IntroductionWelcome| 00:00 |
(music playing)
| | 00:04 |
If you are ready to take your Photoshop
| | 00:05 |
skills to the next level, well, you've
come to the right place.
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My name is Chris Orwig.
And welcome to this course, which is part
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of our series, Photoshop for
Photographers, where we focus in on those
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features in Photoshop which are most
helpful to us in order to improve our
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photographs.
In this course, we'll cover a wide range
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of topics.
Let me highlight a few.
| | 00:25 |
We'll talk about how we can effectively
use layers, and how we can use layers in
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order to organize and group our photographs.
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And also how we can create what's called a
layer clipping mask, and how we can target
| | 00:36 |
and move layers as well.
We'll explore how we can build advanced
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selection, using tools like the Quick
Select tool, and how we can improve the
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edges of our selections as well.
Next, we'll look at how we can make
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selective adjustments using masks, and how
we can paint in adjustments into certain
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areas of our photographs.
We'll explore how we can work with
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blending modes, in order to create special
effects or to change the overall look in a
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photograph.
We'll take some time to talk about color.
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Here we'll look at how we can replace or
change color.
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And we'll explore how we can apply a
creative look to our photographs using
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different tools and filters.
We'll examine how we can remove or correct
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distortion and perspective.
And we'll look at how we can combine
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multiple photographs together in order to
create a panoramic image.
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And we'll even talk about the topic of
working with our video files in Photoshop.
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Well, we will cover all of these topics
and more.
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So, thanks for joining me in this course,
let's begin.
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| Using the exercise files| 00:00 |
If you're a premium member to the
Lynda.com online training library, you
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have access to the exercise files.
Once you've downloaded the Exercise Files
| | 00:08 |
folder, you can go ahead and double-click
it in order to open it up.
| | 00:12 |
Here, you'll discover that our Exercise
Files are organized in the different
| | 00:15 |
folders based on the different chapters
that we have in this course.
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In order to view and access those files
that we have for that chapter.
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Simply click to expand the folder, and
here you can see all of the images that
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we'll be working on in that chapter.
It also may be a good idea to view and
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access these files using Adobe Bridge.
As that will make it easier for you to
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select the file in order to start working
on it in Photoshop.
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Now if you don't have access to the
Exercise Files, no big deal.
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You can always work on your own files or
of course you can simply follow along.
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All right, without further delay, let's
begin.
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|
|
1. Filtering and Finding Your Photos with BridgeOptimizing your workflow with shortcuts| 00:00 |
In the first three chapters of this
course, we'll look at how we can gain more
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advance skills when working with Adobe Bridge.
| | 00:06 |
And we'll do that because the better that
we can get when working with Bridge, well
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the better off we'll be as we start to
work in Photoshop.
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You know Photoshop and Bridge are really
connected in a really important way let me
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illustrate this by way of a fun comparison.
| | 00:21 |
I recently had a friend who was taking a
cooking class in order to become a chef.
| | 00:25 |
And he was really excited to go to the
restaurant for the first class and to
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prepare a delicious meal.
Yet in the first class, they didn't do any
| | 00:33 |
cooking at all.
Rather the first class was all about
| | 00:36 |
becoming familiar with the kitchen.
Here they talked about where they could
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find important kitchen tools.
They discussed how they could work with
| | 00:43 |
and find the pots and pans, the knives,
the spices.
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And in a sense, Adobe Bridge is our quote,
kitchen, it's our work space.
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And the better that we can get with
working with this work space, well the
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better off we'll be when we get to Photoshop.
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All right, well here in this movie, I
simply want to introduce you to one topic
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that we'll be talking about in Adobe Bridge.
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And that is a topic of how we can filter,
find, and access our images more quickly.
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In particular, I want to talk about how we
can add stars or labels to our
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photographs.
And in this first movie I just want to
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walk through a few slides in order to
highlight some shortcuts that we'll be
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actually using in the next movie.
Alright, well here you can see I have a
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photograph.
This is a photograph of my nephew Stuart.
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And next in the photograph, you have a
sticky note and some stars.
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Well why are those items there?
Well in Adobe Bridge you can add star
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ratings to your photographs in order to
signify the quality.
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perhaps you give an image a 1 star rating
if it isn't very good.
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In contrast you can give a photograph a 5
star rating in order to signify that that
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image is amazing.
And we can use star ratings in order to
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try to separate the wheat from the chaff
or those photographs which are great from
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others, which aren't so great.
We can also use labels.
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I like to think of labels, kind of like a
sticky note.
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Imagine putting a sticky note on an image
and then writing on the sticky note, send
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to client or include in portfolio.
And in a sense, labels give us another way
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to sort of earmark, or set apart certain photographs.
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Now we all know about stars and labels,
but what I want to do here is dig a little
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bit deeper into how we can work with stars
and labels.
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In particular, I want to talk about some
shortcuts that we can use.
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If we want to add stars what we can do is
we can press Cmd on a Mac or Ctrl on
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Windows.
And then we can press the number keys
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between 0 and 5.
Zero will remove the star rating, 1 to 5
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will add that particular star rating.
And in this way we can use the short cut
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in order quickly evaluate your photographs.
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We can also do the same thing with labels.
Press Cmd on a Mac, Ctrl on Windows and
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then 6 through 9.
Here we can add or remove labels to our
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photographs as well.
And one of the reasons why I wanted to
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pause before we actually begin and show
you the shortcut, is so that you write it
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down.
