it adds one color which we can
select from this slider here.
| | 03:04 |
So again, we have a lot of options.
Well now that we know about these
| | 03:09 |
controls, let's reset this image.
To do so, we'll click on this icon here,
| | 03:14 |
and let's perform a task.
Let's say that the client likes this
| | 03:18 |
image, but they really would love to see
a version of this where the helmet and
| | 03:22 |
the jersey and the bike are all red.
How could we change those colors specifically.
| | 03:28 |
Rather than changing all of the colors,
we just want to change one color.
| | 03:32 |
Well, what you can do is you can use this
tool here.
| | 03:35 |
This tool allows you to click on a
specific color in order to select it.
| | 03:40 |
And so what I'll do is I'll click on the
jersey color.
| | 03:43 |
Notice that as I did that it took me to
the blues here.
| | 03:47 |
It also changed the colors which are
being affected, as it's showing down here
| | 03:51 |
with these small icons.
Now, we can click on this Pull down menu
| | 03:54 |
and we can select different colors.
Or we can use the tool which we just
| | 03:59 |
selected and click and that will give us
an accurate selection of that color.
| | 04:03 |
So as I mentioned, I want to change that
color.
| | 04:06 |
Well again, first we use this tool.
And we click.
| | 04:09 |
Second, we use the hue slider.
Because, remember, that's the slider
| | 04:13 |
which allows us to make dramatic changes
to color.
| | 04:17 |
So here I'll click and drag to the left.
As I do that, we can see that we can
| | 04:20 |
change the overall look.
And we could change this so that it's
| | 04:23 |
close to green, or we could go some other
direction as well.
| | 04:26 |
Yeah, as I make this change, one of the
things that I notice is that the color
| | 04:30 |
isn't very uniform.
It's affecting certain colors stronger
| | 04:34 |
than others.
So here, I'll increase my color
| | 04:37 |
saturation a little bit and still that
doesn't help.
| | 04:40 |
What we need to do is to add some more
colors to the selection.
| | 04:44 |
To do that, you can use these little
eyedroppers below.
| | 04:48 |
Notice that one eyedropper has a plus
icon next to it.
| | 04:51 |
You can then simply click through your
image and start to click on to the other hues.
| | 04:55 |
And the reason why we had to do that is
because all blues, well they aren't the same.
| | 05:00 |
Here, if you look closely, it will show
you that it's selecting more color.
| | 05:04 |
And even if you can't quite understand
this dialog.
| | 05:07 |
Well I hope you can understand, is first
start of with this icon.
| | 05:11 |
Click, and then if it didn't get enough
of the color, well then add to it by
| | 05:15 |
using the icon with the eyedropper and
the plus next to it.
| | 05:19 |
If ever you need to remove colors, use
the eyedropper with the minus sign next
| | 05:23 |
to it.
Allright, here we now have a version of
| | 05:25 |
this image where everything is green, we
could also change that as I mentioned
| | 05:29 |
other options.
And what the client was really looking
| | 05:32 |
for was something which was closer to
red.
| | 05:34 |
So here I'm going to just slide around
until I can find something which might
| | 05:37 |
work for that particular client.
All right, there we have it.
| | 05:40 |
Another version of this image, and what
you can see here with this demonstration
| | 05:46 |
is that you can use hue saturation in
order to.
| | 05:49 |
Shift and change colors in your
photographs in really dramatic ways.
| | 05:53 |
So if you haven't ever experimented with
Hue Saturation, I recommend that you do so.
| | 05:58 |
Because it's one of those adjustments
which can really help you out either to
| | 06:01 |
create fantastic results, like we have
here.
| | 06:05 |
Or sometimes to make more subtle shifts
or corrections on your photographs when
| | 06:08 |
it comes to changing the color in your
images.
| | 06:12 |
| | Collapse this transcript |
| Increasing saturation and color variety with Vibrance| 00:00 |
Let's take a look at how we can make the
colors in our photographs vibrant,
| | 00:04 |
saturated, and alive.
And in order to do that, we'll be working
| | 00:08 |
with the Vibrance Adjustment layer.
And also, we'll be working on a number of
| | 00:12 |
different images.
Because you know, sometimes in order to
| | 00:15 |
really learn how something works, we just
have to see multiple examples of it.
| | 00:19 |
Well, let's start off with this
photograph that I captured here of some
| | 00:22 |
artist chalk.
And in order to bring out some of these colors.
| | 00:25 |
We'll navigate to our adjustments panel
and we'll click on this icon here which
| | 00:29 |
will open up our vibrance adjustment
sliders.
| | 00:32 |
Now vibrance simply has two different
sliders.
| | 00:35 |
Now these sliders work in similar yet
different ways.
| | 00:39 |
I like to think of the vibrant slider, as
the one which makes more subtle adjustments.
| | 00:44 |
Saturation on the other hand, allows us
to make really intense adjustments.
| | 00:48 |
So let's take a look at saturation.
Drag to the left, we can desaturate.
| | 00:52 |
The image is black and white.
Drag to the right, now the colors are
| | 00:56 |
really saturated.
Yet if you have too high of a saturation
| | 01:00 |
amount, it will just look a little bit
unnatural.
| | 01:03 |
Well, how then does that compare say to
Vibrance.
| | 01:06 |
Well, if I drag Vibrance to the left, you
can see that it's creating a bit more of
| | 01:10 |
a subtle effect.
Drag it to the right and yes, we have
| | 01:14 |
more saturation, but it looks a bit more
natural.
| | 01:17 |
Let me zoom in a bit more closely here,
so that we can focus in on these colors.
| | 01:21 |
Again, here's without vibrance and then
here's with vibrance.
| | 01:25 |
So, what exactly is happening there?
Well, one of the things that vibrance
| | 01:29 |
does, is it takes a look at the color and
changes it in a nonlinear way.
| | 01:33 |
In other words it effects weaker or
stronger colors in different ways.
| | 01:37 |
It helps to bring out some of the weaker
colors when you drag it to the right it
| | 01:42 |
also adds more color variety.
So, sometimes what vibrance can do is
| | 01:46 |
really help out in certain photographs.
Next, we'll take a look at a drawing
| | 01:50 |
which is a chalk drawing which was
created with the chalk that I just showed
| | 01:53 |
you in the previous image.
Here, we'll click on our Adjustment layer
| | 01:57 |
icon for Vibrance.
Now as I mentioned before we can increase
| | 02:01 |
the saturation that brings up color or we
can decrease it.
| | 02:05 |
Now when we increase the saturation with
this image to 100, we have more color,
| | 02:10 |
and we have more color saturation.
Here's before yet here's after.
| | 02:15 |
If we want to make this image come to
life, we need to use Vibrance.
| | 02:20 |
What that will do is it will bring out
some of those weaker colors.
| | 02:24 |
In turn, it will add more color variety.
Let me show you what I mean.
| | 02:28 |
Here I'll drag this all the way up to 100
and take a look.
| | 02:31 |
This extra adjustment here makes all the
difference in the world with this photograph.
| | 02:35 |
Again, here's without vibrance, and then
here's with it.
| | 02:39 |
And so what vibrance does is, again,
makes these adjustments in a non-linear way.
| | 02:44 |
And it's a really helpful tool when you
need to add some color variety, when you
| | 02:48 |
want to bring out some of those weaker
tones.
| | 02:51 |
Saturation is helpful when you want to
make really intense adjustments.
| | 02:54 |
When you want to move color in strong
ways.
| | 02:57 |
So which slider is better?
well, neither.
| | 02:59 |
Rather it's about using them together in
order to come up with good results.
| | 03:05 |
With this photograph, it's helpful to
have both.
| | 03:08 |
Yet what about a more realistic-looking
photograph, let's say a portrait?
| | 03:12 |
Let's jump to one of those pictures.
Here with this photograph, what I'm
| | 03:16 |
going to do is zoom in on this one.
I'm going to zoom in pretty close so we
| | 03:20 |
can focus in on the color that we have
here.
| | 03:22 |
And then we'll click on our Vibrance
adjustment layer icon.
| | 03:26 |
This will create the Vibrance adjustment
layer.
| | 03:28 |
Here we have it with this little icon and
then here we have our controls.
| | 03:32 |
Well, next let's modify this image.
If we increase the saturation to 100 It
| | 03:38 |
looks horrible.
The skin tone is over saturated as well
| | 03:43 |
as the background, the natural looking
items of the trees and what not.
| | 03:46 |
They don't look natural.
So, in this case saturation just over
| | 03:50 |
does it.
We could of course add a little bit of
| | 03:53 |
saturation and that's why I want to
highlight how saturation works in
| | 03:57 |
dramatic ways.
That's why you need to be a bit more
| | 04:00 |
careful with it.
Vibrance, on the other hand, well you can
| | 04:04 |
get away with dragging this pretty far
without seeing your image fall apart.
| | 04:09 |
So here, let's go to 100, just to
exaggerate.
| | 04:12 |
Well when I go to 100, yeah, the image is
a bit overdone.
| | 04:16 |
Let me take the saturation back to zero.
But it's not too far overdone.
| | 04:21 |
Again, here's without the vibrance, and
then here's with it.
| | 04:24 |
With this photograph, I think adding
quite a bit of vibrance really helps out.
| | 04:28 |
Here, I'll zoom in even more closely and
you can see the before.
| | 04:32 |
It's a little bit washed out.
Now here after we have some nice bright colors.
| | 04:36 |
We can also use these sliders together in
unison with each other.
| | 04:40 |
Here saturate some of the colors and then
bring out some more color variety.
| | 04:44 |
And in this case, we have a nice, subtle
look to the color yet it's vibrant and
| | 04:49 |
full of life.
Here's before, a bit washed out, and then
| | 04:53 |
here's after.
And of course, you can crank these up
| | 04:55 |
'till your heart's content, I mean this
is really where it gets to making those
| | 04:59 |
subjective color adjustments.
Now, for demo purposes, sometimes it's
| | 05:03 |
helpful to take them 'em up higher so you
can really see the before and after.
| | 05:07 |
Yet when you're creating images, often
what you'll do is you'll look for
| | 05:10 |
creating a bit more of a subtle look with
your photographs.
| | 05:13 |
So that the image looks saturated, but so
that it doesn't look overdone.
| | 05:18 |
Because if it is overdone then the image
won't be believable, won't draw people in
| | 05:23 |
as much.
Alright, let's look at one more scenario.
| | 05:27 |
This is the photograph of my daughter
Annie.
| | 05:29 |
She had a course recital at her school
and she was playing on the bars and I
| | 05:33 |
captured this image of her.
And let's zoom in on this photograph, and
| | 05:36 |
let's bring out some of the colors that
we have here.
| | 05:39 |
Again, we'll click on the Vibrance
adjustment icon.
| | 05:42 |
Next I'll increase the vibrance in order
to dd more color variety in order create
| | 05:48 |
a bit more of a subtle color saturation.
And this, what it does, is it justs
| | 05:52 |
brings out some of those colors.
Again, I think it may be difficult to see
| | 05:56 |
the subtlety, but here's before, you'll
see it in her shirt more, and then here's after.
| | 06:02 |
Next we may want to bring up the
saturation a little bit as well.
| | 06:04 |
And again, all that we're doing is just
taking the color that's there and then
| | 06:09 |
bringing it out.
So as you're starting to see, when it
| | 06:12 |
comes to working with people photographs,
often what you'll have is a lower
| | 06:16 |
saturation amount.
And you want to have that lower
| | 06:18 |
saturation amount so that the skin tone
looks okay.
| | 06:21 |
Then you may have a higher vibrance
amount, and then in other situations,
| | 06:26 |
like with that one chalk drawing.
Well, it was helpful to have 100 points
| | 06:30 |
of vibrance and 100 points of saturation.
So there isn't necessarily a formula that
| | 06:35 |
will work for all images.
Rather, what my hope is, is that you
| | 06:40 |
understand the subtlety and the
difference between these two sliders.
| | 06:45 |
And that you understand that vibrance
allows you to increase color varitey.
| | 06:49 |
That it helps with those weaker colors to
really bring those out and add a bit of
| | 06:53 |
color saturation to those tones.
Also, that saturation allows you to make
| | 06:58 |
dramatic adjustments.
And many times that working with these
| | 07:01 |
two sliders together will help you to
come up with the best results like we
| | 07:05 |
have here.
So, let's take a look at it.
| | 07:07 |
Here it is, our overall before and then
now, the after
| | 07:11 |
| | Collapse this transcript |
| Using Color Balance to create vivid color| 00:00 |
Here I want to introduce you to one of my
favorite color adjustment tools.
| | 00:04 |
It's called color balance.
We'll be working with two different
| | 00:07 |
photographs so that we can really
understand how we can use this adjustment
| | 00:11 |
in order to add or to modify the colors
in our photographs.
| | 00:15 |
We'll be working with this picture that I
captured here at sunset.
| | 00:19 |
And let's first create a Color Balance
Adjustment layer.
| | 00:21 |
To do so, click on the Balance icon which
you'll find in the Adjustments panel.
| | 00:26 |
When you do that it will create an
Adjustment layer and open up our Property
| | 00:30 |
Inspector so that we can start to modify
the controls.
| | 00:33 |
Well one of the reasons why I like this
Adjustment layer is because these
| | 00:37 |
controls are really intuitive.
If you drag one of these sliders to the
| | 00:41 |
red, well, the image becomes more red.
Drag it to the left, it becomes more cyan.
| | 00:47 |
So not only are these color-coded but we
also have words or colors to remind us
| | 00:51 |
how we can modify our photograph.
Now we can also combine colors together.
| | 00:56 |
For example, lets say we want to add some
red and also some blue.
| | 01:00 |
Well here I'll drag the blue yellow
slider over in order to create a
| | 01:04 |
different look.
And by mixing colors together it allows
| | 01:08 |
us to create distinct or unique looks in
our photographs.
| | 01:11 |
Let's say we want a sunset which was a
bit more yellow.
| | 01:14 |
Well, here I'll drag this to the left and
now we have a different aesthetic.
| | 01:19 |
When you click on this eye icon, you can
see there's the before and then now
| | 01:23 |
here's the after.
If ever you need to reset the sliders,
| | 01:27 |
we'll just click on this icon right here.
Another great thing that you can do with
| | 01:31 |
color bounds is you can target specific
tones.
| | 01:35 |
You may have noticed that at the top
there's this tone menu, if you click on
| | 01:39 |
this you'll find three options: Shadows,
Midtones and Highlights.
| | 01:43 |
So what's this all about?
Well, if you choose Shadows that allows
| | 01:48 |
you to work on the color in the darkest
area of the photograph.
| | 01:51 |
Midtones, those are the mid tones.
The Highlights, those are the brightest
| | 01:55 |
areas in the picture.
So with this photograph, lets start off
| | 01:59 |
with our shadows.
And here in the darker tones I want to
| | 02:03 |
add a bit of blue.
So I'll click and drag the Blue slider to
| | 02:06 |
the right.
In doing that, you can see that many of
| | 02:09 |
the darker colors there have a bit of a
blue tinge.
| | 02:12 |
Now while this says shadows, it also will
affect other tonal areas in your
| | 02:17 |
photograph yet primarily it will target
or work on the shadows.
| | 02:22 |
Next, I'll make my way up to the
Highlights.
| | 02:24 |
In the brighter tones, I'll add just a
little bit of red and maybe even a touch
| | 02:28 |
of yellow.
In this way, I've created sort of a
| | 02:31 |
dramatic colored look with this
photograph.
| | 02:34 |
If we click on our Eye icon, you can see
here is the before, a little bit washed
| | 02:39 |
out or lack luster.
Now here's the after much more interesting.
| | 02:43 |
So we can use these color balance control
in order to add or to swing or modify the
| | 02:49 |
color that's there.
And really that's what's happening.
| | 02:52 |
It allows us to really do this in
dramatic or subtle ways.
| | 02:56 |
What you'll want to do is experiment with
these sliders and really focus in on the
| | 03:00 |
image and see how the image looks as you
drag the slider from one place to another.
| | 03:05 |
And often this can help you to come up
with fascinating ways to process your photographs.
| | 03:10 |
Alright so let's take a look at one more
image.
| | 03:13 |
So here I'll open up another photograph,
a portrait.
| | 03:16 |
With this image what I want to do is I
want to make the darker tones, blue in cyan.
| | 03:22 |
And then the lighter tones, the skin, I
want that to be yellow in order to create
| | 03:27 |
this type of a unique color effect, I'll
use color balance.
| | 03:31 |
Here we'll click on the color balance
icon to create Color Balance Adjustment layer.
| | 03:35 |
Next, when you open up the Properties
panel and start to work on it you really
| | 03:40 |
want to think about, which area you
want to work on first.
| | 03:43 |
With this image my vision is to change
the shadows to a blue cyan tone.
| | 03:48 |
So here I'll start off with the shadows.
I'll add some blue.
| | 03:51 |
I'll also add some cyan.
Now already the image is looking
| | 03:55 |
completely different.
It almost looks like it was captured with
| | 03:58 |
film or maybe it was cross processed or
have a unique look to the photograph.
| | 04:03 |
Here's the before and now here's the
after.
| | 04:05 |
Next I want to work on the brighter tones
so I'll jump all the way to highlights in
| | 04:10 |
here and I'll click and drag the Yellow
slider to the left.
| | 04:13 |
And in this case really what I'm trying
to do is show you how you can use color
| | 04:18 |
balance in order to create unique color
effects.
| | 04:21 |
And sometimes you'll use color balance to
make small corrections.
| | 04:24 |
Other times perhaps it's to create color
effects like this.
| | 04:28 |
And there's so much that you can do with
color balance.
| | 04:30 |
Really, here we're just scratching the
surface.
| | 04:33 |
Well, let's take a look at our before and
after.
| | 04:35 |
Here's our before, the regular photograph
as it appeared out of the camera.
| | 04:39 |
And then here's after making a few
adjustments, we now have this sort of
| | 04:43 |
cross process look in the photograph.
And keep in mind that while I'm showing
| | 04:47 |
you a few simple examples, there's so
much more that you can do with color balance.
| | 04:51 |
So if you haven't ever used this
particular tool, what I recommend is that
| | 04:55 |
you start experimenting with it.