Because this is one of the short cuts you
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just have to know if you want to get good
at working with Adobe Bridge, the other
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reason is because if you can learn this
short cut then you can learn another one
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which isn't very different from this which
will help you to filter and find your
| | 03:17 |
images with more ease and here it is If we
want to filter or find our photographs
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based on their star or label rating, what
you can do is, press Command+Option on a
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Mac or Ctrl+Alt on Windows, and then click
on the criteria which you want to filter.
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In other words, let's say you have a
folder full of a hundred photographs, and
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you have six images which have a 3 star rating.
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Well, if you press Cmd+Option+3 on a Mac,
or Ctrl+Alt+3 on Windows, it would then
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only show you those images with that criteria.
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And you can do this with stars or labels.
Again here I recommend that you write down
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these shortcuts.
Because these shorcuts are a few which are
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really helpful when it comes to speeding
up your workflow when working with Bridge.
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All right, well now that we've been
introduced to the concept of using these
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shortcuts, let's take a look at how all of
this works.
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And let's do that in the next movie.
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| Rating, filtering, and finding the keepers more quickly| 00:00 |
All right.
Let's get to work putting into practice
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the shortcuts we learned in the previous movie.
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Here we can see in Adobe Bridge I've
selected the folder Family.
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Inside of this folder, I have some
pictures that I captured of my sister and
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her family.
And in this folder we have some
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photographs which are good, some
photographs which aren't any good at all.
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And this is typical in most photographic
work flows.
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And what we need to do is we need to learn
how we can quickly separate the wheat from
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the chaff or the keepers from those
photographs which aren't very good.
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One easy way to do that is to add star or
label ratings to our pictures.
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So, here with this photograph I don't
think its very good so I'll press Cmd+1 on
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the Mac or Ctrl+1 on Windows in order to
add a one-star rating.
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Then press your arrow key.
The right arrow key to move forward.
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Left arrow key to move backwards, until
you find another photograph.
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I like this image a little bit better, so
here I'll press Cmd+3 on a Mac, or Ctrl+3
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on Windows.
Then I'll just press my right arrow key
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and keep going through the photographs.
And as you start to review your images,
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you really have to have that eye, you have
to evaluate your pictures and try to look
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for something which is interesting to you.
I like this here, so I'll press Cmd+3 on a
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Mac, Ctrl+3 on Windows, same thing with
this photograph.
| | 01:15 |
And with this one I'll press Cmd or
Ctrl+2, it isn't very good.
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Now you can also jump around in your
photographs as well.
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Press the up arrow key in order to move up.
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Or press the down arrow key in order to
move down.
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This brings me to a fun photograph.
My sister and brother in-law, they have a
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great sense of humor.
I know that they'll like these
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photographs.
So, here I'm going to use my arrow keys to
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move forward through them.
And I'll also move back just to evaluate
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the difference between these photographs.
When you find an image which is good like
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this one here, I know that they'll love
this, I'll add a rating.
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Press Cmd on Mac, Ctrl on Windows and then
four in order to add that four star
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rating.
Now, if ever you want to remove the star
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rating, just press Cmd on Mac, Ctrl on
Windows and then zero.
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And that will remove the stars altogether.
To change the star rating, press Cmd or
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Ctrl, and then type a number on the keyboard.
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Alright, well what about those situations
where you might want to add a quote sticky
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note, or a label to your photographs?
You can do that by pressing Cmd on Mac,
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Ctrl on Windows, and then six through nine.
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Here, if I press Cmd or Ctrl+6, you can
see I add a red label.
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To remove that label, press the same
shortcut key, Cmd or Ctrl+6 again.
| | 02:29 |
And here you can see that you can use that
shortcut key to add or remove that label.
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Well, let's leave that on there.
And then I want to navigate to a few other
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photographs.
Here I have an image which I gave 4 stars
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to.
I'll press Cmd or Ctrl+6 on that one.
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And also on this one here.
And I've added this red label just because
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I know that my sister will love these
photographs and I want to email them to
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her.
Or you might add a label so that you can
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send those images to your client, or send
them to the printer.
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Or whatever it is.
All right.
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Well, so far we have some different
criteria, right?
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We have some stars.
We have some labels.
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Well, after you've gone through all of
your photographs the next step of course
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is to filter and find the images which are
really good.
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Now we can do this a few different ways
yet here what I want to do is highlight
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the sort shortcut, which I mentioned in
the previous movie.
| | 03:20 |
So, if we press Cmd or Ctrl+4 to add a
star rating, all that we need to do is to
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press Cmd+Option+4 on a Mac, Ctrl+Alt+4 on Windows.
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And that will then allow us to filter or
view all of our images which have a 4 star
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rating or higher.
Now, here you can see I have this small
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set of photographs and, in a sense, this
is kind of nice because I can see the
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photographs, which I like best out of the set.
| | 03:45 |
Now, if ever you want to go back because
you're not quite certain about this view
| | 03:49 |
and you want to turn off this filtering
option, we'll just push the shortcut key
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again.
On a Mac press Cmd+Option+4, on Windows,
| | 03:57 |
that's Ctrl+Alt+4.
We can also do this with our labels as
| | 04:01 |
well.
If we just want to see the images which
| | 04:04 |
have a certain label rating, we'll press
Cmd+Option+6 for the red label, because
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that's all I have here.