Experiment with those sliders, and also
| | 05:00 |
experiment working on the different tonal
regions of your photograph.
| | 05:03 |
And see how you can't make some
fascinating color adjustments to your images.
| | 05:08 |
| | Collapse this transcript |
| Making subtle color adjustments with Photo Filter| 00:00 |
Another way that you can modify the color
in your photographs is by using an
| | 00:04 |
adjustment layer which is called a Photo
Filter.
| | 00:07 |
Let's take a look at how we can use Photo
filter in order to improve this portrait
| | 00:11 |
that I captured of a couple of my good
friends who live up in Washington.
| | 00:16 |
And let's do that by simply clicking on
the Photo Filter icon.
| | 00:20 |
You'll find that in the Adjustments panel
right here.
| | 00:22 |
Go ahead and click on that.
And that will create a Photo Filter
| | 00:25 |
adjustment layer.
Alright, well how does photo filter work?
| | 00:29 |
Well photo filter comes to us from
traditional film photography.
| | 00:32 |
And in that context, what we will do is
put a colored filter on the front of the
| | 00:37 |
lens, which would then affect the way
that the color was rendered.
| | 00:41 |
And here we can choose different filter
types.
| | 00:44 |
If we click on this pull-down menu, you
notice that we have filters which allow
| | 00:48 |
us to cool the image off.
We can also change the overall density or
| | 00:52 |
intensity of this color effect.
Drag this to the right and you'll see
| | 00:56 |
that this will affect the image in more
dramatic ways.
| | 00:59 |
And what about Preserve Luminosity?
You always want to leave that checked-on,
| | 01:03 |
or I should say almost always.
Because that will maintain the brightness
| | 01:07 |
in the photograph.
If we turn this off, we'll see that the
| | 01:10 |
sky and everything else will turn blue
and the image will just look a bit murky.
| | 01:15 |
So again, you want to leave that option
turned on.
| | 01:18 |
All right, well back to this pull down
menu.
| | 01:20 |
Here, we can choose different filters.
We can also choose specific colors.
| | 01:25 |
For example, let's choose sepia.
This will then apply a sepia tone look to
| | 01:29 |
the photograph.
Now, what is it exactly doing?
| | 01:32 |
Well, it's blending in a color into the
image.
| | 01:36 |
As I make a selection here from this pull
down menu, well you can see that it's
| | 01:40 |
updating in this little color swatch.
You know you can further customize the
| | 01:44 |
color by selecting color and then by
clicking on the color chip.
| | 01:49 |
When you do that it will launch our color
picker.
| | 01:51 |
Here we can choose a different shade of
red if we wanted to.
| | 01:55 |
Or we could select an entirely different
color perhaps something a little more
| | 01:59 |
yellow like this here.
In this way, you can see how we can
| | 02:03 |
affect or fine tune the color adjustment
in our photograph.
| | 02:07 |
Well, let's click okay in order to apply
that.
| | 02:09 |
And next, what I want to do is go back to
my filter.
| | 02:12 |
Because with this photograph, one of the
things that I noticed is that by default,
| | 02:16 |
it was a little bit cool.
So I'm going to choose a warming filter.
| | 02:20 |
I'll choose the first warming filter 85.
Next, I want to dial in the density.
| | 02:25 |
Very rarely will you have a density this
high so here, I'll bring this back down
| | 02:30 |
to something a bit more reasonable.
Because often when you use photo filter
| | 02:35 |
you're looking for that slight color
nudge or color shift you rarely use this
| | 02:40 |
tool to make dramatic adjustments rather.
It's about that subtle shift that you can
| | 02:44 |
make in order to improve the photograph.
Here with this particular color, I think
| | 02:49 |
it has a nice and inviting effect.
Let's take a look.
| | 02:52 |
When we click on the eye icon, there you
see the before.
| | 02:55 |
Notice the mountains are a bit more cool.
The color on the jacket here isn't black
| | 03:00 |
but a little bit blue.
Now when we turn this on well it has a
| | 03:04 |
bit more of that warm inviting feel.
So as you can see here, we can use this
| | 03:09 |
Photo Filter adjustment layer in order to
shift or to change the color in our photographs.
| | 03:14 |
| | Collapse this transcript |
| Creating a color effect with Curves| 00:00 |
Alright, well for this movie you want to
hold on to your hats and glasses because
| | 00:04 |
here we're going to look at a more
advanced technique that we can use in
| | 00:08 |
order to modify color.
What we can do is we can work with
| | 00:11 |
specific color channel either using
levels or curves.
| | 00:16 |
We'll focus our attention on curves here
because it will give us more flexibility.
| | 00:21 |
So let's take a look at how we can access
and work with, different color channels
| | 00:25 |
in curves.
In order to create a Curves Adjustment
| | 00:27 |
layer, click on the Curves Adjustment
layer icon, in the Adjustments panel.
| | 00:32 |
This will open up our curves dialog and
create a new Adjustment layer.
| | 00:37 |
And by default, when you work with
curves, you work in the composite view.
| | 00:41 |
This allows you to click and drag on this
curve, to brighten or darken the overall image.
| | 00:46 |
Often, we'll use this to add, perhaps, a
bit of contrast.
| | 00:49 |
As we talked about before, we could bring
up our whites, and bring down our shadows
| | 00:54 |
to add a bit of a contrast, or create an
s curve.
| | 00:57 |
And what we can do at these little points
is we can click and drag those points in
| | 01:01 |
order to make subtle adjustments in the
picture.
| | 01:04 |
Now we can also get into specific color
channels.
| | 01:08 |
This is where things can get a little bit
confusing.
| | 01:10 |
So just stick with me for a moment.
If you click on this Pull-down menu,
| | 01:15 |
you'll notice that you have a red, a
green, and a blue channel.
| | 01:19 |
If we target or select the red channel
we'll notice that we now have a different
| | 01:23 |
view of the histogram.
And there's a red line reminding us that
| | 01:27 |
we're in the red channel.
Well what this allows us to do is to work
| | 01:31 |
with the red and the cyan's in the image.
If we click and drag up towards the word
| | 01:37 |
red well, the image will become more red.
Click and drag down, away from the word
| | 01:42 |
red, it will take on that complimentary
color to red, which is cyan.
| | 01:47 |
So, red really is about red or cyan.
I'm aware that I'm dragging this pretty
| | 01:52 |
far, but I'm doing that in order to
illustrate how we can start to work with
| | 01:55 |
these channels.
Let's go to a few other channels as well.
| | 02:00 |
Next, I'll go to the green channel.
Here, drag up.
| | 02:02 |
The image becomes more green.
Drag down, it becomes more magenta.
| | 02:07 |
Then I'll just drag this point off to the
side to remove it, and go to the blue channel.
| | 02:11 |
The blue channel allows us to change the
image, so that it becomes more cool or
| | 02:16 |
more blue.
Or more warm and more yellow.
| | 02:19 |
Alright how then can we work with these
different channels, what can we do in
| | 02:24 |
order to modify our photograph?
Well let's start off with the red channel.
| | 02:28 |
And let's say that what we want to do is
add a little bit of red to the photograph.
| | 02:32 |
To do that you can always click on the
line and drag it or you can click the set
| | 02:37 |
up point.
And then you can use your arrow keys.
| | 02:40 |
Here I'm pressing the down arrow key in
order to reduce the amount of red.
| | 02:44 |
As I do that you can see that there's a
bit more cyan.
| | 02:47 |
We can also work on different tones, when
you work on this part of the line here
| | 02:53 |
you're working on the brighter tones.
When you work down here you're working on
| | 02:57 |
the darker tones.
So in this case we could have an
| | 03:00 |
adjustment, which really affected those
darker tones, and also one which affected
| | 03:04 |
the brighter tones.
Here primarily the cyan effect which I
| | 03:08 |
created by dragging this part down,
what's effecting the darker part of the image.
| | 03:14 |
And often what you can do is you can use
these curve adjustments in order to make
| | 03:18 |
really precise and really advanced color
corrections or color changes to your photograph.
| | 03:24 |
Now at first glance this will be a little
bit confusing.
| | 03:27 |
So what you want to do is just experiment
and have a little bit of fun.
| | 03:30 |
Try to come up with an interesting way to
render the color in your photograph.
| | 03:34 |
Here, let's navigate to another channel.
I'll go to the green magenta channel, and
| | 03:38 |
this time I'll just click and drag down
to add a bit more magenta.
| | 03:41 |
Then, we'll go to the blue yellow
channel, and in the blue yellow channel
| | 03:46 |
we'll click and drag down to add a little
bit more yellow.
| | 03:49 |
And so again here we just have a distinct
or different look.
| | 03:54 |
You'll notice that I'm not dragging these
sliders very much because if we go too
| | 03:58 |
far, we'll have a really dramatic result.
Often, what we're looking for is just
| | 04:02 |
that little subtle shift which will help
us to process the image in a different way.
| | 04:06 |
Alright, we click on the eye icon.
We can see, here's our before.
| | 04:10 |
And now, here's our after.
The great thing about working with an
| | 04:14 |
Adjustment layer is that, if this overall
effect is too intense.
| | 04:18 |
We can always just lower the opacity.
So we have a little bit less of it.
| | 04:21 |
Again, now here's our before and then our
after.
| | 04:24 |
In this way, we can really precisely
customize the color in our photographs.
| | 04:29 |
Alright, well now that we know a little
bit about curves, let's take a look at
| | 04:33 |
another image in another scenario where
we want to bring out more of the color.
| | 04:38 |
In order to do that I'll open up this
photograph and here we'll click on our
| | 04:42 |
Curves Adjustment layer icon.
This is an image that I captured at
| | 04:45 |
sunset and obviously I was drawn to the
vivid colors yet when I opened up the
| | 04:50 |
image the colors weren't as vivid as they
were in real life.
| | 04:54 |
So I'm going to bring some of those
colors back.
| | 04:57 |
Well here what we can do is we can click
into the composite view in the curve and
| | 05:01 |
I'll just drag down to darken the image
up.
| | 05:03 |
That will add more density.
Already that's helping out.
| | 05:07 |
Next I'll go into a few specific
channels.
| | 05:09 |
Lets start off by walking through these
different channels.
| | 05:12 |
We'll start off in red.
In the red channel, if we drag towards
| | 05:17 |
the word red, how does it affect the
image?
| | 05:19 |
Well the image then becomes a bit more
red.
| | 05:22 |
Drag away and it becomes more cyan.
In this way we can just customize how we
| | 05:26 |
want this image to appear.
Here I'm going to drag down to add a
| | 05:30 |
little bit more cyan.
Then I'll go to the green magenta channel
| | 05:33 |
and, again, I'll drag down to add a
little bit more magenta to the photograph.
| | 05:39 |
Next we have the ability to go to one
more channel, that's our blue, yellow channel.
| | 05:44 |
And here, this time, I'm going to drag up
to increase the blues.
| | 05:47 |
Now, in doing that you can see that we
can have different looks.
| | 05:50 |
You know what, as I'm swinging this up to
the blues and down to the yellows, I
| | 05:54 |
realize I kind of like the yellows a bit
more, so I'll drag that down in order to
| | 05:58 |
reduce the blue.
Or to add some yellow.
| | 06:01 |
And again really all that we're doing
here is just experimenting.
| | 06:04 |
You can also experiment by adding
multiple points and working in different
| | 06:07 |
areas of your photograph.
As you can see that I'm doing here.
| | 06:11 |
Alright well now that we have a few
adjustments, what I want to do is close
| | 06:15 |
this dialogue box so we can see our
before and after.
| | 06:17 |
You can close the view of any of your
adjustments by closing the Properties panel.
| | 06:21 |
Simply click on that icon there.
Alright, well, here we have another use
| | 06:26 |
of curves.
In this case bringing out some really
| | 06:28 |
vivid colors in this photograph.
Here is the original image, and then here
| | 06:32 |
is the image after making some curves
adjustments.
| | 06:35 |
| | Collapse this transcript |
| Converting to black and white| 00:00 |
For me, there is just something about
black and white photography that I
| | 00:04 |
absolutely love.
And so here, let's take a look at how we
| | 00:08 |
can create a black and white adjustment
layer, in order to convert two different
| | 00:13 |
photographs to black and white.
We'll start off with the landscape, and
| | 00:16 |
then we'll make our way to a portrait.
You can find the black and white
| | 00:19 |
Adjustment layer icon right here in the
middle of the Adjustment panel.
| | 00:24 |
So go ahead and click on that icon.
And when you click on that icon, your
| | 00:28 |
first glance of your image will be a
little bit of a let-down.
| | 00:31 |
And that's because all of the color has
been removed.
| | 00:35 |
And now we're just looking at the tonal
values of those different colors, in this
| | 00:39 |
case with some default settings applied,
and they don't look very good.
| | 00:44 |
Often what we need to when we convert our
images to black and white, is we need to
| | 00:48 |
increase the contrast or the drama in the
image so that it becomes more interesting.
| | 00:53 |
Because we don't have colors help, we
need to do it ourselves.
| | 00:56 |
And one of the ways we can do this is we
can work with our Black and White
| | 01:00 |
Adjustment layer controls.
You'll notice that I have controls which
| | 01:03 |
are based on different colors.
Now we know of course that the sky is
| | 01:07 |
blue, so if we want to darken this
portion of our image, well, we can use
| | 01:11 |
our blue slider.
Drag to the left in order to darken, drag
| | 01:15 |
to the right in order to brighten.
Another way that we can modify this
| | 01:19 |
portion of the image, is by using the
Targeted Adjustment tool.
| | 01:22 |
Click on that tool, and then position
your cursor over the color that you
| | 01:26 |
want to change, in this case, the sky.
Then click and drag, either again to the
| | 01:30 |
left or to the right.
The advantage of working with this tool
| | 01:34 |
is that sometimes what will happen is
this.
| | 01:36 |
Let's say we darken the sky, and then we
decide to darken the sky near the horizon
| | 01:40 |
right here.
Now I'll click and drag.
| | 01:43 |
Well, this time, it's actually working on
the cyans.
| | 01:46 |
You know, I hadn't realized that there
were some cyan in this sky color, yet by
| | 01:50 |
using this tool, it helped me to work on
the image, and to create a better look in
| | 01:54 |
the sky of the photograph.
We can also click on other areas as well.
| | 01:58 |
We can darken the grass and the fields
here.
| | 02:00 |
And as we make these adjustments, simply
by clicking and dragging, you can start
| | 02:04 |
to see how you can modify your overall
image in order to create a much more
| | 02:09 |
dramatic look.
Let's take a look at the before and after.
| | 02:12 |
Here's the before and then now here's the
after.
| | 02:15 |
Alright, well, how does this work say
with a portrait.
| | 02:18 |
Let me open up a portrait and take a
look.
| | 02:21 |
Here we have a portrait that I captured
just a couple weeks ago, and what I
| | 02:25 |
want to do is convert this image to black
and white.
| | 02:28 |
Again, we will reach for our Black and
White Adjustment layer icon, and go ahead
| | 02:33 |
and click on that.
Now here, because this image has just a
| | 02:37 |
few tones, what I want to do is typically
with portraits, brighten up the skin tone.
| | 02:41 |
So click on the Targeted Adjustment tool
which allows us to click and drag, in
| | 02:46 |
order to brighten or darken different
areas of the photograph.
| | 02:49 |
In this case, I just want to brighten up
the skin tones a bit.
| | 02:52 |
Then I want to darken the background, so
I'll click into the background and drag down.
| | 02:57 |
And I can also change the tone of the
shirt.
| | 03:00 |
Again, simply click and drag.
And here you can see how we can modify
| | 03:03 |
the different tones or colors in the
image.
| | 03:05 |
And often what will happen is we'll use
these sliders, and these sliders will
| | 03:10 |
work to a certain extent.
In this case, I think it's a pretty nice
| | 03:13 |
black and white conversion.
Yet really what I want to do is create an
| | 03:17 |
image with even deeper blacks.
And in those situations, what you'll
| | 03:21 |
want to do is reach for one of your other
adjustment layers.
| | 03:24 |
In other words, you'll want to use the
Black and White Adjustment layer in
| | 03:28 |
combination with another.
Let's go ahead and create a Curves adjustment.
| | 03:33 |
Here we'll click on our Curves Adjustment
Layer icon.
| | 03:36 |
Next, I'll go down to the shadow area in
the curve, and I'll just drag that down.
| | 03:41 |
In doing that, you can see that I can
darken those shadows.
| | 03:44 |
Well, I don't necessarily want to darken
the rest of the image.
| | 03:47 |
So we'll make our way up to the top part
of the curve and click and drag up.
| | 03:51 |
That will allow us to maintain some
brightness up here in this top portion of
| | 03:55 |
the image.
In this way, this extra little curve
| | 03:58 |
layer allows us to create a bit more
contrast or drama.
| | 04:02 |
And I wanted to show you this example
just to highlight how you can start to
| | 04:06 |
work with multiple adjustment layers
together.
| | 04:09 |
And sometimes, it's combining two
adjustment layers together which will
| | 04:13 |
help you achieve the best results.
| | 04:15 |
| | Collapse this transcript |
|
|
16. Applying Photographic Effects with FiltersAdding lens flare| 00:00 |
Photoshop comes pre-installed with lots
of powerful filters.
| | 00:04 |
And what filters allow you to do is to
make specific corrections or
| | 00:09 |
enhancements, or to apply special effects
to your photographs.
| | 00:13 |
And so here in this chapter, now, I
want to focus in on a few essential
| | 00:17 |
filters for photographers.
We'll start of with this simple example,
| | 00:20 |
and then we'll dig in a bit deeper.
With this photograph, I captured it so
| | 00:24 |
that the sun was right behind the
subject.
| | 00:27 |
Well, often when you capture images like
this, you'll get a bit of lens flare.
| | 00:31 |
And sometimes that lens flare, well, it
can add a bit of nice atmosphere to the photograph.
| | 00:37 |
In this case, I didn't quite get it.
So I want to add some lens flare to the image.
| | 00:42 |
Here you can see in the Layers panel,
I've duplicated the Background layer, and
| | 00:45 |
I have the top layer which is called lens
flair.
| | 00:48 |
Let's work on this layer so that we can
apply the filter to a new layer, so that
| | 00:53 |
we can then turn it on and off to see how
it looks.
| | 00:55 |
To access Lens Flare filter, navigate to
the Filter Pull-down menu, make your way
| | 01:01 |
about half-way down, choose Render and
then find the menu item for Lens Flare.
| | 01:07 |
When you click on that option, it will
open up our Lens Flare dialogue.
| | 01:11 |
Now the trick with this dialogue is that
the preview is really, really small.
| | 01:15 |
So what you have to do is a bit of guess
work.
| | 01:18 |
Here you'll notice there are different
types of lens flare that you can use.
| | 01:22 |
So go ahead and choose one.
We'll try this particular one because,
| | 01:25 |
this is similar to how this photograph
was captured.
| | 01:28 |
Next, you'll notice there's a little plus
icon.
| | 01:30 |
Well, you can click and drag that around
to change how the lens flare is going to
| | 01:34 |
affect the image.
And here in this case, what I want to do
| | 01:37 |
is bring it over here, because this is
really where the sun was in this photograph.
| | 01:42 |
Then we can control the overall
brightness.
| | 01:45 |
Here, I recommend you swing this so that
you reduce or increase this amount, so
| | 01:50 |
that you can find just the right spot for
your lens flare effect.
| | 01:54 |
After you've dialed that in, simply click
OK in order to render or apply that
| | 02:00 |
filter to your layer that you've
targeted.
| | 02:02 |
In this case, we selected the Lens Flare
layer, so that's where the filter was applied.
| | 02:07 |
If you click on the eye icon, you can see
the before and then now here is the after.
| | 02:12 |
| | Collapse this transcript |
| Lighting your photographs with Lighting Effects| 00:00 |
It goes without saying that in
photography light is really important.
| | 00:04 |
As a matter of fact the word photography,
it means writing with light.
| | 00:08 |
And because of that the next filter that
I'm going to introduce you to is
| | 00:12 |
especially relevant to us as
photographers.
| | 00:15 |
It's the filter which allows us to apply
lighting effects to our photographs.
| | 00:20 |
Let's take a look at how we can apply a
lighting effect to this image so that we
| | 00:24 |
can brighten up the center of the image
and darken the outer edges.
| | 00:28 |
And also add a bit of a directional light
as well.
| | 00:31 |
Whenever you're working with lighting
effects, I recommend that you work on a
| | 00:35 |
duplicate version of your image.
So here you can see I've copied the background.
| | 00:40 |
Let's click into the topmost layer and
let's apply the filter to this layer.
| | 00:44 |
Next navigate to the Filter pull down
menu.
| | 00:47 |
Here we're looking for Render and then
you want to choose Lighting Effects.
| | 00:52 |
When you find the Lighting Effects menu
button, go ahead and click on that in
| | 00:56 |
order to launch the lighting effects
dialog.
| | 00:59 |
And one of the first things that you'll
notice, is a lighting effect is being
| | 01:02 |
applied to our photograph.
And then second that you may notice, hey,
| | 01:05 |
where is the Photoshop interface, it
disappeared.
| | 01:09 |
Well don't worry, it's still there, it's
just that we're now inside of the
| | 01:12 |
lighting effects dialog.
And it's great that this dialogue covers
| | 01:16 |
up Photoshop so that we can really focus
in on working on light in our image.
| | 01:20 |
All right.
Well, because this interface is a little
| | 01:23 |
bit different, let's first become
familiar with it.
| | 01:26 |
In the top left-hand corner, we have some
presets.
| | 01:29 |
We'll talk more about those in a moment.
Then we have three different types of
| | 01:33 |
light that we can add to our images.
Next on the right hand side, we have two panels.
| | 01:38 |
First, the properties panel where we have
a number of different controls, and then
| | 01:43 |
the lights panel.
This will then show us whatever lights we
| | 01:46 |
have on our image.
All right.
| | 01:48 |
Well, where do you start inside of this
dialog?
| | 01:51 |
Well, I found that the best place to
start is in the Presets Pull-down Menu.
| | 01:55 |
Here you can see we have a number of
different options.
| | 01:59 |
Let's try out Five Lights Down.
When you click on that option, you'll
| | 02:03 |
notice that you have five different
spotlights coming down from the top of
| | 02:07 |
the image.
You also will notice that there are
| | 02:09 |
certain settings dialed in.
And then in the Lights panel here we'll
| | 02:13 |
see all of the lights that we have.
Well this particular preset doesn't work
| | 02:18 |
for what I want to accomplish.
So I need to look for another preset.
| | 02:21 |
So let's go ahead and click on this
dialogue.
| | 02:23 |
And here let's try out the Flashlight
preset.
| | 02:27 |
The Flashlight preset is kind of
fascinating.
| | 02:29 |
You can see we have a light source in the
middle.
| | 02:31 |
If we position our cursor over this
onscreen overlay.
| | 02:34 |
We can click and drag this around, kind
of like we have a flashlight and we're
| | 02:38 |
shining it around our photograph.
In this way, we can brighten up different
| | 02:42 |
parts of the photograph.
We can also further customize this and
| | 02:46 |
this is what you'll almost always need to
do at the preset.
| | 02:49 |
You can customize it by changing the
intensity if you just position your
| | 02:53 |
cursor over this circle.
Click and drag this in order to increase
| | 02:57 |
the light soure or click and drag to
decrease this.
| | 03:00 |
You can also the Intensity slider that
you'll find in the Properties panel.
| | 03:04 |
Here I'll just click and drag that up a
bit.
| | 03:07 |
Next what is this circle here.
This circle allows us to extend the reach
| | 03:13 |
of the flashlight.
If you position your cursor over it,
| | 03:16 |
you'll notice that the icon changes to a
different color.
| | 03:19 |
When you see the new color, click and
drag and you can scale the light so that
| | 03:23 |
you have a broader reach for this
particular effect.
| | 03:27 |
Next, you may notice that this particular
light source has a bit of a color tint.
| | 03:32 |
That's because we're able to colorize the
light.
| | 03:35 |
You can do so by clicking into this color
chip here to launch the color picker.
| | 03:40 |
Now I actually like this particular light
source, so here I'll click OK in order to
| | 03:45 |
leave it as is, I like that color tint.
Then we our overall exposure which we can
| | 03:50 |
increase or decrease by using the slider.
We can control the quality of the light
| | 03:55 |
by using these sliders.
And really what you want to do is just
| | 03:58 |
use the sliders to change the way that
the light appears.
| | 04:01 |
So that it works in order to help you
accomplish your vision.
| | 04:05 |
Next I want to highlight our ambience
slider.
| | 04:07 |
This allows us to brighten up the overall
ambient light that we have here in this photograph.
| | 04:12 |
And here in this case, I'll leave to
pretty close to where it was.
| | 04:16 |
So far we have one light source in our
photograph.
| | 04:19 |
Let say that we want to add a second
light, how can you do that?
| | 04:24 |
Well to do that simply click on one of
these icons here.
| | 04:26 |
And here I want to add what's called a
spotlight.
| | 04:29 |
So I'll click on the spotlight icon.
In doing that, we can see that we have a
| | 04:34 |
new light source.
And we have some new overlay graphics.
| | 04:38 |
Again we can click and drag in order to
move this around.
| | 04:41 |
In order to reposition this to new
location.
| | 04:44 |
We can also scale this.
And here we can scale the overall size of
| | 04:48 |
this light.
You can see how I'm doing that here.
| | 04:50 |
We can also do that by hovering over one
of the solid circles and scale it this
| | 04:55 |
way as well.
In this way, you can sort of change or
| | 04:58 |
dial in the characteristics of the light.
Next, we know about intensity.
| | 05:03 |
Here, we can use our intensity slider to
change that.
| | 05:06 |
You know, and as I try to do that, you'll
notice that I accidentally select the
| | 05:09 |
other light.
So let me go back to that light by
| | 05:12 |
clicking on its icon here.
And here I'll just change the Intensity
| | 05:15 |
slider by using the slider here.
In this way I can customize that.
| | 05:20 |
We've also discovered inadvertently that
you can navigate between your two light
| | 05:24 |
sources by simply clicking on these icons
here.
| | 05:27 |
If ever you need to really fine tune it
and you find it it's over a lain on top
| | 05:31 |
of one of the other areas of light.
You can always move it after the side and
| | 05:35 |
simply change the intensity and then of
course move it back to where you want it.
| | 05:39 |
Alright, well in this case, I just
want to have a light source which is
| | 05:42 |
coming from the top area of my image.
I want it to be brightening the image up
| | 05:47 |
a little bit, as if it's coming from one
of these ceiling lights.
| | 05:50 |
Next, after you've added a light, you may
need to go back and make some further
| | 05:55 |
adjustments to the other areas of your
photograph.
| | 05:58 |
So here we can click into our other
light, like in this case, the point light
| | 06:03 |
and I can decrease the intensity of this
light a little bit.
| | 06:06 |
I can also bring up some of my ambient
light and again, here, it's just a little
| | 06:10 |
bit of a back and forth until you get
this exactly where you want it.
| | 06:14 |
I want this light to have a broader
reach, so hover over that circle.
| | 06:18 |
It allows me to then scale this light out
so I can brighten up more of the image.
| | 06:23 |
So again, you can see that there's a
little bit of an interplay.
| | 06:26 |
It's kind of like working in a studio
when you add lights to a studio set up.
| | 06:31 |
One light will affect another, and often
it's about the combined effect.
| | 06:35 |
Of all of the lights together which will
help you to achieve your results.
| | 06:40 |
Right, well once you've dialed in how you
want the light to appear, simply click OK
| | 06:44 |
in order to apply all of these settings
to your photograph.
| | 06:48 |
That will then render and apply these
settings to the image.
| | 06:51 |
Here, we can click on our eye icon that
shows us the overall before.
| | 06:56 |
And then, now here, the after.
| | 06:58 |
| | Collapse this transcript |
| Changing focus with the Blur Gallery| 00:00 |
With this photograph let's take a look at
how we can change the focus in the image
| | 00:04 |
by adding some creative blur effects.
Well here you can see in this document we
| | 00:09 |
have two layers.
The Background layer and then a new layer
| | 00:12 |
which is titled blur.
Go ahead and click into the Layer Titled
| | 00:16 |
blur and then navigate to the Filter Pull
down menu.
| | 00:18 |
You can navigate to that menu by just
clicking on the word Filter.
| | 00:22 |
And here you will see a number of
different options.
| | 00:25 |
Where we're interested in going is blur
and then what we want to do is take a
| | 00:29 |
look at these three different types of
blur.
| | 00:31 |
Let's start off with Iris Blur because I
think that one is the easiest to understand.
| | 00:37 |
Go ahead and click on that option and
what it will do is, it will take you to
| | 00:41 |
the blur gallery.
Alright, well to become familiar with
| | 00:43 |
this gallery.
Over here on the right hand side we have
| | 00:46 |
a panel, which allows us to work with
different types of blur.
| | 00:50 |
And then we have some controls for each
of those types of blur.
| | 00:53 |
Currently we're working with Iris Blur.
Well with Iris Blur what we can do, is we
| | 00:58 |
can create a shape and we can protect a
certain area of our photograph.
| | 01:03 |
In order to move this shape around, we'll
just hover over the center icon there and
| | 01:07 |
then click and drag.
In this way you can see how I can change
| | 01:10 |
what's in focus.
Now we can also control the overall
| | 01:14 |
amount of blur.
We can do so either by using this slider
| | 01:18 |
here, now let me exaggerate this amount
for a moment so we can really see this.
| | 01:22 |
Or by using the slider that we'll see
onscreen.
| | 01:25 |
Notice we can click and drag this slider
as well to change the overall blur.
| | 01:29 |
Well, what about the rest of these
visuals that we have here?
| | 01:32 |
Well, the rest of these allow us to
control the blur.
| | 01:35 |
The solid circles we can click and drag
on.
| | 01:38 |
That will then control which area's in
focus or in this case, so we can really
| | 01:43 |
just focus in on the car as we see here.
These outer circles or the outer edge
| | 01:48 |
allows us to control the overall size of
the blur.
| | 01:52 |
So here we can use these controls in
unison in order to create a unique look.
| | 01:57 |
We can also rotate the overall blur and
we can do that by hovering over one of
| | 02:02 |
these endpoints.
When we see the cursor with those two
| | 02:05 |
bent arrows, we can click and drag to
rotate.
| | 02:08 |
Now changing the area of this Iris Blur.
That's really easy.
| | 02:11 |
Just click and drag any of these points
to change the overall shape.
| | 02:15 |
And then of course, you can always
re-position this in order to move this
| | 02:19 |
around in order to create a stylized or
unique look in your photograph.
| | 02:23 |
Again, as you make these changes, you
want to experiment with a little bit of
| | 02:28 |
the blur amount until you can find just
the right look for your photograph.
| | 02:32 |
Alright, as you start to work with the
Blur tools, you'll find that these
| | 02:35 |
overlays are really helpful but also a
bit distracting.
| | 02:40 |
So when you want to evaluate your
progress, press the h key to hide that overlay.
| | 02:45 |
Now I can actually look at the image and
say yeah, this looks kind of intersting.
| | 02:49 |
To look at your before and after, click
on the Preview check box, here's before
| | 02:53 |
and then now here's after.
Well, here we've created a pretty
| | 02:57 |
interesting look.
Well, let's take a loot at what else we
| | 03:00 |
can do.
So this time, I'll turn off Iris Blur.
| | 03:03 |
And what I want to do next is take a look
at Field Blur.
| | 03:06 |
So here I'll open up the options for a
Field Flur and I'll turn on the check box
| | 03:10 |
which allows me to turn on the controls
for Field Blur.
| | 03:15 |
Field Blur allows us to add specific
points to our image where we can control
| | 03:20 |
that area.
We can control a large area either adding
| | 03:23 |
or removing blur.
So let me show you what I mean.
| | 03:26 |
I'm going to go ahead and click and drag
this point over here to the left side of
| | 03:30 |
the image.
I'll put it on the buildings.
| | 03:32 |
Then I'm going to click onto the car and
when I click onto the car, I'll add
| | 03:37 |
another point here, which allows me to
control the blur in this region.
| | 03:42 |
And Field Blur is really about
controlling a region of your photograph.
| | 03:45 |
Well if we remove the blur on this region
you'll notice that the area which is out
| | 03:51 |
of focus is just the side of the image.
In this way, we can start to have really
| | 03:57 |
precise control about what's in focus and
what isn't.
| | 04:01 |
If we want to blur out the right side of
the image, we'll just click to add
| | 04:05 |
another region.
And in doing that you can see that we'll
| | 04:07 |
have another large area of our photograph
out of focus.
| | 04:11 |
And here's where things get really fun
because we can set multiple points and we
| | 04:16 |
can control the overall blur amount in
all of these points.
| | 04:20 |
In doing that, we have a lot of creative
control while allow us to bring different
| | 04:24 |
things into focus.
And sometimes what we can do here is
| | 04:27 |
create effects which would be impossible
to create on camera.
| | 04:31 |
For example, let's say that we want the
car in focus and also this guy who is
| | 04:36 |
about to cross the street.
Well here I'll click onto this region and
| | 04:41 |
I'll remove the blur from that region
either by using the control on the panel
| | 04:45 |
or the one on screen and well here we
have it.
| | 04:49 |
We can also move these regions around and
in doing that we can create unique or
| | 04:53 |
distinct looks.
Alright, well again the overlays they're
| | 04:57 |
helpful but also a bit distracting, what
shortcut key do you press to hide those?
| | 05:02 |
It's the h key.
The h key allows you to show or hide
| | 05:06 |
those overlays.
You can also click on your Preview check
| | 05:09 |
box to look at your before and then your
after.
| | 05:12 |
Well, when you're working with this, you
may discover that you've created a region
| | 05:16 |
of focus that doesn't work.
Like for me this doesn't work to have
| | 05:21 |
this guy in focus here.
No big deal.
| | 05:23 |
Click into that region or area and then
delete.
| | 05:27 |
And when you do that, you'll notice that
that will then become out of focus or it
| | 05:30 |
will be affected by your other controls.
All right, well we've taken a look at
| | 05:35 |
Iris Blur.
We've looked at Field Blur.
| | 05:37 |
What about Tilt Shift?
Here I'll turn off the option for Field
| | 05:40 |
Blur and I'll turn on the option for Tilt
Shift.
| | 05:44 |
Tilt Shift gives us another way to apply
a blur and this one simulate an effect we
| | 05:49 |
can create with a large format camera.
Again, we have some onscreen controls here.
| | 05:54 |
Click and drag to re-position this.
The solid circles once again, control
| | 05:59 |
that transition area of the blur.
The dotted line controls how far out this
| | 06:04 |
blur will be affecting the photograph.
So here we can create a softer or a
| | 06:08 |
harder transition and in doing that, we
can control what's in focus and what isn't.
| | 06:14 |
Here, click and drag to increase the blur
amount.
| | 06:16 |
And as you're discovering, all of these
different types of blur.
| | 06:19 |
Well, they really function in similar
ways when to comes to working with
| | 06:23 |
modifying their amount or re-positioning
the blur in order to create the desired effect.
| | 06:28 |
Now that we've looked at these three, out
of these three for this photograph my
| | 06:32 |
favorite was the Iris Blur.
So here I'll turn off the Tilt-shift Blur.
| | 06:37 |
And I'll go back to the Iris Blur and
open up the controls that we have for that.
| | 06:42 |
Well this was the effect which we dialed
in to our image when we first brought it
| | 06:45 |
in to the blur gallery.
I'm now ready to apply this effect.
| | 06:50 |
To do that, simply click OK.
This will then render or apply that blur
| | 06:55 |
effect to the layer which you have
targeted, in this case our Blur layer.
| | 06:59 |
So here we can then see our before and
after.
| | 07:01 |
Here it is.