That's Ctrl+Alt+6 on Windows, and that
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will then show us the images with that
label rating.
| | 04:16 |
Now, you can also do the same thing by
working with your filter panel.
| | 04:20 |
Here we can click on these check boxes in
order to view boxes based on certain
| | 04:24 |
criteria as you can see, showing up here
in the Content panel.
| | 04:28 |
And while this is handy, what I recommend
you do is you learn those shortcuts
| | 04:32 |
because those can really help to speed up
your overall workflow.
| | 04:37 |
Now, what do you do if you forget the shortcuts.
| | 04:40 |
Well, you can always look them up by
navigating to the label Pull down menu.
| | 04:43 |
Here first let me select an image and then
go to the label Pull down menu, so that
| | 04:46 |
the menu isn't grayed out.
Notice that it's showing me the shortcut
| | 04:51 |
in order to add the star rating and also
the shortcut in order to add the labels.
| | 04:56 |
Well, after I've reviewed those, I also
want to refine that shortcut for
| | 05:00 |
filtering.
We can find that by clicking on this star
| | 05:03 |
Pull down menu.
Here it will list that shortcut which we
| | 05:06 |
used.
Which allowed us to filter our images
| | 05:09 |
based on certain criteria.
On a Mac, that was Option+Cmd 1, 2, 3, 4,
| | 05:14 |
5.
On Windows, that'll be Ctrl+Alt, and then
| | 05:17 |
the respective number.
So, in this way, you can always access
| | 05:21 |
that information if ever you forget the shortcuts.
| | 05:24 |
Yet, what I recommend you do, is in order
to get good with Adobe Bridge.
| | 05:28 |
Is it you write those shortcuts down and
you start to use them, because what I've
| | 05:32 |
found in my own workflow, is that this is
one of those steps where it really helps
| | 05:35 |
to be able to work more quickly.
Because I capture a ton of photographs and
| | 05:41 |
allot of those photographs aren't any good
at all.
| | 05:45 |
And I need every technique that I can use
in order to be able to find those
| | 05:48 |
photographs which are the best.
| | 05:50 |
| | Collapse this transcript |
| Using Full Screen mode to select the keepers| 00:00 |
Let's continue our conversation about how
we can use Adobe Bridge in order to rate,
| | 00:04 |
rank, filter and find our best photographs.
| | 00:09 |
Yeah, one of the great things about bridge
is that it's a tool which is really
| | 00:12 |
functional, it allows you to do quite a bit.
| | 00:15 |
Yeah, one of the downsides is that
sometimes the work space can feel a bit
| | 00:19 |
cluttered or over warming.
There is so much to look at here, and
| | 00:23 |
sometimes what you just want to do is
really focus in on the photograph.
| | 00:27 |
Like with this image here in the Preview
panel on the right, it's a really small
| | 00:30 |
preview, so, it's hard to evaluate this image.
| | 00:34 |
It's hard to know, should I give this a
three star or a four star rating?
| | 00:38 |
Well, in situations like that, what I like
to do is to press the Spacebar key.
| | 00:43 |
When you press the Spacebar key, it will
open up the image in Fullscreen mode.
| | 00:47 |
Well, now that I see this photograph and I
see all their final expressions, I want to
| | 00:50 |
change my star rating.
You can change the star rating, or the
| | 00:54 |
lables in full screen mode by simply
tapping on a number on your keyboard.
| | 00:59 |
There's no need to press Cmd or Ctrl, you
just press the number.
| | 01:03 |
Here I'll press the number four, and you
can see that this image now has a four
| | 01:06 |
star rating.
In order to add a label, I'll press the
| | 01:09 |
six key that will then add that label.
To remove the label, just press the six
| | 01:14 |
key again.
In this way, we can quickly add, change or
| | 01:18 |
modify the star or the label rating.
Next, you can also just press your arrow
| | 01:22 |
keys and make your way through the photographs.
| | 01:25 |
When I get to this one, I don't like it as
much so, I'll press the three key in order
| | 01:28 |
to lower its star rating.
Next, I'll press my right arrow key, and
| | 01:33 |
just make my way through these photographs.
| | 01:35 |
In doing this, I can evaluate the
pictures, I can also see their rating over
| | 01:38 |
there in the lower left-hand corner.
When you're ready to exit this view, just
| | 01:43 |
tap the Spacebar key and it will bring you
back to Bridge.
| | 01:47 |
And sometimes what you might find helpful
to do is to work here in Bridge, and to
| | 01:50 |
use your arrow keys to scroll through a photograph.
| | 01:54 |
And then to open up an image before you
add that rating.
| | 01:58 |
Like with this photograph here.
I can press the Spacebar key in order to
| | 02:01 |
open it up in full screen.
And then if you click on it, you can zoom
| | 02:05 |
in to 100%.
Here I wanted to zoom in to make sure that
| | 02:08 |
this image was sharp.
It is sharp, but the expression isn't
| | 02:12 |
great, so, I'll give this one a three star rating.
| | 02:16 |
And it really took this closeup view to be
able to give it that rating, and be able
| | 02:19 |
to give it a rating which was appropriate
or which reflected how I felt.
| | 02:24 |
When you're ready to exit out of full
screen, again, just tap the Spacebar key,
| | 02:27 |
and that will bring you back to the
regular view of your photographs in
| | 02:30 |
Bridge.
| | 02:32 |
| | Collapse this transcript |
| Minimizing the interface to better evaluate the images| 00:00 |
In order to be able to work effectively
with Adobe Bridge, in order to find your
| | 00:04 |
keepers, I find it's helpful to be able to
customize the interface so that you can
| | 00:07 |
minimize certain elements which you might
find distracting.
| | 00:13 |
Well, here I want to share with you a few
tips and tricks that you can use in order
| | 00:16 |
to do that.
A few of these will be review while others
| | 00:19 |
might be new.
For starters, you can see that we have a
| | 00:22 |
certain work space.
This is the essentials workspace.
| | 00:25 |
Know that we can navigate to the window
Pull-down menu and choose Workspace, and
| | 00:29 |
then select different workspaces here.
You'll also find the shortcuts for the
| | 00:33 |
workspaces.
Yet what I'll assume is that, typically
| | 00:36 |
what we do is we choose a workspace and we
start to work in it.
| | 00:40 |
And then what we'll want to do is be able
to customize that further.
| | 00:44 |
One of the ways that we can customize a
workspace is by double-clicking the tab.
| | 00:48 |
If you double-click a tab, it will open or
close that panel.
| | 00:52 |
In this case, the panel group for metadata
and keywords.
| | 00:56 |
We can also do this on the dividing line.
If I double-click the dividing line on the
| | 01:00 |
left, it will hide the panels, which are
over there on the left.
| | 01:03 |
Double-click again, and you can bring that back.
| | 01:07 |
If you want to get rid of all of your
panels on the left and the right, you can
| | 01:10 |
use a handy shortcut.
It's the Tab key.
| | 01:14 |
When you press the Tab key, it sort of
cleans the deck so that you can really
| | 01:17 |
focus in on the Content panel.
Well, here in the Content panel, we have
| | 01:21 |
our thumbnails.
Currently, the thumbnails are really,
| | 01:24 |
really small.
Well, we can change their size by using
| | 01:27 |
the slider located at the bottom of the interface.
| | 01:30 |
Or we can also do the same thing by way of
a short cut.
| | 01:33 |
Press Cmd+Plus on a Mac, Ctrl+Plus on
windows to make the thumbnails bigger.
| | 01:38 |
Press Cmd+Minus or Ctrl+Minus on Windows
in order to make those thumbnails smaller.
| | 01:44 |
And in this way, we can just change the
size more quickly.
| | 01:47 |
Alright, we'll press the tab key to bring
back the rest of the interface.
| | 01:51 |
You know, one of the great things about
the Content panel is it allows you to get
| | 01:54 |
an overview of your photographs.
Here I can see all of the images, and
| | 01:58 |
remember how I capture these photographs.
Yet, what I find distracting is having the
| | 02:03 |
file name and the label and the star,
especially when I have smaller thumbnails.
| | 02:08 |
So, I like to get rid of that, and here's
how you can do it.
| | 02:11 |
Press Cmd+T on a Mac, or Ctrl+T on Windows.
| | 02:15 |
Think of T as thumbnails, and this is the
way to just view the thumbnails.
| | 02:20 |
Here, this environment is a bit more photographic.
| | 02:23 |
So, I can really focus in on the images
rather than all of that other information.
| | 02:27 |
Now, if you're worried about where you're
going to see the star or the label
| | 02:30 |
ratings, you don't need to worry.
Because that information can always be
| | 02:34 |
viewed or accessed over here in the
Preview panel.
| | 02:37 |
There we can see the label and the star rating.
| | 02:39 |
And we can always change those values by
the shortcuts which we've learned in the
| | 02:42 |
previous movies.
Here as I press the right arrow key, I can
| | 02:46 |
scroll through my images whenever I come
upon an image with the label or star
| | 02:49 |
rating it will show that there.
And if ever you want to bring back the
| | 02:54 |
rest of the information that you have here
on the Content panel, we'll just press
| | 02:59 |
Cmd+T on a Mac or Ctrl+T on Windows in
order to bring back the information which
| | 03:02 |
surrounds those thumbnails.
| | 03:06 |
| | Collapse this transcript |
| Finding recently viewed folders and images| 00:00 |
One of the topics that we're focusing in
on in this chapter is how we can filter
| | 00:03 |
and find certain photographs.
And sometimes we need to find pictures
| | 00:08 |
which we've added criteria to, like Stars
or Labels.
| | 00:12 |
In other situations, we just might want to
find certain folders or files which we've
| | 00:16 |
worked on recently, in order to reaccess
those folders or files.
| | 00:21 |
Well let's quickly take a look at how we
can do that.
| | 00:24 |
Here in Adobe Bridge, you can see that
I've navigated to this folder Family.
| | 00:28 |
Well we can also navigate to other folders
by clicking on the folder name.
| | 00:31 |
Now, if ever you want to go back to one of
the folders which you've navigated to
| | 00:35 |
previously.
And which perhaps is in a different
| | 00:38 |
location.
So you don't want to scroll all the way
| | 00:40 |
down to it.
You can click on this icon here, this icon
| | 00:43 |
will show you the different folders which
you've navigated to recently.
| | 00:47 |
In this case, I want to go back to family.
So I'll go ahead and click on that, and it
| | 00:51 |
will take me to that folder.
We can also get a little bit more
| | 00:55 |
specific.
Here our focus in working with Bridge in
| | 00:58 |
Photoshop.
And if we click on this icon we can go to
| | 01:01 |
the menu for Photoshop and it will show us
the images which we have recently opened
| | 01:05 |
up in Photoshop.
And this way we can then select that file
| | 01:09 |
and continue to work on it.
You can access these recent Adobe
| | 01:13 |
Photoshop files another way as well.
On the right-hand side of the Bridge
| | 01:17 |
interface, if you click on this folder icon.
| | 01:20 |
Here you can see the files which have
recently been opened inside of Photoshop.
| | 01:24 |
And then when you find the file or the
file name of the image you want to work
| | 01:27 |
on.