Click on the Eye icon.
| | 07:04 |
There is the before and then now here is
the after.
| | 07:07 |
| | Collapse this transcript |
| Using Camera Raw as a filter to create a unique look| 00:00 |
In this movie, I want to revisit a topic
that we've already talked about in a
| | 00:04 |
previous chapter.
And that is the topic of how we can use
| | 00:07 |
Adobe Camera Raw as a filter.
And while we've already covered this
| | 00:11 |
topic, I wanted to revisit it here so
that it can be part of the conversation
| | 00:16 |
as we're talking about how we can use
filters in order to apply photographic effects.
| | 00:21 |
And in particular, I want to focus in on
how we can change the look of this image.
| | 00:26 |
you know, in traditional film photography
it was common to use a specific type of
| | 00:31 |
film in order to create a certain look.
Well, now in Photoshop we can create
| | 00:35 |
unique looks in so many different ways.
Yet one of the most powerful ways that we
| | 00:39 |
can do this is with Camera Raw.
Let's take a look at how we can do this.
| | 00:43 |
In order to have some flexibility when
working with Camera Raw, it might be
| | 00:47 |
helpful to duplicate the Background
layer.
| | 00:49 |
Let's do that.
Here we'll click and drag this layer to
| | 00:51 |
the new layer icon, so that we can then
apply our adjustments to a new layer.
| | 00:55 |
Here, double click into the layer name
and let's name this one CR for Camera Raw.
| | 01:01 |
Next, navigate to the Filter Pull-down
menu, and here select Camera Raw Filter.
| | 01:06 |
When you click on this menu item, it will
launch the Camera Raw dialogue and here
| | 01:11 |
we can see, we have all of our Camera Raw
controls.
| | 01:14 |
If your dialogue is smaller than this,
you may want to access full screen mode.
| | 01:19 |
You can do so by clicking on this icon
here.
| | 01:22 |
So, go ahead and access full screen mode
so that it covers up the rest of the
| | 01:26 |
Photoshop interface.
Alright, well this is a portrait of Jeremy.
| | 01:29 |
He's a character on a reality TV show
called Small People in a Big World.
| | 01:33 |
And what I want to do with this
photograph, is I want to add a bit more
| | 01:36 |
of an edge to it.
So, here, I'll use my basic controls to
| | 01:40 |
do that.
In this case, I'm simply going to
| | 01:42 |
increase the clarity.
What that will do for me is add a bit of
| | 01:46 |
an edge to the photograph.
Next, I'll increase my overall shadows as
| | 01:50 |
well, and then I'll desaturate the image.
Here I'm just looking to create a unique
| | 01:54 |
look in the photograph.
Next, I'll add a bit more contrast and
| | 01:58 |
also change the overall color
temperature.
| | 02:00 |
Alright.
Well, there you have it, a distinct look
| | 02:02 |
with this photograph.
If we click on the Preview check box,
| | 02:05 |
here's before and then now here's after.
We'll zoom in a bit more closely here so
| | 02:10 |
that you can see the before and after.
Here it is before and then after.
| | 02:14 |
A pretty subtle adjustment, yet
nonetheless, these adjustments we
| | 02:18 |
couldn't make inside of Photoshop unless
we accessed Camera Raw as a filter.
| | 02:24 |
Well, now that we've done that and made
those changes to the photograph, let's
| | 02:27 |
make them a bit more extreme just to kind
of illustrate that we have a strong
| | 02:31 |
difference here with this photo.
So I'll just use these sliders to make a
| | 02:34 |
few more changes to the picture.
Alright, that looks pretty good.
| | 02:38 |
Next, simply click OK in order to apply
those settings to your photograph.
| | 02:43 |
Now that we're back in Photoshop, here we
can click on the eye icon, and here it
| | 02:47 |
is, our before and then now our after.
| | 02:51 |
| | Collapse this transcript |
|
|
17. Sharpening and Reducing NoiseReducing unwanted noise with Camera Raw and Photoshop| 00:00 |
As you approach the end of your work
flow, one of the things that you want to
| | 00:03 |
do is start to focus in on the details in
your photograph.
| | 00:07 |
You can do this by taking a look at the
noise, and also by starting to think
| | 00:11 |
about how you might sharpen the image.
Often what you'll want to do is re size
| | 00:15 |
the image to its output settings, and
then perform some output noise reduction
| | 00:20 |
and also some sharpening.
Well first let's take a look at how we
| | 00:23 |
can reduce noise.
In Photoshop there are two methods or two
| | 00:27 |
techniques that we can use.
We can either use a filter which is
| | 00:31 |
called Reduce Noise, or we can use Camera
Raw.
| | 00:34 |
So lets take a look at both these
techniques, and lets look at how these
| | 00:37 |
techniques can help us to reduce noise.
We'll start off by working with Camera Raw.
| | 00:42 |
You'll notice that this document has
three layers.
| | 00:45 |
Lets turn on the visibility of the middle
layer which is title CR for Camera Raw_details.
| | 00:51 |
Here in order to work with camera raw
we'll navigate to our filter pull down
| | 00:55 |
menu and then choose Camera Raw filter .
That will then launch this image in the
| | 01:01 |
Camera Raw dialogue.
Inside of Camera Raw what we want to do
| | 01:04 |
is zoom in on the photograph.
To do that double click the Zoom tool.
| | 01:08 |
And here you can see the actual file up
close at 100%.
| | 01:12 |
Next select the Hand tool and click and
drag around.
| | 01:17 |
In doing that, one of the things that I
notice is that there is a lot of noise in
| | 01:21 |
this photograph.
And that's because I captured this image
| | 01:24 |
at a pretty high ISO and here we can see
all of the noise.
| | 01:28 |
I'm going to zoom in even closer for demo
purposes, although when you're working on
| | 01:32 |
your own files, typically, you won't need
to go this close.
| | 01:36 |
Next, you want to go to the Details
panel.
| | 01:39 |
You can find the Details panel, by
clicking on the third tab right here.
| | 01:43 |
Here we'll find our controls for
sharpening, and also noise reduction.
| | 01:48 |
There are a few different types of noise
reduction.
| | 01:50 |
First, let's look at Luminance.
When you drag the slider to the right,
| | 01:54 |
what you notice is that it will get rid
of all of the variation in the
| | 01:57 |
background, yet still there are a few
little color issues.
| | 02:01 |
To get rid of the color noise use this
slider, and drag that to the right.
| | 02:06 |
In this way, you can see that it's
getting rid of those small color variations.
| | 02:10 |
This may be a bit tricky to see in this
movie, so you'll want to zoom in on your
| | 02:15 |
own photographs in order to dial this in.
Next, when working with luminnce, just be
| | 02:20 |
careful you don't go too far.
Otherwise your image, yes, it will have
| | 02:24 |
less noise, but it will look a little bit
painterly, or strange.
| | 02:27 |
Here, I'm going to click and drag and pan
around the photograph in order to view
| | 02:32 |
another area of the photograph.
In this case, we'll go up to the subject,
| | 02:35 |
this fisherman here.
Here we have a high luminance amount drag
| | 02:39 |
this down to zero.
Here's low luminance.
| | 02:42 |
Again, we can see how that's affecting
all of the texture there in the background.
| | 02:46 |
You want to bring this up, so you're
reducing the noise, but at the same time
| | 02:50 |
so that you're not overdoing it, or over
softening the image.
| | 02:54 |
Speaking of that, as you reduce noise,
you also might need to sharpen a bit.
| | 02:59 |
What type of sharpening will you want to
do here?
| | 03:01 |
Well, you want to bring up your amount,
and you want to bring the detail all the
| | 03:05 |
way down.
If you have the detail slider down, this
| | 03:08 |
will prevent it from sharpening any
unwanted noise.
| | 03:11 |
You can also help this out by increasing
your masking amount as well.
| | 03:15 |
Now, often, you may just need to apply a
little bit of sharpening.
| | 03:18 |
Again, that will help your image as
you're working on it.
| | 03:21 |
After you've applied that, you can also
go back to these controls as well and
| | 03:25 |
dial those in.
Luminance Detail allows you to bring back
| | 03:28 |
a little bit of the detail there.
Luminance Contrast adds a bit more shape,
| | 03:34 |
so rather than having the image appear
like it's smudged out, this allows you to
| | 03:38 |
bring back some of that.
Okay, well so far so good.
| | 03:41 |
Here I'm going to zoom out and I'll zoom
out actually by clicking on this icon here.
| | 03:46 |
I'm going to zoom out pretty far and grab
the Hand tool and pan around a little bit.
| | 03:51 |
Again, you want to evaluate your own
photograph and you want to make sure that
| | 03:54 |
your really looking at important area of
the image.
| | 03:57 |
In this case, I want to have this portion
looking good.
| | 04:00 |
Here we can click on our Preview Check
Box.
| | 04:03 |
Here's the before, and then if we click
on that again, there's the after.
| | 04:08 |
Let me zoom back in on that so you can
actually see it, because I imagine it's
| | 04:11 |
kind of hard to see.
Here we go before, and then now after.
| | 04:15 |
In order to apply this great noise
reduction, simply click OK, and that will
| | 04:20 |
then apply the noise reduction to the
layer that you've selected.
| | 04:24 |
All right?
That was method number one.
| | 04:27 |
Camera Raw, are you ready for method two?
Click into the top most layer.
| | 04:30 |
Turn on the eye icon for that layer in
order to turn on its visibility.
| | 04:36 |
Then navigate to the filter pull down
menu.
| | 04:38 |
Here we're going to choose Noise and then
Reduce Noise.
| | 04:42 |
This will open up our Noise Reduction
dialogue.
| | 04:45 |
Once again, we want to make sure we've
zoomed in close, and here we want to view
| | 04:49 |
of evaluate something.
Which will help us determine how to dial
| | 04:53 |
in our settings.
Speaking of the settings, how do all of
| | 04:57 |
these controls work?
Well, let me reduce the values up here so
| | 05:01 |
that we can focus in on one, strength.
Strength allows us to increase the
| | 05:06 |
intensity of the noise reduction.
Drag to the right and more noise is reduced.
| | 05:11 |
Drag to the left and we'll have more
noise in the photograph.
| | 05:14 |
You'll really see that here on the
letters.
| | 05:16 |
Again, notice the little dots on the
letters disappear or become diminished as
| | 05:21 |
we increase the strength.
Now again, when we decrease noise, the
| | 05:25 |
image can become a bit soft.
If we want to bring back some details, do
| | 05:29 |
that with the preserve details slider.
If there are small, little color
| | 05:33 |
artifacts like I can see here, around the
edge of the letters and in the shadow area.
| | 05:39 |
Increase this slider and that will then
take care of those issues.
| | 05:42 |
If you want to sharpen some small
details, use this slider.
| | 05:46 |
So here, you can see we have similar
controls and even a similar work flow,
| | 05:51 |
where we reduce noise, we dial in
specific settings.
| | 05:54 |
And then we also sharpen the image to
make sure that we are creating a
| | 05:58 |
photograph that isn't too soft or too
smooth.
| | 06:01 |
Next we have an option here which allows
us to remove JPEG artifacts.
| | 06:06 |
If you're working with a JPEG and you
notice those corners or edges this method
| | 06:10 |
or this Radio button option can help out.
Click on the image, hold down that show
| | 06:15 |
you the before.
Let go, that shows you the after.
| | 06:18 |
Here I'm seeing that I preserved too many
details.
| | 06:22 |
So I'll drag this to the left.
That will allow me to reduce more of the noise.
| | 06:27 |
Also, I may want to crank-up my strength
setting there, as well.
| | 06:30 |
And now I can click on that, hold to see
the before, let go, but then see the after.
| | 06:35 |
In order to apply these settings.
Click OK.
| | 06:38 |
It will then render, or apply, those
filter settings to the layer you've selected.
| | 06:43 |
| | Collapse this transcript |
| Sharpening and perfecting your photos with Smart Sharpen| 00:00 |
Practically every digital photograph can
benefit from a certain amount of sharpening.
| | 00:05 |
So here in the next few movies, let's
take a look at how we can use a filter.
| | 00:09 |
Which can help us to perfect and sharpen
our photographs.
| | 00:13 |
In particular, we'll look at how we can
work with Smart Sharpen.
| | 00:16 |
You'll notice that in my Layers panel, I
have two layers, the Background and a
| | 00:20 |
copy of the background which I've renamed
Smart Sharpen.
| | 00:24 |
You almost always want to sharpen on a
separate or duplicate layer so that later
| | 00:29 |
you can modify that sharpening amount if
needed.
| | 00:32 |
So, here let's click into our Smart
Sharpen layer to select it, and then
| | 00:36 |
navigate to the Filter Pull-Down menu.
Here in the Filter Pull Down menu we're
| | 00:41 |
looking for our Sharpening Filter
options.
| | 00:44 |
Now there are a few different options
here yet the best one is Smart Sharpen.
| | 00:48 |
So go ahead and click on that option.
Again Filter, Sharpen, and then Smart Sharpen.
| | 00:54 |
When you select that it will open our
Smart Sharpen dialogue.
| | 00:58 |
On the left we have our Preview on the
right we have some Smart Sharpen controls.
| | 01:02 |
With this Preview we can click and drag
in order to move around what we're
| | 01:06 |
viewing in our image.
Yet this preview is currently really small.
| | 01:10 |
We can make it bigger by re positioning
the dialogue and then by hovering over
| | 01:15 |
one of the corner points in clicking and
dragging.
| | 01:18 |
As I drag this out, the preview becomes
bigger.
| | 01:20 |
And when it comes to sharpening, having a
larger preview area is really helpful
| | 01:25 |
because this will help you to evaluate
the sharpening that you'll apply.
| | 01:29 |
All right, well what about our controls?
You want to leave the default setting of
| | 01:34 |
removing Lens Blur on, that option
typically works best.
| | 01:39 |
Next, what about these sliders here?
Amount, Radius and Reduce Noise.
| | 01:44 |
Well, if we click and drag our Amount up,
what we'll start to see is that it will
| | 01:48 |
increase the overall amount of
sharpening.
| | 01:50 |
Next, in order to really highlight how
this works, I'm going to drag over my
| | 01:54 |
Radius slider.
As we drag this to the right, what we'll
| | 01:58 |
start to see is that the image is going
to look pretty horrible.
| | 02:01 |
Here you can see all of the edges are
exaggerated and the image looks like it's glowing.
| | 02:07 |
Well, that's because of this Radius
amount.
| | 02:09 |
As I decrease this amount and as it
renders that new preview, you can see
| | 02:14 |
that the edges, they look like they're
glowing less.
| | 02:17 |
So, the radius really has to do with the
way that the sharpening is applied to
| | 02:22 |
edges and edge detail.
Typically, you'll have a relatively low amount.
| | 02:26 |
Alright, well, what about noise
reduction?
| | 02:28 |
Why do we have that here?
When we sharpen an image, what can
| | 02:32 |
happen, is that as we sharpen the image,
it can also exaggerate, or sharpen, or
| | 02:37 |
bring out unwanted noise.
Again, let me exaggerate here, so that we
| | 02:41 |
can see how this works.
I'll bring up my Radius so that the image
| | 02:45 |
is clearly over sharpened.
Next, I'll click on the + icon, in order
| | 02:49 |
to zoom in.
Now here, if I move over to an area of my
| | 02:52 |
image, and change the noise reduction
amount to 0%.
| | 02:56 |
What we'll start to see is all of these
little artifacts, all of this texture and noise.
| | 03:02 |
As I click and drag this to the right,
again exaggerating.
| | 03:05 |
What we're going to see is it's going to
clean up the image so that we have less
| | 03:09 |
noise in the photograph.
Now here I've obviously exaggerated these amounts.
| | 03:14 |
How then can we reset this and apply an
appropriate amount of sharpening?
| | 03:18 |
To do that, hold down the Opt key on a
Mac Alt key on Windows that will change
| | 03:23 |
Cancel to Reset.
And then click Reset and it will bring
| | 03:26 |
these back to their default settings.
Next, I'll zoom out to 100%.
| | 03:32 |
Typically, you want to evaluate your
photograph at 100% so you can really see
| | 03:36 |
how this sharpening will be applied.
If you're zoomed in too close, you'll be
| | 03:41 |
looking at too much detail.
If you've zoomed out too far, well, you
| | 03:45 |
won't really be able to effectively
evaluate the amount of sharpening.
| | 03:49 |
Well, now that we're at 100%, let's dial
our settings in.
| | 03:53 |
Here, typically, what you'll want to do
is start off with a relatively low radius.
| | 03:58 |
That being said, the lower the Resolution
file, the lower the radius.
| | 04:02 |
The higher the Resolution file, the
higher the radius.
| | 04:05 |
Yet, for most scenarios your radius is
going to be probably somewhere around
| | 04:09 |
zero to two.
Very rarely do you take the radius above that.
| | 04:13 |
So again.
You'll have a relatively low radius amount.
| | 04:16 |
With this image I'll try it right at
about 1.
| | 04:19 |
Next, you want to increase the amount.
And as you increase the amount you want
| | 04:23 |
to slowly drag it up.
And you want to bring it up until you see
| | 04:27 |
the image fall apart.
If you see the image fall apart so that
| | 04:30 |
the edges are glowing, or so that it
looks unnatural.
| | 04:34 |
Then, just bring this amount down.
If you, in particular, notice a problem
| | 04:38 |
with edges, well then work on your radius
amount as well.
| | 04:42 |
Also, you can dial in an appropriate
amount of noise reduction.
| | 04:46 |
What that will do is, it will smooth out
areas, like on the boat and also, on the
| | 04:50 |
water or in the shadows.
To see your preview click on the Preview
| | 04:54 |
check box.
Here's our before and then click again to
| | 04:57 |
see the after.
You can also click and hold on the image
| | 05:01 |
to see the before and then the after.
In this way we can click and hold, move
| | 05:05 |
around, and let go, and then see the
after.
| | 05:08 |
And here we can move around the image and
evaluate the sharpening amount in
| | 05:12 |
different areas.