Simply click on that and that will then
| | 01:30 |
relaunch that photograph or reopen that
photograph inside of Photoshop.
| | 01:35 |
| | Collapse this transcript |
| Viewing subfolders and searching for specific images| 00:00 |
Have you ever tried to cook or prepare
food in someone else's kitchen?
| | 00:04 |
Well it's difficult because you just can't
find anything.
| | 00:07 |
And when it comes to working in our bridge
workspace, it's essential that we're able
| | 00:10 |
to find and access our files.
And so here I want to highlight a few
| | 00:14 |
techniques, which will help you to find
your images more easily.
| | 00:18 |
We'll start off by looking at how we can
find or view files which are located
| | 00:21 |
inside of sub folders.
And the next, we'll look at how we can do
| | 00:25 |
a search and create certain search
criteria in order to find and view our
| | 00:28 |
images.
All right, well over in the Folders panel,
| | 00:31 |
you'll notice that we have different folders.
| | 00:34 |
We can access the contents of these
folders by clicking on the Folder name.
| | 00:38 |
Now if we click on the main folder, 01
Bridge here, we can see that we have three
| | 00:41 |
sub folders.
Currently we can't view any of those
| | 00:45 |
images inside of the sub folders.
In order to be able to do that, we need to
| | 00:50 |
navigate to the View pull down menu and
then choose Show Items from Subfolders.
| | 00:55 |
In doing that, this allows Bridge to view
all of the contents inside of these
| | 00:58 |
subfolders.
In order to turn this off, you can either
| | 01:01 |
click on this icon here, or just click on
another folder.
| | 01:06 |
Or, you can go to view, and then choose a
menu item, show items from sub folders.
| | 01:11 |
Next, you can then click to navigate.
And in this way, you'll navigate in the
| | 01:15 |
normal way and just view the contents
inside of one folder.
| | 01:18 |
Well, let's go back to the O1 Bridge folder.
| | 01:21 |
Let's say that we want to look for a
certain file, but we just don't know where
| | 01:24 |
it's located.
What we can do in order to find certain
| | 01:28 |
files is press Cmd + F on a Mac or Ctrl +
F on Windows.
| | 01:32 |
This will open up the Find Dialogue.
And this Find Dialogue is phenomenoal
| | 01:36 |
because it allows us to define the source.
We'll look in our 01 bridge folder.
| | 01:40 |
We can specify certain criteria.
What I want to do is I want to find some
| | 01:45 |
files which I captured in (UNKNOWN) I know
that I have some files somewhere by that
| | 01:49 |
file name, I want to find those, and I
want to look at those images.
| | 01:54 |
Rather than clicking through all of my
folders until I find them, I'll simply
| | 01:57 |
enter their criteria here.
Next, we can also choose to include all
| | 02:01 |
the sub folders, because I know they are
somewhere inside of one of those sub
| | 02:05 |
folders.
Here, simply click find Bridge will look
| | 02:09 |
through your folders and find the images
which meet those criteria.
| | 02:14 |
In this case these pictures which I
captured in this small town in Mexico.
| | 02:18 |
Let's say that after having viewed these
photographs I now actually want to view
| | 02:22 |
some others.
Well to create a new search I'll just
| | 02:25 |
click on the New Search button.
Her I'm going to change the Criteria.
| | 02:28 |
In one of the previous movies we worked
with files which were named Caldwells or
| | 02:31 |
which the file name started with the word Caldwells.
| | 02:35 |
That's my sister's last name.
I want to find all of those images.
| | 02:38 |
And I also want to find the images which
have a certain file rating.
| | 02:42 |
So here, rather than file name, I'll go
down to the star rating option, which is
| | 02:47 |
located right here.
Then, rather than equals, I want greater
| | 02:51 |
than or equal to.
In this case, I'll choose a two-star
| | 02:55 |
rating.
Here you want to make sure that it matches
| | 02:59 |
the results if all the criteria are met,
in other words if the criteria of the file
| | 03:03 |
name and the star rating are met.
If you chose the option if any criteria
| | 03:08 |
are met, it will show you all the images
which have the file name, and all the
| | 03:11 |
images which have the star rating.
So when you have multiple criteria fields,
| | 03:17 |
be sure to choose the second option if all
criteria are met.
| | 03:21 |
Well after having dialed in the criteria,
changing the match to, if all criteria are
| | 03:26 |
met, and to include a search in all my sub
folders here, we'll click Find.
| | 03:32 |
This'll then show us these images, and
here I can then click through these
| | 03:34 |
photographs.
In this case I'm seeing some images like
| | 03:38 |
this one here which really isn't a keeper.
This is a two star photograph.
| | 03:42 |
I want to change the criteria.
So, just click on new search, you can
| | 03:46 |
change it here.
Now I want to see the images which are
| | 03:49 |
four stars or greater, here I'll click
find, and now I can see the images which I
| | 03:52 |
like best from this folder.
Well, after having performed this search,
| | 03:57 |
what I next want to do is navigate back to
the folder where these images came from,
| | 04:01 |
because I don't really know at this point.
You can see here, just pulling this
| | 04:07 |
criteria based on drilling through these folders.
| | 04:10 |
Currently, I only have three folders, but
sometimes you may have 20 or 30.
| | 04:14 |
And it would be tedious to try to find
that folder.
| | 04:17 |
Yet what you can do is right click or
control click on an image.
| | 04:22 |
When you do that you'll see a contextual menu.
| | 04:24 |
One of the menu items is called reveal in Bridge.
| | 04:28 |
When you click on that menu item what it
will do is will reveal that image in it's
| | 04:31 |
location here in bridge.
In its particular folder.
| | 04:35 |
In this way, this can allow me to quickly
access that folder and perhaps find other
| | 04:39 |
images that you want to work on.
| | 04:42 |
| | Collapse this transcript |
|
|
2. Organizing Your Photos with BridgeMoving and renaming folders| 00:00 |
In this chapter we'll look at how we can
use Bridge in order to better organize and
| | 00:03 |
work with our photographs.
And in this first quick movie, we'll talk
| | 00:08 |
about how we can move and rename our folders.
| | 00:11 |
If you click on the Chapter 2 folder,
you'll notice that there isn't anything in
| | 00:15 |
it, so what we need to do is to bring over
some images.
| | 00:18 |
And to do that, we want to find the folder
which we want to move.
| | 00:22 |
In this case I'm going to bring over this
folder, which is titled Mexico.
| | 00:26 |
To move a folder, all you need to do is to
simply Click, Drag, and Drop.
| | 00:30 |
And voila, there you are.
Now you'll notice that this folder is
| | 00:33 |
located inside of our Chapter 2 main folder.
| | 00:37 |
If there's another folder that you want to
move over, you can either Click and Drag
| | 00:40 |
that.
Or you can always navigate to the main
| | 00:43 |
folder so that you can see it in the
Content panel.
| | 00:46 |
When you see it in the content panel click
on that folder and then drag that and drop
| | 00:50 |
that in the location where you want it.
In doing that you can see that we now have
| | 00:55 |
one folder which is titled portraits.
In another which is titled Mexico.
| | 01:00 |
Well the folder which is titled Mexico, I
want to rename.
| | 01:03 |
To do that right-click or Ctrl + click on
the folder name.
| | 01:07 |
And then choose Rename.
This will give us access to the name field
| | 01:11 |
for this folder.
And here I'll go ahead and name this
| | 01:14 |
folder Sayulita, then press Enter or
return in order to apply that name.
| | 01:19 |
And voila, we have now completed our first
task of moving and renaming folders in
| | 01:24 |
Bridge.
| | 01:26 |
| | Collapse this transcript |
| Quickly renaming one or more images| 00:00 |
Let's take a look at how we can quickly
rename one or more of our photographs.
| | 00:05 |
We'll be working with this folder which is
titled portraits.
| | 00:08 |
And as I scroll through the images in this
folder, you'll see that we have a few
| | 00:11 |
different portraits.
And all of the files are named with that
| | 00:15 |
default name which was given to the image
by the camera.
| | 00:19 |
Well I want to change that.
What you'll discover with Photoshop with
| | 00:22 |
Bridge is that there are many ways to do
the same thing.
| | 00:26 |
So let's take a look at a few techniques
that we can use first to change the name
| | 00:29 |
of a single file.
One technique that you can use is to click
| | 00:32 |
into the file name.
When you do that.
| | 00:35 |
It will activate the file name field, and
here, we can type out a new name.
| | 00:39 |
And then press Enter on Windows, Return on
a Mac in order to apply that change.
| | 00:44 |
Now, this file name is pretty generic, so
I want to change it again.
| | 00:48 |
Another way that you can do that is to
press the F2 key.
| | 00:51 |
Here, I'll go ahead and type out a new
name and then press Enter or Return to
| | 00:54 |
apply.
Let me show you one more method that you
| | 00:58 |
can use to rename your files.
And that is to right-click or Ctrl+Click.
| | 01:02 |
If you've selected just a single file, you
want to choose this option, which is
| | 01:06 |
Rename.
And again, this will allow to then rename
| | 01:10 |
the file here.
Yet, what about those situations where you
| | 01:14 |
want to rename a group of images.
Like with these images here, I wouldn't
| | 01:18 |
want to deliver these images to the
subject or to the client with this generic
| | 01:21 |
file name.
I want to customize it.
| | 01:25 |
To do that, click on the images that you
want to work on.
| | 01:28 |
Here, I'll click on the first photograph,
hold down the Shift key, and then click on
| | 01:31 |
the last photograph.
If you want to add more to the selection,
| | 01:34 |
hold down the Shift key, and click again
until you've selected all of the
| | 01:38 |
photographs.
Then what we need to do is access what's
| | 01:42 |
called Batch Rename.
There are a few ways that we can do this.
| | 01:46 |
One technique that you can use is to
right-click or Ctrl+Click.
| | 01:50 |
Here you'll notice we have the option for
Batch Rename.
| | 01:53 |
Another way that you can access those same
controls is to navigate to the tools
| | 01:56 |
pull-down menu.
Then you can choose Batch Rename.
| | 02:00 |
Here you'll also discover a handy shortcut
that you might want to write down because
| | 02:04 |
you'll discover that you will be batch
renaming your files quite a bit.
| | 02:09 |
Let's go ahead and choose on of those
methods to launch the batch rename
| | 02:11 |
dialogue.
I'm just going to click that here and then
| | 02:15 |
that will open up my rename dialogue.
Well, in this dialogue, you can see that
| | 02:19 |
we can rename these files and rename them
in the same location.
| | 02:23 |
Or move, or copy those images to a
different spot.
| | 02:26 |
In this case, I'll leave them exactly
where they are.
| | 02:29 |
Next, I'll choose a text for this.
I'll go ahead and name this kara, and then
| | 02:33 |
I'll choose a sequence number.
In this case, I'll have the start off with
| | 02:36 |
one.
Here, if we click on this pull-down menu,
| | 02:39 |
you can see that you can choose other
criteria as well.
| | 02:42 |
You can also Add or Remove criteria and as
you make changes to this, you'll notice
| | 02:46 |
that it will update the preview of your
file name down below.
| | 02:51 |
Now currently it says kara01.