And in doing this you really want to make
| | 05:15 |
sure it looks good throughout your
photograph.
| | 05:17 |
Alright, well one of the things I'm
noticing at least on my monitor, is that
| | 05:21 |
the image is a bit overdone.
And you want to be cautious of over
| | 05:26 |
sharpening your photographs because that
will detract from the overall value.
| | 05:31 |
So, here, I'll simply reduce my amount
just a little bit in order to reduce the
| | 05:35 |
overall sharpening.
I also want to highlight that as you're
| | 05:38 |
watching this movie, it may be difficult
to see the before and after once this
| | 05:43 |
movie is compressed and small.
So you really want to make the evaluation
| | 05:47 |
with your own images on your own monitor.
Yet, here I hope that by talking through
| | 05:51 |
these sliders.
You can then know how to use these in
| | 05:54 |
order to dial in the appropriate amount
of sharpening.
| | 05:57 |
Well after you have dialed all of that
in, the next step is to click OK in order
| | 06:02 |
to apply those settings and here it will
apply those to this new layer.
| | 06:06 |
Next we'll zoom in on the image a little
bit.
| | 06:09 |
We'll do that so we can evaluate how this
looks.
| | 06:12 |
When we click on the eye icon, we can see
there's the before, and then here's the after.
| | 06:16 |
What we're looking for is a subtle yet
significant difference.
| | 06:21 |
If you feel like it's too strong, simply
lower the opacity of this layer.
| | 06:24 |
Here we can just reduce that a bit in
order to reduce the overall sharpening
| | 06:29 |
filter effect.
Alright well here is our overall before,
| | 06:33 |
and then now our after.
And so far we've learned how we can start
| | 06:37 |
to work with the Smart Sharpen dialogue
and the different controls that we have.
| | 06:41 |
Let's dig a little bit deeper into how we
can use this tool.
| | 06:44 |
And let's do that in the next movie.
| | 06:46 |
| | Collapse this transcript |
| Selectively sharpening an area of your photograph| 00:00 |
Now that we know a little bit about how
we can work with the Smart Sharpen filter.
| | 00:04 |
Next let's take a look at a workflow
example which will require that we apply
| | 00:09 |
sharpening selectively.
We'll be working with this picture here
| | 00:12 |
that I captured of my daughter Annika.
I love her big blue eyes.
| | 00:16 |
You know, I gotta tell you.
Being a dad is amazing.
| | 00:20 |
And with this photograph, I captured it
with a shallow depth of field, therefore,
| | 00:24 |
really, I only need to sharpen her face
and her hair.
| | 00:28 |
In other words, I just want to
selectively sharpen one portion of the image.
| | 00:32 |
In order to do this, we need to duplicate
our Background layer.
| | 00:36 |
Here, click into the Background layer,
and drag this to the new layer icon.
| | 00:40 |
This will give us a copy of the
Background layer.
| | 00:42 |
Let's rename the copy Smart Sharpen.
Next, after having done that, navigate to
| | 00:48 |
the Filter, Pull-down menu, here choose
Sharpen and then Smart Sharpen.
| | 00:54 |
When you click on Smart Sharpen, it will
open up the Smart Sharpen dialogue, and
| | 00:58 |
if you haven't done so recently, you may
need to extend the size of this dialogue.
| | 01:03 |
So that you have a larger preview.
Next pan around the photograph by
| | 01:07 |
clicking and dragging on it.
In this case we want to focus in on the face.
| | 01:12 |
Next what we want to do is dial in our
amount, radius, and noise reduction levels.
| | 01:17 |
Often you'll start off with a relatively
low radius depending upon your resoultion.
| | 01:23 |
Next, bring up the amount.
You want to bring up this amount until
| | 01:26 |
the image starts to fall apart.
Here, I'm noticing that the eyes look
| | 01:30 |
good, but the skin, it doesn't look very
good.
| | 01:33 |
So, I'll bring up my noise reduction.
That will then save or protect the skin
| | 01:37 |
so that the sharpening will, primarily,
be affecting the eyes.
| | 01:41 |
To view your before and after, just click
on the image, that will be the before view.
| | 01:45 |
Let go, and you'll see the after.
If you need more details to be sharpened,
| | 01:50 |
well then what you'll want to do is
you'll want to drag this farther to the
| | 01:53 |
left, and it will sharpen more of those
small details in your photograph.
| | 01:57 |
Next you also want to experiment with
your radius slider.
| | 01:59 |
You want to bring this up until you see
that those edges are glowing and so that
| | 02:04 |
the sharpening looks unnatural.
Then just duck right underneath that and
| | 02:08 |
drop that back down a bit.
That's a good way to try to find an
| | 02:11 |
appropriate amount in regards to your
radius.
| | 02:14 |
Next, here we'll just drag our amount
slider up a little bit more so that we
| | 02:18 |
have nice sharpening.
Click on the image to see the before, let
| | 02:22 |
go to see the after.
Here so you can see that a bit better
| | 02:25 |
I'll zoom in past 100%.
Here's the before.
| | 02:28 |
Now here's the after.
Again now its just a subtle snap so that
| | 02:32 |
that image looks really sharp and nice.
Then after having dialed in your
| | 02:37 |
settings, what you want to to do is
evaluate those at 100%, make sure that
| | 02:42 |
they look good on your monitor, and then
click OK.
| | 02:45 |
That will then apply the sharpening
everywhere, and remember we only need it
| | 02:50 |
in this area here.
So what we need to do is to create a mask.
| | 02:54 |
To do so, click on the Add Layer Mask
icon.
| | 02:57 |
Next, once you've created a mask, you
want to invert it.
| | 03:01 |
So to access the controls for the mask,
double-click it and this will open up our
| | 03:05 |
Properties panel.
As a side note, if you are comfortable
| | 03:09 |
with masking, go back to the chapter
where we talked about how we can create
| | 03:13 |
and work with mask.
Next, click on the Invert button, which
| | 03:17 |
will turn your mask to black concealing
all the sharpening effect.
| | 03:22 |
Then from there what you want to do is
zoom into your image.
| | 03:24 |
You want to zoom in so you can focus in
on the area that you want to work on, in
| | 03:28 |
this case, the face, the eyes, the hair
up here.
| | 03:32 |
Then grab a brush.
The type of brush is really important so
| | 03:36 |
in the Options bar, you want to make sure
that you have completely removed the hardness.
| | 03:40 |
You want a soft edge brush, then increase
your brush size.
| | 03:44 |
You can position the cursor over the
image and then go back and increase the
| | 03:47 |
size until you have a brush that you feel
is big enough.
| | 03:51 |
Next, you can simply click in the Options
bar in order to close this little dialogue.
| | 03:56 |
Then, you want to make sure that you're
painting with white as the color in your foreground.
| | 04:00 |
And just paint over the photograph.
In this way, we can paint in the
| | 04:03 |
sharpening effect into really selective
areas.
| | 04:06 |
Here, I'm just sharpening the hair, the
eyes and a little bit on the lips.
| | 04:11 |
If we turn off the underlying layer, what
we'll notice is that this layer is just
| | 04:15 |
bringing in some of the sharpening
effect.
| | 04:18 |
I'll decrease my brush size by pressing
the Left bracket key.
| | 04:21 |
And then I'll paint over this area in
order to bring in more of the sharpening
| | 04:25 |
effect in these areas.
You know, sometimes you'll want it to be
| | 04:28 |
a bit more subtle.
Other times, a bit stronger.
| | 04:30 |
So, there we can dial that in by painting
on that mask.
| | 04:34 |
And in this way, this top layer allows us
to add that extra sparkle to the eyes.
| | 04:39 |
It allows us to sharpen the image and
really selective in specific ways, and
| | 04:44 |
also, the better that you get at masking,
the better that you can apply the sharpening.
| | 04:49 |
So masking is one of those tools in
Photoshop that you really want to perfect.
| | 04:53 |
Alright, well here we've simply roughed
out a few areas, and then when we click
| | 04:57 |
on our eye icon, we see here's our
before, and then we can see the after,
| | 05:02 |
and you know what, that looks pretty
good.
| | 05:04 |
One more time, here it is.
The overall before and then the after.
| | 05:08 |
| | Collapse this transcript |
|
|
18. Essential Image Retouching TechniquesUsing Content-Aware Fill to remove distractions| 00:00 |
One of the reasons why we often need to
retouch our photographs, is because we
| | 00:05 |
see the world differently than the way
our camera sees the world.
| | 00:10 |
We see the world subjectively.
We focus in on what we want to look at
| | 00:14 |
and then we ignore the rest.
Well, the camera it sees objectively, it
| | 00:18 |
records everything.
And for that reason, what often happens
| | 00:22 |
in our photographs is that we'll have a
picture like this and when we open it up
| | 00:26 |
we'll be excited about it, but then all
of a sudden we'll realize there's some
| | 00:29 |
distracting element in the background
like you can see in the top corner of
| | 00:33 |
this image.
Well, I captured this image while this
| | 00:36 |
photo shoot was being filmed, so there's
a microphone here and it's overlapping
| | 00:40 |
the lamp and so I want to remove this
distracting element.
| | 00:43 |
And so here in this movie, we'll take a
look at how we can do that using the
| | 00:47 |
Content Aware Fill command.
Press Cmd+plus on the Mac or Ctrl+plus on
| | 00:52 |
Windows to zoom in.
Then press the Spacebar key and click and
| | 00:55 |
drag to reposition, so you can focus in
on the area that you're working on.
| | 00:59 |
Now, the first thing that you need to do
in order to work on part of your
| | 01:03 |
background or to clean up an unwanted are
of your photograph, is to make a selection.
| | 01:08 |
Here, let's start off using the
Rectangular Marquee tool.
| | 01:11 |
Yet, that being said, we could also use
our other tool selections as well.
| | 01:15 |
But to keep things simple, we'll use this
tool.
| | 01:18 |
Next, often it's helpful to increase the
feather amount a little bit, that will
| | 01:22 |
ensure that the selected area will have
softer edges.
| | 01:26 |
Then simply click and drag over the
image.
| | 01:29 |
Now, there are a couple of different ways
that you can use Content Aware Fill.
| | 01:33 |
We'll start off by looking at how we can
work on the Background layer.
| | 01:36 |
If you're on the Background layer, simply
press Delete on a Mac or Backspace on
| | 01:41 |
Windows to open up the Fill dialogue.
Here, you can select Content Aware by
| | 01:46 |
clicking on this Pull-down menu and
choose that Option there, then click OK.
| | 01:52 |
And literally, this is when Photoshop
does some magic.
| | 01:55 |
What it does is analyze the surrounding
areas and then figure out how it can
| | 02:00 |
cover up this area to remove this
unwanted detail.
| | 02:04 |
Here, let's choose Select and then
Deselect to see how it did.
| | 02:08 |
And in this case, it performed an amazing
retouching feat.
| | 02:12 |
It removed this distracting element and
made this photograph much better.
| | 02:17 |
Now, sometimes you'll have distracting
elements like I had here, where I had
| | 02:20 |
sort of a foreign object in the frame.
In other situations, like perhaps in this
| | 02:25 |
lower area, you just have something which
you want to minimize or reduce.
| | 02:29 |
Well, we can also do that here.
So I'll click an drag over this area,
| | 02:33 |
again with my Marquee tool, again with a
bit of feather and then press Delete or Backspace.
| | 02:40 |
That's Delete on Mac, Backspace on
Windows.
| | 02:43 |
And once again make sure you choose
Content Aware and then click OK.
| | 02:47 |
And as you can see from these few
examples, Photoshop does a phenomenal job
| | 02:52 |
at rebuilding or restructuring this
background, and covering up something
| | 02:56 |
which we want to remove.
Well, let's take a look at a few more
| | 02:59 |
examples of this, so that we can really
see how we can use this command in
| | 03:03 |
different ways.
In this case, when we're capturing a
| | 03:06 |
photograph like this, we're excited about
the light, about the moment, yet we
| | 03:10 |
neglect to notice the background.
Here, if we zoom in a little bit on the
| | 03:14 |
image, you'll notice that the backdrop,
you can see the top of it and also the side.
| | 03:19 |
Well, that looks a little sloppy.
So, let's clean that up, but this time
| | 03:23 |
let's do this on a separate layer.
Here, we'll duplicate the Background
| | 03:28 |
layer by clicking and dragging this to
the New Layer icon.
| | 03:30 |
Let's name the new layer cleanup.
Next, we can use one of our Selection tools.
| | 03:36 |
And again, just to keep things simple,
I'll use the Rectangular Marquee tool.
| | 03:40 |
Then I'll click and drag over the area
that I want to retouch or remove in this
| | 03:44 |
case the backdrop which we can see up
top.
| | 03:47 |
Let me zoom in a little bit more closely
here so you can see that even better.
| | 03:51 |
Then, this time, because we're on a
separate layer, we need to access the
| | 03:56 |
Fill command a different way.
Here, we'll navigate to the Edit
| | 04:00 |
pull-down menu.
And then about half way down, you'll find
| | 04:03 |
the command for fill.
Click on that Option to open up the Fill dialogue.
| | 04:08 |
Here in the Fill dialogue once again, you
want to choose Content Aware, and then
| | 04:13 |
click OK.
And what Photoshop will do is it will
| | 04:16 |
clean up that area.
I also need to clean up this side of the
| | 04:19 |
frame, so I'll make a selection there,
and then once again go to Edit and choose Fill.
| | 04:24 |
This will open up our Fill dialog, here
we'll use Content Aware once again, and
| | 04:29 |
click OK, in order to clean up this side
of the frame.
| | 04:32 |
So as you can see here, we can use this
technique in order to clean up unwanted
| | 04:37 |
elements in our photographs.
Yet, what about those scenarios where you
| | 04:40 |
have something which is even bigger and
more complex.
| | 04:44 |
Let's take a look at how we can work on a
situation like that in the next movie.
| | 04:48 |
| | Collapse this transcript |
| Using repeated Content-Aware Fill commands to clean up an image| 00:00 |
In the previous movie I talked about how
sometimes there will be distracting
| | 00:04 |
elements in the background of our
photograph, that we didn't notice when we
| | 00:08 |
captured the frame.
An so therefore, in Photoshop we need to
| | 00:11 |
remove those distractions.
Yet what about those situations where you
| | 00:15 |
have something in the frame, like with
this portrait here of Shaun Stussy, the
| | 00:19 |
man behind, the brand Stussy.
I created this portrait an I
| | 00:23 |
intentionally included this vintage car.
Yet when showing this image to the
| | 00:27 |
client, they realized that they wanted to
run this as an editorial spread.
| | 00:31 |
And they needed me to remove this
distracting element so that they could
| | 00:36 |
include some copy on this side of the
page.
| | 00:39 |
So here, what I need to do is to remove
something which is more complicated or
| | 00:43 |
complex from my image.
In order to do that, once again, we're
| | 00:47 |
going to use content aware fill.
It's always a good idea to work with
| | 00:51 |
content aware fill on a separate layer,
because that gives you more flexibility
| | 00:56 |
in case you make a mistake.
So here, let's duplicate the background layer.
| | 01:00 |
To do that, click and drag the background
layer to the new layer icon and then
| | 01:04 |
let's rename this new layer Cleanup.
Now, what I want to clean up is the car
| | 01:09 |
and also this line on the wall.
So hear first, we need to make a selection.
| | 01:13 |
Use the Lasso tool, because the Lasso
tool will allow us to make a selection
| | 01:18 |
which gets close to the car.
And as you make the selection, what you
| | 01:22 |
want to do is get close but not too
close.
| | 01:25 |
You want a little bit of space around the
area of the item that you want to remove.
| | 01:31 |
In this case, the car.
So here I'll go ahead and Lasso that up
| | 01:35 |
by making a selection around this area.
Now you want to make sure you are on a
| | 01:39 |
separate layer.
And then what I recommend you do is learn
| | 01:43 |
the short-cut in order to access and open
up the fill dialogue and here it is.
| | 01:49 |
It's Shift+F5.
That's one of those shortcuts that I
| | 01:52 |
recommend you write down, because as you
can see here, Content Aware Fill, well
| | 01:56 |
it's really helpful.
If you forget the shortcut, you can
| | 01:59 |
always navigate to Edit and then simply
choose the Fill command right here.
| | 02:03 |
Alright, well once you have the Fill
command open, you want to make sure to
| | 02:07 |
select Content Aware, and then click OK.
And here, before you click OK, it's a
| | 02:12 |
good idea to cross your fingers, and hope
that this works.
| | 02:15 |
Because sometimes Content Aware Fill can
really save you a lot of time.
| | 02:20 |
And that's definitely the case with this
photograph.
| | 02:23 |
As you can see here, it did a phenomenal
job rebuilding the driveway, removing
| | 02:29 |
most of the car.
So next, use Select and then Deselect.
| | 02:33 |
Well, so far, so good.
It did a great job, except also it
| | 02:37 |
brought over some of these steps here,
and so it brought in a new distracting
| | 02:42 |
element into the frame.
Well, not to worry, all that we need to
| | 02:45 |
do is to make a selection around that
unwanted element.
| | 02:49 |
And then access the Fill command using
the shortcut which we've just learned.
| | 02:53 |
Do you remember it?
It's Shift+F5.
| | 02:55 |
Then here, once this opens up, the Fill
dialogue, click OK, and this will then
| | 03:01 |
work to remove this area.
Next, we need to deselect So choose
| | 03:06 |
Select and Deselect and I notice I have a
little bit more of an issue over here.
| | 03:10 |
No big deal.
We can keep using this Fill command,
| | 03:13 |
until we get it right.
And that's the beauty of working with this.
| | 03:17 |
Again press Shift+F5 to open the
dialogue, and click OK.
| | 03:21 |
And this will then retouch or clean up
this part of the image.
| | 03:24 |
Now if there are other areas in the
photograph that we need to clean up.
| | 03:27 |
Like this little line on the wall.
We can use the Lasso tool in order to
| | 03:31 |
make a selection to do so.
Here when I made this Lasso tool
| | 03:35 |
selection, it was a little too far to the
left.
| | 03:38 |
So I'll just click and drag and move it
over to the right.
| | 03:40 |
Then press shift+F5 to open up the Flll
command.
| | 03:44 |
And click OK.