I'm going to add a little dash after the
| | 02:55 |
name kara just to separate the name and
also the number here for this file name.
| | 03:01 |
Alright, after you've specified how you
want to rename the file, just click rename
| | 03:04 |
and what it will do is all that's rename
all of those images.
| | 03:09 |
Now if you've found that you've made a
mistake, you can always rename these
| | 03:13 |
again.
Here we can go to our Tools pull-down
| | 03:15 |
menu, choose Batch Rename and then we can
further customize this.
| | 03:19 |
Rather than a dash for example, if we
wanted to use an underscore we could then
| | 03:23 |
make that change.
Just make sure that it starts off with the
| | 03:26 |
right number.
Then click Rename and in this way you can
| | 03:29 |
make subtle changes in case you had a typo.
| | 03:32 |
And this is especially helpful because
when you're batch renaming a lot of files,
| | 03:36 |
you want to make sure that you got it
right.
| | 03:39 |
| | Collapse this transcript |
| Duplicate, Copy, and Move| 00:00 |
Here, we're going to highlight how we can
duplicate, copy, and move our images in
| | 00:03 |
Adobe Bridge.
We'll start off with this photograph here.
| | 00:08 |
This is a Raw file, and what I want to do
is, I want to create another version of
| | 00:11 |
this image.
So I want to duplicate the entire file.
| | 00:16 |
To do that, select the thumbnail in the
Content panel, and then right-click or
| | 00:19 |
Control+Click.
And in the contextual menu, choose the
| | 00:23 |
option which allows you to Duplicate.
Here we'll click on that, and it will
| | 00:28 |
create a new file, which is called Kara_09copy.
| | 00:31 |
When I select this file, you'll notice
that it's something which is completely
| | 00:34 |
indenpendant of the previous file.
Well because this files a raw file, when I
| | 00:39 |
double-click it, it will open it up in
Adobe Camera Raw.
| | 00:42 |
Now if you aren't familiar with Adobe
Camera Raw that's okay.
| | 00:46 |
Yet here I simply want to highlight that I
can make changes using Camera Raw to the
| | 00:50 |
overall Brightness of the image, or the
Contrast, or the Clarity.
| | 00:54 |
Then this way I can customize or change
the way that the photograph appears.
| | 00:58 |
And here I'm just making some changes
here, in order to have another option for
| | 01:02 |
a different way that I might want to
process this photograph.
| | 01:06 |
After having dialed in a few different
changes, I'll go ahead and click Done.
| | 01:11 |
Now the point here isn't Camera Raw,
rather the point is duplicating files.
| | 01:15 |
And in this case you can see that we have
two different images.
| | 01:19 |
Now, these images, while they share a
similar name, they're actually two
| | 01:22 |
independent files.
And you can duplicate any file format,
| | 01:26 |
whether that's PDF, PSD, TIFF, JPEG, RAW, whatever.
| | 01:30 |
And in this case, it can give you this
extra bit of flexibility in order to be
| | 01:34 |
able to process your images in different ways.
| | 01:37 |
Well let's say that after having created
this duplicate file I want to move it to a
| | 01:41 |
new location.
You can move or copy your files to new
| | 01:44 |
locations by right-clicking or
Ctrl+Clicking, here I'll go ahead and
| | 01:48 |
select Move To.
When I go to the Move To menu, notice that
| | 01:52 |
it shows me my recent folders.
In this case I'm going to choose a new
| | 01:56 |
folder which is 02 Bridge - Organize.
When I click on that folder, what will
| | 02:00 |
happen is that Bridge will take the file
from its current location.
| | 02:05 |
And it will move it over here to this
location, which is in the 02 Bridge -
| | 02:08 |
Organize folder.
If ever you need to move a file back, you
| | 02:12 |
can always right-click or Ctrl+Click, or
for even more ease you can simply Click
| | 02:16 |
and Drag a file to a new folder.
In order to reposition it in a new folder.
| | 02:21 |
Another thing that you might want to do is
right-click or Ctrl+Click on an image and
| | 02:26 |
then copy it to a particular location.
For example let's say you have a
| | 02:30 |
photograph that you just want to send a
copy of it to your desktop.
| | 02:35 |
Well here you can choose Copy To and then
select Desktop from the pull-down menu.
| | 02:40 |
And what it will do is it will send a
duplicate version or a copy of this file
| | 02:44 |
itself to that location that you specified.
| | 02:48 |
Another way that you can do the same thing
is by way of a shortcut.
| | 02:52 |
If you click onto an image on your content
panel and then press and hold the Option
| | 02:56 |
key on Mac, Alt on Windows, and then Click
and Drag that file.
| | 03:00 |
Notice that you have a new icon which
shows up next to your cursor.
| | 03:04 |
It's a plus icon, this allows me to drag
this file to a new location, and then let
| | 03:08 |
go.
When I click on that new location, it will
| | 03:12 |
show me a copy of this file in that
particular area.
| | 03:16 |
All right, well now that I have this extra
copy of the file, I actually want to get
| | 03:19 |
rid of it.
So in the next movie, let's talk about how
| | 03:23 |
we can Delete and Reject our files.