In doing this you can see how you can use
| | 03:47 |
this command in order to drastically
change your overall image.
| | 03:52 |
And to clean up unwanted elements in
significant ways.
| | 03:55 |
Well before we look at the before and
after results, lets go to the Select pull
| | 03:58 |
down menu and choose Deselect.
And then next, we'll click on the eye
| | 04:03 |
icon in our Layers panel to see the
overall before, and then now, the after.
| | 04:08 |
| | Collapse this transcript |
| Working with the Patch tool and Content-Aware Move| 00:00 |
When it comes to climbing to the top of a
mountain, there are many different paths
| | 00:04 |
that you can take.
And the same thing can be said about
| | 00:07 |
retouching in Photoshop.
There are so many different methods or
| | 00:11 |
techniques that you can use in order to
perform similar tasks.
| | 00:15 |
And in the previous movies, we talked
about how we could remove unwanted
| | 00:18 |
elements using Content Aware Fill.
Well, here I want to show you another
| | 00:22 |
technique that you can use in order to
perform a similar task.
| | 00:26 |
And I also want to talk about another
content aware feature that you'll find in Photoshop.
| | 00:32 |
In the Layers panel you'll notice that I
have the Background layer.
| | 00:35 |
I have duplicated or copied that layer
and renamed the top layer retouching.
| | 00:39 |
Click into that layer.
You know when you're retouching your
| | 00:42 |
photographs, you often want to retouch on
a separate layer so that if you make a
| | 00:46 |
mistake you can always undo that or go
back to the original file.
| | 00:50 |
Well, here's we'll click into the
Retouching layer.
| | 00:53 |
In this case, the first thing I want to
retouch away is this small tree right here.
| | 00:58 |
Now you could use content aware fill to
remove this tree or you could use another tool.
| | 01:03 |
Its called the Patch tool.
You can find the patch tool here in the
| | 01:07 |
Tools panel.
Click and hold down on the healing brush
| | 01:09 |
and here you can select the Patch tool.
Now why would you want to use the patch
| | 01:14 |
tool rather than the content aware fill
command?
| | 01:17 |
Well, you'll want to use this because it
allows you to select the source area for
| | 01:22 |
the retouching you'll perform.
Let me show you what I mean.
| | 01:25 |
Here we'll simply click and drag to
create a selection around the unwanted element.
| | 01:30 |
Next, rather than applying the command
and crossing your fingers and hoping it works.
| | 01:35 |
What you can do with the patch tool is
with the source option selected you can
| | 01:39 |
then click.
And drag this little selection and here
| | 01:42 |
we can choose the source area which we
want to use in order to retouch out that
| | 01:47 |
unwanted element.
And you know in certain scenarios this
| | 01:50 |
can make all the difference in the world.
Because here I can select the snow, I can
| | 01:55 |
select the type of texture I want to
bring over and voila.
| | 01:58 |
Let go, that problem is solved.
Next, simply choose Select and then Deselect.
| | 02:04 |
Alright.
Well the next thing that I want to do now
| | 02:07 |
that I've removed this unwanted element,
is I want to move my friend Mike here
| | 02:11 |
over to the right.
To do that I want to introduce you to
| | 02:14 |
another content aware feature which is
called the Content Aware Move tool.
| | 02:19 |
This tool it allows us to make a
selection and then to move that thing
| | 02:25 |
that we selected over to another area.
Here I'll go ahead and click and drag to
| | 02:29 |
create a selection around this part of
the image.
| | 02:32 |
Once you've made that selection.
You want to go up to your Options bar.
| | 02:37 |
The mode that we'll be using is Move and
then we have some adaptation methods.
| | 02:41 |
Here if we click on this menu, you notice
that we have different adaptation methods
| | 02:45 |
either Very Strict, Strict, Medium, Loose
or Very Loose.
| | 02:48 |
Well what do these exactly mean?
Well if you have something that you're
| | 02:52 |
moving and if you want to maintain the
integrity of that.
| | 02:56 |
In other words if you need to look the
same or look just as it is, you want to
| | 03:00 |
choose one of these options.
Strict or Very strict.
| | 03:03 |
On the other hand, if you're moving
something and it doesn't really matter.
| | 03:07 |
Maybe it's texture or it's snow.
And it doesn't need to look exactly the
| | 03:11 |
same, well then choose one of these
methods.
| | 03:14 |
Well here we want this to look the same
so I'll choose strict.
| | 03:18 |
Next, we'll click and drag this off to
the right.
| | 03:21 |
And we'll relocate this to another area
in the image.
| | 03:24 |
Here, simply let go.
And what will happen is Photoshop will
| | 03:28 |
analyze the image.
And in this sense it will swap those two
| | 03:31 |
areas so that it will then bring the
subject over to this new location.
| | 03:36 |
Next, we can navigate to the Select Pull
down menu.
| | 03:39 |
Here we can choose Deselect in order to
remove the marching ants or to deselect
| | 03:44 |
that area of the photograph.
And in this way what I've been able to do
| | 03:48 |
is to open up more space here.
And this could be helpful to open up some
| | 03:53 |
space in the middle of the image because
lets say that this photograph were to be
| | 03:57 |
printed in a book.
And the middle of the book would appear
| | 04:01 |
right here and rather then having the
subject close to the middle of the frame,
| | 04:05 |
well now we've moved the subject off to
the side.
| | 04:08 |
And there are so many different
situations where you might need to move
| | 04:11 |
something to a new location.
Now this tool doesn't work in all
| | 04:15 |
situations, in all times yet it does work
in those situations where you have
| | 04:20 |
consistent patterns.
And here, all that you need to do is to
| | 04:23 |
simply make a selection and then drag the
object to that new area in your image in
| | 04:27 |
order to make the change.
All right, well let's take a look at our
| | 04:30 |
overall before and after.
Here it is one more time.
| | 04:32 |
The overall before and then now the
after.
| | 04:36 |
| | Collapse this transcript |
| Introducing the Clone Stamp tool| 00:00 |
There are certain retouching tools which
will allow you to blend or combine, or
| | 00:04 |
mesh things together in an effective way.
And then there are other retouching tools
| | 00:10 |
which work in a different way, and that's
definitely the case with the Clone Stamp tool.
| | 00:14 |
And the Clone Stamp tool is an incredibly
popular retouching tool, because it
| | 00:18 |
allows you to duplicate or to clone an
area of your image.
| | 00:22 |
And often, this provides you with an
extra bit of precision, which can help in
| | 00:26 |
a number of different scenarios when
you're retouching your photographs.
| | 00:30 |
So here in this movie, I want to
introduce you to how you can work with
| | 00:33 |
the Clone Stamp tool.
And then in one of the subsequent movies,
| | 00:36 |
we'll revisit this tool and see how we
can use it in another way.
| | 00:40 |
For starters, when you're working with
the Clone Stamp tool, you almost always
| | 00:43 |
want to create a new layer.
So here, we'll click on the New Layer
| | 00:47 |
icon in the Layers panel, and we'll name
this layer Clone Stamp.
| | 00:51 |
The reason why we want to create a new
layer is so that we can do all of our
| | 00:54 |
cloning or retouching work on a separate
layer, which gives us extra flexibility.
| | 00:59 |
In case we make a mistake, we can always
undo it.
| | 01:02 |
Because here, we can perform all of this
retouching non-destructively on a new layer.
| | 01:07 |
Next, select the Clone Stamp layer by
pressing the S key, or by clicking on it
| | 01:12 |
here in the Tools panel.
Now, whenever you select a tool which you
| | 01:15 |
haven't used before, you want to take a
look at the Options bar to examine some
| | 01:19 |
of the settings that you have with that
tool.
| | 01:21 |
Here, I simply want to highlight a few.
Turn on the Option to have the Clone
| | 01:26 |
Stamp tool work so that it's aligned,
we'll talk more about that in a second.
| | 01:30 |
And then make sure to click on this
Pull-down menu and choose All Layers.
| | 01:34 |
In this way, we can then do our cloning
work on a separate layer.
| | 01:38 |
Alright, position your cursor over the
image, and then change the brush size.
| | 01:42 |
Right bracket key makes a larger brush,
left bracket key makes a smaller brush.
| | 01:46 |
Well, how does this tool work?
First let me provide you with a bit of a
| | 01:51 |
demo, and then we'll do something a bit
more realistic.
| | 01:54 |
So, first for the demo, what I want to do
is duplicate the subject.
| | 01:58 |
To do that, hold down the Option key on
Mac or Alt on Windows, and then click on
| | 02:02 |
the area that you want to sample as your
source.
| | 02:05 |
In this case, the subject.
Then re-position your cursor.
| | 02:09 |
Notice that the brush now has a
visualization of that source area that
| | 02:14 |
you selected.
Well, if I click in paint right now, what
| | 02:17 |
will happen is I'll be able to bring in
another version of the subject.
| | 02:22 |
Yet if I move over to the left, notice
that my source area, well, it's now
| | 02:26 |
sampling this part of the wall over here.
So that if I paint, I'm painting in more
| | 02:31 |
of the wall, as you can see.
The plus icon is showing me, my source area.
| | 02:37 |
Well that didn't work.
So here, I'll undo that by pressing Cmd+Z
| | 02:41 |
on the Mac, or Ctrl+Z on Windows.
Let's say that rather than duplicating or
| | 02:45 |
bringing over the wall, I want to have
another version of the subject over here.
| | 02:49 |
Well, how can I do that.
Well, one of the ways that you can do
| | 02:52 |
that is you can turn off align, and then
you can sample the area that you want.
| | 02:57 |
Option or Alt click on the source area
and then paint.
| | 03:00 |
In this way, you can see that I'm
bringing in another version.
| | 03:03 |
Re-position the cursor, and then bring in
yet another.
| | 03:05 |
Re-position the cursor and then yet
another.
| | 03:08 |
So, when you turn off a line it will
always go back to that original source area.
| | 03:14 |
When you have a line checked on, what it
will do is maintain the relationship
| | 03:19 |
between the area that you selected and
the area that you're painting.
| | 03:23 |
Well, at this point, this just looks kind
of goofy, so what I'm going to do is
| | 03:26 |
actually delete this layer.
To do that, I click and drag this to the
| | 03:30 |
trash can icon, and then I click on a new
layer icon in order to create a new layer.
| | 03:35 |
And here I rename this layer Clone Stamp.
Now that we know a little bit about how
| | 03:39 |
the Clone Stamp tool works, let's perform
a task.
| | 03:43 |
With this image, I want to retouch out
this background element here, in order to
| | 03:48 |
clean up this photograph.
Let's say that the client needs us to do that.
| | 03:51 |
So, in order to do that, we'll press the
S key or click on the icon for the Clone
| | 03:56 |
Stamp tool.
Next, we want to make sure to have a line
| | 03:59 |
checked on, because typically when you're
retouching a photograph, you want to
| | 04:03 |
maintain the relationship between the
source area and between the area that
| | 04:07 |
you're working on.
Then also make sure that All Layers is
| | 04:10 |
turned on as well.
I'll make my brush nice and small by
| | 04:13 |
pressing the left bracket key.
You know, I should also highlight that
| | 04:17 |
you can change your brush size by
clicking on this icon here.
| | 04:20 |
This allows you to change the brush size
and also the hardness.
| | 04:23 |
If you notice that it's kind of choppy
when you're using this tool, that's
| | 04:27 |
because you have the hardness increased.
You almost always want to have a 0%
| | 04:32 |
hardness when using the Clone Stamp tool.
Alright.
| | 04:35 |
Well, next, now that we have a smaller
brush size, I'll go ahead and hold down
| | 04:38 |
the Alt key on a Mac, Alt on Windows and
sample my source area.
| | 04:42 |
Then I'll re-position this over where I
want to start retouching, and then I'll
| | 04:46 |
just start to click and paint.
In this way, you can start to see how I
| | 04:50 |
can have these bricks aligned here.
I'll let go, and then paint again.
| | 04:54 |
And here, I'm slowly removing this item
from the background.
| | 04:58 |
And I'm doing that by cloning this
portion of the brick onto this part of
| | 05:02 |
the image.
Now currently, I've been working from the
| | 05:05 |
right over to the left.
We could also work from the left-hand
| | 05:09 |
side and move right.
Here, hold down the Option key on Mac,
| | 05:12 |
Alt on Windows, sample to select an area
and then paint away.
| | 05:16 |
And here, you can see again, I'm removing
this from the image.
| | 05:19 |
And you want to let go every once in
awhile, and then paint again so that you
| | 05:23 |
can make your way through, making this
improvement to the photograph.
| | 05:26 |
You know, you can also work with a larger
brush as well.
| | 05:29 |
Here, I'll press the right bracket key to
make my brush bigger, then I'll move back
| | 05:33 |
in Option or Alt click on this part of
the wall.
| | 05:36 |
As I do that, you can see that I'm almost
bringing over this brick.
| | 05:39 |
Well, now here I can make sure that
everything is lined up well.
| | 05:42 |
And then I can bring this over, in order
to bring over a bit more of that pattern.
| | 05:47 |
And this way we can start to clean up the
wall, so that it looks it's best.
| | 05:51 |
An if ever you notice that you have a
problem, well, you can always just
| | 05:54 |
continue to clone, in order to take care
of other issues.
| | 05:57 |
For example, I notice a small little
blemish on the wall.
| | 06:00 |
So I'll make my brush really small.
Hold down the Option Key on a Mac, Alt on
| | 06:04 |
Windows to select the source area, and
then I'll remove that.
| | 06:07 |
And I can remove other little blemishes
as well.
| | 06:09 |
And again the advantage of working with
the Clone Stamp tool is that it provides
| | 06:14 |
a duplicate or a clone version of that
area of the image, which you can then
| | 06:18 |
paint on to another.
And also the advantage of working on a
| | 06:22 |
separate layer gives us extra
flexibility.
| | 06:25 |
Here if we turn off the Background layer,
you can see that all that we've done is
| | 06:28 |
we've cloned onto this area of the
photograph.
| | 06:31 |
Here, when we turn back on the visibility
of the layer, you can see how we've made
| | 06:35 |
that improvement to this picture.
Here's our before, and then now, here's
| | 06:38 |
our after.
And in this case, we're focusing in on a
| | 06:42 |
background element.
Yet, keep in mind, the Clone Stamp tool
| | 06:45 |
is helpful to use in other situations as
well, as we'll see in one of the
| | 06:49 |
subsequent movies in this chapter.
| | 06:51 |
| | Collapse this transcript |
| Removing skin blemishes with the Healing Brushes| 00:00 |
So far in this chapter,r we've taken a
look at how we can retouch larger areas
| | 00:05 |
in our photograph.
Well here in this movie, we're going to
| | 00:07 |
shift our attention to those small,
little details.
| | 00:10 |
And this is a portrait that I've
captured, and the client has asked me to
| | 00:14 |
retouch this image and to take care of
some of the small little details in the photograph.
| | 00:18 |
So, in order to do that we're going to be
working with our Healing brushes.
| | 00:22 |
First, let's create a new layer.
To do that, click on the new layer icon
| | 00:26 |
in the Layers panel, and then rename the
layer Cleanup.
| | 00:30 |
The great thing about retouching to a
separate layer as we're going to do here
| | 00:33 |
is it will give us extra flexibility.
It will allow us to retouch the image,
| | 00:38 |
and then to also undo the retouching if
we need to do so, as we'll see in this movie.
| | 00:43 |
Alright, well let's zoom in on this
picture.
| | 00:45 |
To do so, press Cmd + a few times on a
Mac or Ctrl + a few times on Windows.
| | 00:50 |
Next press the Space bar key and click
and drag so that you can focus in on the
| | 00:54 |
area of the image that you're going to
work on.
| | 00:56 |
In this case, there only are a few
details that we need to take care of.
| | 01:00 |
Here what we can do is we can reduce and
simplify and clean up this photograph by
| | 01:05 |
removing a few of these little skin
variations.
| | 01:07 |
The client has also asked us to remove
this lip ring here so, we'll take care of
| | 01:12 |
that as well.
Well, the first tool that we'll use is
| | 01:15 |
called the spot healing brush.
This brush literally is phenomenal.
| | 01:19 |
And you'll use it on practically every
image that you work with.
| | 01:22 |
So go ahead and select that tool.
And then next, in the Options bar I
| | 01:26 |
recommend you turn on Content Aware as
that blends things together nicely, and
| | 01:31 |
also Sample All Layers.
What Sample All Layers allows us to do,
| | 01:35 |
is it allows us to perform the retouching
on a separate layer.
| | 01:40 |
And this is really handy, in case we make
a mistake because we can always undo this later.
| | 01:45 |
Next, position your cursor over the
image, and change your brush size, you
| | 01:49 |
can change your brush size by pressing
the bracket keys.
| | 01:52 |
Press the right bracket key to make your
brush bigger, press the left bracket key
| | 01:56 |
to make your brush smaller.
Now typically what you want to have is a
| | 02:00 |
brush which is just a little bit bigger
than the area that you're working on.
| | 02:04 |
So here is about the appropriate size, so
go ahead and just click in and drag over
| | 02:08 |
this area.
And what we can do is we can simply do a
| | 02:11 |
single click or we can click and drag
over larger area.
| | 02:15 |
You want to work your way around your
photograph, and you want to make sure
| | 02:18 |
that you're creating balance.
In other words, you don't want to retouch
| | 02:22 |
one area and then neglect another.
So here, I'll just make my way around the
| | 02:26 |
photograph, and I'll retouch a lot of
these small little variations in order to
| | 02:30 |
create a really clean look with this
photograph.
| | 02:32 |
As you retouch your image, one of the
things that you may be thinking about is,
| | 02:36 |
am I really making a difference?
Do all of these small little details
| | 02:40 |
actually matter?
Well, you know, one of the big
| | 02:42 |
differences between amateur and
professional retouching, or between bad
| | 02:46 |
retouching and great retouching?
Is that all of the great retouchers, they
| | 02:51 |
spend time on the small details.
Because really it's about all of those
| | 02:55 |
little details which add up to make the
overall result.
| | 02:59 |
Alright, well lets evaluate how we're
doing here.
| | 03:01 |
To do so, we can click on the eye icon.
This gives us our before, and we zoom in
| | 03:06 |
closer here.
So you can see here better.
| | 03:07 |
Here's a before and then now here's the
after.
| | 03:10 |
Again some pretty nice retouching.
Now if ever you notice an area that you
| | 03:14 |
need to clean up even more, like in this
case I want to go back over this area.
| | 03:18 |
You can always retouch on top of an area
which you've already retouched.
| | 03:22 |
In this way essentially you're just
making that area even better.
| | 03:26 |
So again, we're just using small little
brush strokes or small clicks here.
| | 03:30 |
Going throughout the image focusing in on
all of these little tiny details.
| | 03:34 |
And again as I'm doing this, I'm keeping
in mind that I want to maintain the
| | 03:37 |
character and personality of this
portrait.
| | 03:40 |
I love the expression.
I love the personality so, I'm being
| | 03:43 |
careful to not go too far.
Well, I think we've done a good job so far.
| | 03:48 |
Next, let's take a look at another tool
that we can use.
| | 03:50 |
It's related to the Spot Healing brush.
It's just called the Healing brush.
| | 03:55 |
With the Healing brush what we can do is
select a source area and retouch based on
| | 04:00 |
the source area that we've selected.
With the Spot Healing brush, it's
| | 04:04 |
basically figuring it out for us.
Yet, if we want to get more specific, we
| | 04:08 |
can use this tool .
Here in the Options bar, you sampled a line.
| | 04:12 |
And then turn on Sample All Layers.
In order to illustrate how this tool
| | 04:17 |
works, I'm going to do something which
will appear a little bit silly.
| | 04:20 |
Yet it will illustrate the point of how
you can select your sample area.
| | 04:25 |
Here I'm going to make my brush bigger by
pressing the right bracket key.
| | 04:28 |
Next hold down the Opt key on a Mac or
Alt key on Windows.
| | 04:31 |
And click on a sample or source area.
I'm going to click on the eye in order to
| | 04:36 |
illustrate a point.
When I click on the eye and then move
| | 04:39 |
this around notice that what it brings
with me is that source area.
| | 04:44 |
If I were to retouch right now it would
try to bring the eye into this new area.
| | 04:48 |
Well that obviously wouldn't be very
good.
| | 04:51 |
What you want to do, is you want to
select a source area which is similar to
| | 04:55 |
the area that you work on.
So here if I want to work on the
| | 04:58 |
forehead, well I'll sample that area, and
then bring over that skin tone.
| | 05:03 |
If this looks like it's a little bit too
bright, we'll try to select a source area
| | 05:06 |
which is a bit closer.
Here, obviously, we'd want to have a
| | 05:09 |
smaller brush size, but again you can
start to see how you can Option+click on
| | 05:13 |
a Mac, Alt+click on Windows.
Select that source area in order to make
| | 05:17 |
sure that as you're retouching your
photograph, you can sample an area that
| | 05:21 |
will allow you to appropriately clean up
what you're working on.
| | 05:24 |
All right, well, another thing the client
had mentioned is that they were uncertain
| | 05:28 |
about including this little lip ring here
in the photograph.
| | 05:31 |
So I'm going to re-touch it out.
We'll hold down the Opt key on a Mac, Alt
| | 05:35 |
on Windows, sample an area on the skin
right above the lip here.
| | 05:38 |
And we'll go ahead and click and paint
over that in order to remove it.
| | 05:41 |
Alright, so far, so good.
Her's our before, and then here's our after.
| | 05:46 |
If we click off the eye icon of the
background layer, we'll see that we have
| | 05:50 |
all of these spots in all of these areas
that we have retouched.
| | 05:54 |
And we've been able to do this because we
defined that we wanted to do the
| | 05:58 |
retouching to a new layer.
And here this gives us flexibility.
| | 06:03 |
For example let's say we show this image
to the client.
| | 06:06 |
They love it except they realize, you
know what?
| | 06:08 |
I actually want to have that ring back in
the image.
| | 06:11 |
Well we can bring that back by erasing on
this layer.
| | 06:15 |
So here if we click in the clean up.
And if we choose our Eraser tool.
| | 06:19 |
All that we need to do is to erase
something that we've retouched.
| | 06:23 |
We can also modify the intensity of the
retouching.
| | 06:27 |
If we simply want to reduce blemishes
rather than remove them, we'll lower the opacity.
| | 06:32 |
As we do that, we'll see those blemishes
come back, and here, we can define how
| | 06:36 |
far we actually want to remove these
different items.
| | 06:39 |
In this case, I think it looks best to
remove them all the way.
| | 06:42 |
Yet nonetheless, it's helpful to see that
you can always change the opacity if you
| | 06:46 |
retouch to a new layer.
All right.
| | 06:49 |
Well, in order to wrap this up let's take
a look at one final view of this image.
| | 06:53 |
Here it is, our overall before, and then
now, the after.
| | 06:57 |
| | Collapse this transcript |
| Whitening teeth with an adjustment layer| 00:00 |
Whitening teeth is difficult and arduous
in real life it takes a lot of time.
| | 00:04 |
In Photoshop it's easy.
Lets take a look at how we can do this.
| | 00:08 |
You'll notice that we have a couple of
layers in this document.
| | 00:11 |
What I want to do is create another and
we're going to create a Hue Saturation
| | 00:15 |
Adjustment layer.
Here we'll click on this Hue Saturation
| | 00:18 |
icon in order to create the Hue
Saturation layer.
| | 00:21 |
And to open up the Properties panel with
all of our Hue Saturation controls.
| | 00:26 |
Now, we've talked about how to work Hue
Saturation in a previous movie, and I
| | 00:30 |
want to highlights something here.
I want to highlight that we can use this
| | 00:33 |
tool here, which is called the Targeted
Adjustment tool.
| | 00:36 |
And if you click on that, what you can
then do is position this over your image
| | 00:40 |
and click.
When you click on a certain color, it
| | 00:43 |
will then highlight that color and allow
you to make changes to it.
| | 00:47 |
I clicked on the scarf.
So now when I drag my hue slider, you can
| | 00:50 |
see how I can change the color of the
scarf.
| | 00:53 |
I can also change how saturated or
desaturated that color is.
| | 00:57 |
Well obviously we're not interested in
chancing the color of the scarf, but we
| | 01:01 |
are interested in working on the teeth.
So here, let's click reset in order to
| | 01:06 |
reset all of those values.
And then next what we're going to do, is
| | 01:09 |
we're going to select the yellows that
have there in the teeth.
| | 01:13 |
To do that, click on the Targeted
Adjustment tool, and then move over to
| | 01:17 |
the teeth and click on an area.
Where you notice that the teeth area bit yellow.
| | 01:21 |
Now, this is currently targeting certain
yellows in our photograph.
| | 01:25 |
And what's great about this is now we can
desaturate or remove that color.
| | 01:29 |
As we do that It's going to remove
yellows from other parts of the image as well.
| | 01:34 |
Yet not to worry.
We can fix that in a moment.
| | 01:37 |
So, here I'm removing the yellow and
really focusing in on the teeth area.
| | 01:41 |
Alright well after we've done that the
next thing we might want to do is
| | 01:44 |
increase the lightness a little bit just
to brighten things up just a touch there
| | 01:48 |
maybe a point or two.
Here I will close the Properties panel
| | 01:51 |
for a moment and I'm going to zoom in on
the image so we can get even closer here
| | 01:56 |
and let's take a look at what we have.
Clicking on the Eye icon we can see the
| | 01:59 |
before and then the after.
Well everything looks great regards the teeth.
| | 02:04 |
But the rest of the image doesn't look
very good.
| | 02:06 |
Notice the hair color.
It's not as vibrant and alive.
| | 02:09 |
And the skin tones, they aren't as good
when we have this Adjustment layer on.
| | 02:13 |
What I want to do is limit my adjustment
just to the teeth.
| | 02:16 |
There are a number of different ways that
we can do this.
| | 02:19 |
One technique that you can use, is to
paint in this adjustment into this
| | 02:23 |
specific area.
To do that double-click under the mask
| | 02:26 |
icon to open up the Properties panel and
to highlight the controls for this mask.
| | 02:31 |
Next, click on Invert.
That will then conceal this entire
| | 02:35 |
adjustment so that this layer is doing
absolutely nothing.
| | 02:38 |
Perfect.
Next up, grab the Brush tool.
| | 02:42 |
Here we'll select the Brush tool in the
Tools panel.
| | 02:44 |
Then we are going to paint with white.
Remember when it comes to working with a
| | 02:49 |
mask, white reveals, black conceals.
So in this case we want to paint with
| | 02:52 |
white on the mask in order to reveal the
desaturation in this part of the image.
| | 02:57 |
Currently my brush is a bit too big.
So we can go to the Options bar and
| | 03:02 |
decrease the brush size.
You also want to make sure you have a
| | 03:04 |
brush without any hardness, then just
click off of that dialog to close it,
| | 03:09 |
position your cursor over your image.
If the brush is still too big as mine is
| | 03:13 |
here, press the Left bracket key that
will decrease the brush size.
| | 03:16 |
Right-bracket key will allow you to
increase the brush size.
| | 03:20 |
Then all that you need to do is just to
paint over these areas.
| | 03:23 |
And in this way, we can start to remove
the yellow from this portion of the image.
| | 03:28 |
So again, I'm just going to make my way
through this part of the photograph here.
| | 03:32 |
And in doing that, we'll have some nice
color removal happening to this portion
| | 03:36 |
of the image.
Now when we click on this icon and if we
| | 03:39 |
zoom in a little bit closer, here you can
see is the before and then click to turn
| | 03:43 |
it on, here now is the after.
As you make those adjustments, if you
| | 03:48 |
ever want to go back and make further
changes, well just click back into the
| | 03:51 |
Hue Saturation Adjustment here by
clicking on its icon.
| | 03:55 |
And then we can go to the yellow channel.
And then the yellow channel you can see
| | 03:59 |
how we can control the overall saturation
in that part of the image.
| | 04:02 |
In this case I'll just desaturate this.
And I'm actually going to desaturate it a
| | 04:06 |
little bit less than before.
I felt like in the first pass I had
| | 04:10 |
removed too much color so it was a bit
lifeless.
| | 04:13 |
I went too far with it.
So here I can always change that and
| | 04:16 |
modify this, so that it looks good.
Of course, you want to click on the Eye icon.
| | 04:20 |
Here is before and here is after.
It's a pretty subtle adjustment.
| | 04:24 |
So let me make that a little bit more
dramatic so that you can see it even
| | 04:27 |
better, here is that before and after.
And keep in mind when it comes to
| | 04:30 |
effective teeth whitening, what you are
trying to do here is to just remove a bit
| | 04:35 |
of the yellowing.
You don't want to go too far otherwise
| | 04:38 |
this will look unnatural.
Alright well, that wraps up our look at
| | 04:41 |
how we can whiten teeth with an
Adjustment layer.
| | 04:44 |
And just to reiterate how we can do that,
we click on this icon to create the Hue
| | 04:48 |
Saturation Adjustment layer.
Then we use the Targeted Adjustment tool
| | 04:53 |
in order to click on the yellows in the
teeth here.
| | 04:55 |
Then we desaturate and maybe brighten
them up a little as well.
| | 04:59 |
After having done that, we went to the
Mask panel, we inverted the mask so that
| | 05:04 |
it was black.
And then last but not least, we use our
| | 05:06 |
Brush tool and painted with white in
order to paint in this Adjustment layer
| | 05:11 |
affect so that we could then whiten and
brighten those teeth.
| | 05:15 |
| | Collapse this transcript |
| Reducing wrinkles and shadows under the eyes| 00:00 |
And we're going to take a look at a
technique which will help us to improve
| | 00:03 |
the area around the eyes.
In particular, we'll look at how we can
| | 00:07 |
deal with those situations where we have
shadows underneath the eyes or where we
| | 00:11 |
have wrinkles.
Let's start off with this image here and
| | 00:14 |
then we'll move to another one.
Here I'm going to zoom in on this photograph.
| | 00:17 |
And when I zoom in on this picture, one
of the things that I notice is that there
| | 00:20 |
are these shadows here and I want to
reduce those shadows.
| | 00:24 |
To do that, we'll use the Clone Stamp
tool.
| | 00:26 |
You can access the Clone Stamp tool by
clicking on it in the Tools panel.
| | 00:30 |
And whenever you use the Clone Stamp
tool, it's always a good idea to have a
| | 00:34 |
line turned on and then to select Sample
All Layers.
| | 00:37 |
That way, you can create a new layer and
retouch to a new layer.
| | 00:41 |
Let's do that.
Here, we'll click on the new layer icon.
| | 00:44 |
And we'll go ahead and name this new
layer Clone Stamp.
| | 00:47 |
Next, we want to position our cursor over
the image.
| | 00:50 |
And we want to choose an appropriate
brush size.
| | 00:53 |
You want a brush size which is a little
bit smaller than the area that you're
| | 00:56 |
working on here, so that it doesn't
interfere with the eyes or other parts of
| | 01:00 |
the photograph.
So here, I'll press the Left Bracket key
| | 01:03 |
to make my brush a little bit smaller.
The Right Bracket key will make it
| | 01:06 |
bigger, Left Bracket key makes it
smaller.
| | 01:09 |
I should also highlight that in the
Options bar you can select your Brush Size.
| | 01:13 |
You also want to work with a brush
without any hardness.
| | 01:16 |
Alright?
Well here's how this works.
| | 01:18 |
What you'll do is hold down the Option
key on a Mac, Alt on Windows, and then
| | 01:22 |
you want to click on this area of the
cheek, which typically is a bit brighter.
| | 01:27 |
Then just start to paint over this
portion of the image.
| | 01:30 |
In doing that, what you'll notice, is
that this will take away the shadow.
| | 01:33 |
You also will notice that this looks a
little bit over the top.
| | 01:37 |
Don't worry.
We'll fix that in a moment.
| | 01:40 |
Next, we'll do the same thing over here.
Again, Option+click on a mac, Alt+click
| | 01:44 |
on Windows, to sample on a good area of
skin.
| | 01:47 |
An then, paint over that shadow area.
If you need to Option or Alt+click a
| | 01:51 |
second time in order to select a better
source area, well just do so, in order to
| | 01:56 |
paint over that part of the image.
Now again, right now, this effect looks a
| | 02:00 |
little bit strange and also a bit
overdone.
| | 02:04 |
We click on the eye icon.
Here's before and then here's the after.
| | 02:07 |
Well, it's okay that it's overdone
because what we're going to do is drop
| | 02:11 |
our Opacity way down.
Here, let's start off by clicking on the
| | 02:15 |
Opacity slider and let's take it down to
0.
| | 02:18 |
This is without any of our Clone Stamp
work.
| | 02:20 |
Then, as we drag this on, you can see how
we can subtly soften those shadows, so
| | 02:26 |
that we still have a bit of the shape
there.
| | 02:28 |
So, we still have those character lines,
which are important in portraits.
| | 02:32 |
Now, when I click on the Eye icon, you
can see here's the before and then here's after.
| | 02:36 |
If we zoom in even closer, you can see
here it is, the before and then, now, the after.
| | 02:42 |
And you know, we can use this same
technique if we have a situation like this.
| | 02:47 |
In this case, I was capturing this image
outdoors in open shade.
| | 02:50 |
There's a little bit of an overcast
light.
| | 02:53 |
Many times with that type of light we get
these trapped shadows underneath the eyes.
| | 02:57 |
It's also helpful when we have situations
where we have wrinkles.
| | 03:01 |
So here, let's jump to another
photograph.
| | 03:04 |
This time we'll be working with a
photograph of my mom.
| | 03:07 |
This is a picture that I captured of her
when she and my dad were celebrating a
| | 03:11 |
wedding anniversary, and we were going
out to dinner.
| | 03:13 |
And before we went out to dinner as a
family, I captured this portrait.
| | 03:17 |
If we zoom in on this picture, one of the
things that we can see is that we can
| | 03:21 |
work on these wrinkles here, with the
same technique.
| | 03:24 |
So let's click on the New Layer icon.
We can do that in the Layers Panel,
| | 03:29 |
rename this top layer, Clone Stamp.
You know the drill by now.
| | 03:34 |
Here, we'll select our Clone Stamp tool.
Make sure Aligned is turned on, and
| | 03:38 |
Sample All Layers.
And this time, rather than cloning that
| | 03:42 |
100%, what I want to do is reduce the
Opacity of this layer from the get-go.
| | 03:47 |
So here, I'll take it down to 50%.
In this way, I can see a little bit more
| | 03:52 |
of an accurate perspective of how this
might appear.
| | 03:55 |
Then, I'll press my Left Bracket key to
make the brush smaller.
| | 03:58 |
Option or Alt+click in a good area, and
just start to paint over the wrinkles.
| | 04:03 |
In doing that, you can see how we can
start to reduce those wrinkles.
| | 04:07 |
If you work on one area of the
photograph, you want to make sure to work
| | 04:10 |
on another.
Again, it's that Option+click on a Mac,
| | 04:13 |
Alt+click on Windows, which allows you to
sample a portion of the photograph.
| | 04:17 |
Next, we could work on other wrinkles or
other areas as well.
| | 04:20 |
So here, we can just go through and
Option or Alt+click on good source areas,
| | 04:25 |
and then paint over those darker areas
where we have wrinkles in order to reduce
| | 04:30 |
or remove wrinkles.
Now, here when we click on this icon, you
| | 04:33 |
can see, there's the before and then now
here's the after.
| | 04:36 |
In this case we have a nice natural look,
and we've reduced those wrinkles without
| | 04:41 |
removing all of their character.
So in this way you can start to see how
| | 04:45 |
you can use the Clone Stamp tool in order
to make improvements like this to your photographs.
| | 04:49 |
| | Collapse this transcript |
| Changing shape with Liquify| 00:00 |
Here, I want to introduce you to another
helpful retouching tool, and this one is
| | 00:04 |
a filter.
It's a filter which is called Liquify.
| | 00:08 |
Liquify allows up to change, modify, and
sculpt the shape in our photographs, and
| | 00:13 |
we can use this filter in order to make
dramatic or subtle adjustments to the
| | 00:17 |
overall shape of the image.
Well, lets take a look at how we can use
| | 00:21 |
this filter, and we'll do that by working
on two different images.
| | 00:24 |
We'll start off with this one here.
Whenever you're working with Liquify, I
| | 00:28 |
recommend that you copy your background
layer.
| | 00:31 |
I have already done that.
So go ahead and click into the Copy
| | 00:33 |
layer, which I've renamed retouching.
Next, navigate to the Filter > Liquify'.
| | 00:41 |
When you click on this menu item, it will
launch the Liquify dialog.
| | 00:45 |
And by default, will have selected what's
called the Forward Warp tool.
| | 00:49 |
Here, I'll zoom in on the image a bit
more by pressing Command+Plus, so that we
| | 00:54 |
have 100% view of this picture.
Now with this tool, we can modify some of
| | 00:59 |
the settings on the right hand side.
Here we can change our Brush Size and
| | 01:04 |
also the Brush Pressure.
Now, if we use a large brush and a really
| | 01:07 |
high brush pressure, we can make really
dramatic movements to the photograph.
| | 01:12 |
You can see how I can change the shape in
the picture in pretty significant ways.
| | 01:16 |
If we want to be more precise, we can
decrease this Brush Size, either by using
| | 01:21 |
the slider or, if you hover over the
image, you can press your Bracket key shortcuts.
| | 01:27 |
Remember those?
Right Bracket key makes it bigger, Left
| | 01:30 |
Bracket key makes it smaller.
Well, how then does brush Pressure Work?
| | 01:34 |
Well, with a high Brush Pressure, you'll
make movements in really dramatic ways.
| | 01:39 |
So here, typically, you want to have a
pretty low brush pressure.
| | 01:43 |
In this way, you can make movements that
are a little bit more subtle.
| | 01:47 |
Here, with this photograph, let's say
that the client has asked us to thin the
| | 01:50 |
subject out a little bit.
In this case, we'll go ahead and simply
| | 01:53 |
click and drag along the outer edge of
the photograph in order to change the
| | 01:57 |
shape to the image.
We can do so in multiple areas, and by
| | 02:00 |
doing that, we can change the overall
look of this photograph.
| | 02:04 |
Now, sometimes what you have to be really
careful of is that you can go too far.
| | 02:08 |
With this tool, and when you make changes
like this, if you go too far, the image
| | 02:13 |
will just look unnatural.
Here, I'll press the Right Bracket key in
| | 02:16 |
order to increase my Brush Size, and I'll
work on the left side of the image as well.
| | 02:20 |
In this case, I'm interested in just
making some subtle adjustments.
| | 02:24 |
The client has asked that we change a
little bit of the shape of this
| | 02:27 |
photograph, and in this case, the client
is the subject herself.
| | 02:31 |
Therefore, we're just cleaning this up a
bit.
| | 02:33 |
And now that we've made some of those
adjustments, let's see how they look.
| | 02:37 |
In order to apply them to the photograph,
simply click OK.
| | 02:40 |
When you do that it will then render and
apply those adjustments.
| | 02:44 |
Well, because we've applied these to a
separate layer, we can then click on the
| | 02:49 |
Eye icon.
Here is our before, and then here is our after.
| | 02:52 |
If I want to zoom in even closer, you can
see the before, and then now, the after.
| | 02:57 |
Alright?
Well, next, let's take a look at another scenario.
| | 02:59 |
In order to do that, I'll open up another
image in Photoshop.
| | 03:03 |
This is a portrait that I captured of an
author.
| | 03:06 |
And one of the things that I noticed
here, is that the way that I captured
| | 03:09 |
this image, it makes his jaw on the left
side, look a little bit big.
| | 03:14 |
So, in this case, the mistake was mine
because of the way that the image was captured.
| | 03:18 |
I want to correct that and move that in
using Liquify.
| | 03:22 |
To do that, let's duplicate the
Background layer.
| | 03:25 |
Drag that to the New Layer icon.
And then rename the top layer Retouch.
| | 03:31 |
Next, navigate to the Filter pull-down
menu and choose Liquify.
| | 03:35 |
This will launch our Liquify dialog.
Again, we need to zoom in.
| | 03:40 |
The shortcut to do that on a Mac is
Command+Plus, on Windows, that's Ctrl+Plus.
| | 03:45 |
Then, position the cursor over the area
that you're going to work on.
| | 03:48 |
In this case, this image is a higher
resolution file.
| | 03:52 |
Therefore, I need to increase my brush
size.
| | 03:54 |
Otherwise, it will create small divots in
the area that I'm working on.
| | 03:58 |
So, here I'll press the Right Bracket key
to create a bigger brush.
| | 04:02 |
I'll leave the Brush Pressure right where
it is at a nice low amount, and then,
| | 04:06 |
I'll just start to click and drag along
this edge of the photograph.
| | 04:09 |
As you do this, you want to make your way
down this line and then also move back up.
| | 04:14 |
You want to think about making changes
like this in subtle ways.
| | 04:17 |
If ever you're noticing something that's
too dramatic or that looks awkward, stop
| | 04:22 |
and then try again.
Alright?
| | 04:23 |
Well, here we have it, a little bit of
clean up work on that jaw line there.
| | 04:27 |
Decrease the brush size and work on the
ends just a bit.
| | 04:31 |
Now that we've done that, let's apply
these settings and evaluate how we've
| | 04:34 |
worked with this photograph.
So here, click OK in order to accept
| | 04:39 |
those adjustments.
And then we'll zoom in in Photoshop here
| | 04:43 |
a bit, and take a look at our before and
after.
| | 04:45 |
Click on the Eye icon.
There you can see the before.
| | 04:48 |
Click again.
Now here, you can see the after.
| | 04:51 |
| | Collapse this transcript |
|
|
19. Making Picture-Perfect PrintsGetting ready to print: Resize and sharpen| 00:00 |
One of the things that I love about
photography, is that it's a process.
| | 00:04 |
It's a process that involves planning
ahead.
| | 00:06 |
Capturing images, working on photographs
and then making the final print.
| | 00:11 |
You know I thoroughly enjoy creating
photographic prints.
| | 00:14 |
And I enjoy this kind of like the farmer,
who enjoys picking an apple off of a tree
| | 00:19 |
that he planted, and watered and watched
grow over the years.
| | 00:22 |
So here in this chapter, lets take a look
at how we can create professional and
| | 00:26 |
stunning photographic prints.
In this first movie, we're going to step
| | 00:30 |
back a bit.
And here I want to review a few topics.
| | 00:33 |
I want to talk about how we can prepare
our image before we send it to our printer.
| | 00:37 |
In particular we'll focus in on how we
can resize our photograph.
| | 00:42 |
And then apply what's called output
sharpening.
| | 00:45 |
Well, first, let's resize this image.
In order to resize this photograph, we'll
| | 00:49 |
navigate to the image size dialog in
order to evaluate what we have here.
| | 00:54 |
So here, I'll select image and then
choose image size.
| | 00:57 |
This will then open up the dialog, and
what I mean by evaluate what we have is I
| | 01:02 |
want to evaluate how large my file is.
Currently, it's about 40 megs.
| | 01:07 |
The dimensions are showing me pixels,
click on this pull down menu in order to
| | 01:11 |
see inches, because that's more helpful
when it comes to creating a print.
| | 01:15 |
Well I have a 40 meg file at 300 pixels
per inch, I could print this
| | 01:20 |
approximately as a 11 by 13 image.
Well that's great because that's telling
| | 01:25 |
me that I have a lot of information.
Because the size of the print that I
| | 01:28 |
want to create, well it's a 4 by 5 inch
image.
| | 01:31 |
So here what I'm going to do is rather
than change the image size here with the
| | 01:35 |
image size dialog.
I'm going to use a crop tool, and I'm
| | 01:39 |
going to use a crop tool because that
will allow me to change the overall
| | 01:43 |
aspect ratio.
So here I'll just click Cancel.
| | 01:46 |
Next we'll go to our Crop tool.
Click on the Crop tool in the tools
| | 01:49 |
panel, or press the C key.
Then in the Options bar, click on the
| | 01:54 |
pull-down menu.
Here we'll select four by five at 300
| | 01:58 |
pixels per inch.
Click on that option and you can see that
| | 02:02 |
it's going to show me the aspect ratio.
How I need to change this photograph in
| | 02:06 |
order to resize it to these dimension.
Let me zoom out a bit so that you can see
| | 02:10 |
this perhaps a bit better.
Currently, the grayed out area is the
| | 02:14 |
area which will be cropped out.
Next, I'll click and drag this down a bit
| | 02:18 |
more in order to change my composition a
touch as well.
| | 02:21 |
So again, by using this preset it's
allowing me to resize my image to
| | 02:26 |
specific dimensions at a certain
resolution, 300 pixels per inch.
| | 02:31 |
Okay, great, in order to apply the crop
press enter or return on your keyboard.
| | 02:36 |
Next what we'll want to do is sharpen the
image.
| | 02:39 |
And you'll want to sharpen the image just
before you send it to the printer.
| | 02:42 |
Because you want to sharpen it, once you
change the file size In other words, you
| | 02:47 |
want to sharpen it so that you make sure
that it looks good at this size.
| | 02:51 |
All right, well in order to sharpen the
file, let's duplicate our background there.
| | 02:55 |
Here, we'll click and drag this to the
new layer icon and we'll rename the top
| | 02:59 |
layer, sharpened.
I'll also rename the background layer,
| | 03:02 |
which was renamed when we cropped the
image.
| | 03:05 |
Here I'll just call this BG4background.
We'll click into the top layer, the layer
| | 03:09 |
which we want to apply the sharpening to.
And navigate to the filter pull-down
| | 03:14 |
menu, select sharpen and then smart
sharpen.
| | 03:18 |
This will launch our smart sharpen
dialog.
| | 03:21 |
Now, if your smart sharpen dialog appears
smaller than this, just click and drag on
| | 03:25 |
one of these corners in order to expand
this so that you have a larger preview.
| | 03:29 |
Next pan around the image so that you can
view the important content.
| | 03:33 |
So that you can evaluate how you're going
to sharpen the image.
| | 03:36 |
You want to make sure you're viewing the
image at 100% as well.
| | 03:40 |
Let's dial in our sharpening settings.
It almost always works best to work with
| | 03:45 |
removing lens blur.
Next, we need to dial in the amount, the
| | 03:49 |
radius, and the noise reduction level.
Well, for starters let's begin with our radius.
| | 03:55 |
And one of the things that you want to
keep in mind is that the lower the
| | 03:58 |
resolution of the file, the lower the
radius.
| | 04:01 |
So, if you're sharpening an image for the
web, you're going to use a radius of 0.1
| | 04:06 |
or 0.2 or 0.3.
And if you have a larger file well you're
| | 04:10 |
going to bring that up Now how far you
actually bring this up?
| | 04:13 |
Well it will be different on an image to
image basis.
| | 04:16 |
It's just a good reference to know that
the lower the resolution, the lower the radius.
| | 04:20 |
Next we can control the amount.
So here I'll drag my amount slider to the
| | 04:25 |
left, because that amount was definitely
too high.
| | 04:28 |
To look at your before and after, click
and hold.
| | 04:31 |
There's before let go and there's after
as you are thinking about sharpening your
| | 04:36 |
image, you want to keep in mind your
output.
| | 04:39 |
In other words if you're going to print
your image on a watercolor or velvet
| | 04:42 |
paper, well you may want to increase the
sharpening amount a little bit more,
| | 04:46 |
because that paper.
It will create a bit more of a soft
| | 04:49 |
appearance in your image.
Or if you're going to use a really high
| | 04:52 |
sheen glossy image, well, in that case
you could then get away with reducing
| | 04:56 |
your sharpening amount perhaps even
further.
| | 04:59 |
So again we're really thinking about
output here.
| | 05:02 |
How do we want to print this image?
I'm going to use a matte paper in order
| | 05:06 |
to print this photograph.
So in this case, I'm going to have a
| | 05:08 |
medium level of sharpening.
That matte paper will absorb the ink,
| | 05:12 |
therefore, I'll loose a little bit of
detial.
| | 05:15 |
So here I have a relatively what I would
call medium amount of shrpening.
| | 05:19 |
It's not overdone.
It's not too sharp.
| | 05:21 |
In this case, it loks just right.
Next, we want to dial in the noise
| | 05:25 |
reduction slider.
Here, you just want to swing this to the
| | 05:28 |
left and also to the right.
Pay attention to the small details in the
| | 05:32 |
photograph, and the shadows, and other
areas of your image, and make sure that
| | 05:35 |
all of those look good.
I'm just going to take my amount down
| | 05:39 |
just a bit more, click on the image and
hold, that's before.
| | 05:44 |
Let go, and then that's after.
Next step is to click Okay in order to
| | 05:49 |
apply the sharpening effect to the
photograph.
| | 05:51 |
Alright, well now that we have resized
the image and sharpened it, with our
| | 05:56 |
output in mind, the next step we need to
take is to send this image to the printer.
| | 06:01 |
Using the Photoshop Print Dialogue.
Well, let's take a look at how we can do
| | 06:04 |
that in the next movie.
So, go ahead and leave this image open,
| | 06:08 |
as we'll continue to work on it in the
next movie.
| | 06:10 |
| | Collapse this transcript |
| Selecting your printer and paper size| 00:00 |
After you have finished editing your
photograph, and then re-sizing and
| | 00:04 |
sharpening it, it's now time to go to the
Photoshop print dialogue.
| | 00:08 |
You can access the Photoshop print
dialogue by navigating to the File,
| | 00:12 |
pull-down menu, and then by selecting
Print.
| | 00:15 |
Go ahead and click on that menu item, and
that will launch the Print dialogue.
| | 00:20 |
In this first movie we're going to talk
about the Print dialogue, and also, how
| | 00:23 |
we can define our printer, and paper
size.
| | 00:26 |
Yet first, before we do anything here,
what I like to do is to change the size
| | 00:31 |
of this dialogue.
If you position your cursor over one of
| | 00:34 |
these corners, you can then click and
drag this out so that this covers up more
| | 00:38 |
of the screen.
In this way, you can really focus in on
| | 00:41 |
the task at hand and that is the task of
creating a stunning print.
| | 00:45 |
Well for starters, on the left hand side
we have our document size.
| | 00:49 |
This is the paper size that we'll be
using.
| | 00:51 |
And also preview of the image.
On the right hand side, we have some
| | 00:55 |
Printer Setup controls and then we have
different panels.
| | 00:58 |
You can open and close these panels by
clicking on these icons here in order to
| | 01:03 |
access different and important controls.
We'll be talking about those later.
| | 01:07 |
For now, we're going to focus in on
Printer Setup.
| | 01:10 |
One of the first things that you want to
do, is define the printer.
| | 01:14 |
Here I'll select the printer that I'm
using, the Epson Stylus 3880, make that selection.
| | 01:20 |
Next what you want to do is define the
paper size.
| | 01:23 |
Currently I'm printing to a paper size of
8 1/2 by 14.
| | 01:27 |
That would be quite a bit of waste to
print a small image on that big of a
| | 01:32 |
piece of paper.
So here we'll click on the Print Settings button.
| | 01:36 |
This will then open up our Print dialog.
Here we can select the paper size by
| | 01:40 |
clicking on this Pull-down menu.
I'll choose a smaller size, US letter,
| | 01:45 |
which allows me to print to an 8 1/2 by
11 sheet of paper.
| | 01:50 |
We'll talk a little bit more about this
dialogue in a subsequent movie.
| | 01:53 |
For now, though, I simply want to define
that paper size.
| | 01:57 |
To apply that change, click Save, and
you'll see an updated preview in the left
| | 02:02 |
hand side.
Next, you want to select the orientation.
| | 02:06 |
With certain images it will be helpful to
print the image, in a vertical
| | 02:09 |
orientation like we have here.
Or you can change that to horizontal, by
| | 02:14 |
clicking on this icon here.
So simply click on the icon which will
| | 02:17 |
work best for the type of print, that
you're going to make.
| | 02:21 |
Alright, well now that we've defined the
printer an also the page size, we have a
| | 02:24 |
few more settings that we need to dig
into.
| | 02:26 |
So leave this open because we'll continue
to talk about those settings, in the next movie.
| | 02:31 |
| | Collapse this transcript |
| Choosing color management and printer settings| 00:00 |
After you have selected your printer and
your paper size, the next thing you want
| | 00:04 |
to do, is take a look at a few options
that we have in regards to color management.
| | 00:09 |
Click to expand these options here.
The first thing you'll want to do, is
| | 00:13 |
dial in a setting for Color Handling.
This is a really important option.
| | 00:17 |
Click on this pull down menu, and here
choose Photoshop Manages Color.
| | 00:22 |
The reason why this is important, is
because color management will help us to
| | 00:26 |
ensure color accuracy, between what we're
seeing on our monitor, and what we're
| | 00:31 |
getting when we create that final print.
Next we need to define the Printer Profile.
| | 00:36 |
This is where we select our printer and
paper type.
| | 00:39 |
Click on the pull down menu here, and
navigate through this dialogue to find
| | 00:43 |
your printer and also the paper type.
Here I'm going to be printing to an Epson
| | 00:48 |
Stylus 3880 using enhance map paper.
And make the selection which is
| | 00:53 |
appropriate for your workflow, again find
your printer and paper type here.
| | 00:57 |
Then we have a few more options.
You'll notice there is a Rendering Intent.
| | 01:02 |
If you hover over the rendering intent
that you have, you'll see a description
| | 01:05 |
appear below.
At first glance, this description will be
| | 01:08 |
a bit confusing, yet here's the key.
The two most commonly used rendering
| | 01:13 |
intents, are Relative Colormetrics or
Perceptual.
| | 01:16 |
What you'll want to do, is start off by
trying Relative Colormetric, if that
| | 01:20 |
doesn't work try Perceptual.
What a rendering intent does, is it h |
|
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