So let's go ahead and leave this folder
| | 03:27 |
open, because we'll continue to work from
this point here in the next movie.
| | 03:31 |
| | Collapse this transcript |
| Rejecting and deleting files| 00:00 |
In this movie, let's take a look at how we
can delete and reject certain files.
| | 00:06 |
In the previous movie, we copied this
image over from another folder.
| | 00:09 |
And now what I want to do, is get rid of it.
| | 00:12 |
In order to delete a file, simply click on
the file thumbnail in the Content panel,
| | 00:16 |
then press Delete on a Mac or Backspace on Windows.
| | 00:20 |
This will open up this warning dialog
which we'll talk about a little bit more
| | 00:23 |
later.
For now if we want to delete the file, all
| | 00:26 |
we need to do is to simply click the
Delete button and that will then delete
| | 00:29 |
the photograph.
Alright, well, next, let's take a look at
| | 00:33 |
another folder.
In this case, I'll navigate to the folder
| | 00:36 |
sayulita.
Here in this folder, I'll click on the
| | 00:39 |
first image.
And then I'll make my way through these
| | 00:42 |
different files.
Here I'll press the right arrow key and
| | 00:45 |
come to this image.
With this image I've decided that I want
| | 00:49 |
to get rid of it.
I want to get rid of it altogether.
| | 00:52 |
Well if we press Delete or Backspace, it
will open up this dialogue.
| | 00:56 |
And in this dialogue one of the things it
will tell us is that there's a shortcut
| | 00:59 |
that you can use in order to really,
quickly delete or get rid of an image.
| | 01:04 |
And here it is, on a Mac press Cmd+Delete,
on Windows press Ctrl+Backspace.
| | 01:10 |
So here, rather than using this dialogue
or accessing that, I'll just press Cmd+
| | 01:14 |
Delete on a Mac, or Ctrl+Delete on Windows.
| | 01:17 |
And now that photograph is gone.
It's sent to the trash can or the recycle
| | 01:21 |
bin and it is out of here.
Well next I'll scroll through my images,
| | 01:24 |
and I'll make my way to another photograph.
| | 01:28 |
And let's say that with this photograph
I've decided that I'm not exactly sure
| | 01:31 |
about it.
I'm not sure if I'm ready to delete it but
| | 01:34 |
I do want to reject it.
It's not a good photograph, I might
| | 01:37 |
want to get rid of it.
So what I'm going to do is reject it
| | 01:40 |
either by going to the label pull-down
menu, or by using a shortcut.
| | 01:45 |
Here, we can select Reject, or you can
press Option+Delete on a Mac or
| | 01:49 |
Alt+Backspace on Windows.
Now that you reject a file, you'll notice
| | 01:53 |
that it will have that label underneath
the thumbnail.
| | 01:56 |
And what that's showing you is that image
is kind of beyond star rating, in order
| | 02:00 |
words, this image isn't any good at all.
Yet you might want to just hold onto it
| | 02:05 |
for some reason, perhaps you want to
revisit that file later.
| | 02:09 |
Another thing that you can do with these
files is you can show or hide their
| | 02:12 |
visibility inside of a folder.
So if you have five or 10 rejects which
| | 02:17 |
you have in a folder.
If you just want to hide them temporarily,
| | 02:20 |
we'll navigate to your View pull-down menu
and then choose this item here which is
| | 02:24 |
show Reject Files.
Notice what it will do is just hide that
| | 02:29 |
image.
Now that image still exists, it's just not
| | 02:32 |
visible in this Content panel.
If you want to bring it back, navigate to
| | 02:36 |
the View pull-down menu, and then here you
can choose Show Reject Files.
| | 02:41 |
Now that I can see this reject file, I
decided that I actually wanted to get rid
| | 02:44 |
of it.
So I'll press the Delete key on a Mac, or
| | 02:47 |
Backspace on Windows.
This will reopen our dialogue.
| | 02:51 |
And I wanted to revisit this dialogue to
show you this.
| | 02:55 |
The first sentence reminds you that you
can navigate to the View pull-down menu to
| | 02:58 |
Show or Hide the rejects.
I also wanted to highlight that it gives
| | 03:03 |
you an option that you can label an image
or reject by clicking this button here.
| | 03:08 |
Well in this case it's already labelled
Reject and I'm ready to get rid of it.
| | 03:12 |
So in this case I'll just press Delete,
that will then send the image to the trash
| | 03:16 |
can or the Recycle bin.
| | 03:18 |
| | Collapse this transcript |
| Grouping images into collections and smart collections| 00:00 |
Collections in Adobe Bridge allow you to
group your images together in some pretty
| | 00:04 |
phenomenal ways.
They allow you to group images in a way
| | 00:08 |
that isn't dependent on the file or the
folder location.
| | 00:12 |
So, let's take a look at how we can work
with two different types of collections,
| | 00:15 |
regular collections or smart collections.
We'll start off with this folder here.
| | 00:20 |
Folders are practical or tangible.
Collections on the other hand are virtual.
| | 00:25 |
And inside of this folder, Sayulita, I
have some images which I captured of signs
| | 00:29 |
in this quaint beautiful town in Mexico
called Sayulita.
| | 00:34 |
Well, I want to group all of those sign
photographs together.
| | 00:37 |
But I don't necessarily want to create a
whole new folder.
| | 00:40 |
So, I'll create a collection.
First though what you want to do is hold
| | 00:43 |
down the Cmd key on a Mac or the Ctrl key
on Windows and go ahead and click through
| | 00:45 |
your photographs in order to select the
images you want to add to the collection.
| | 00:51 |
In this case, I'm just clicking on all of
the photographs where I took a picture of
| | 00:54 |
a sign.
After having made that selection, next
| | 00:57 |
navigate to the Collections panel by
clicking on the collections tab.
| | 01:02 |
We have two icons down below, one icon
allows you to create a new collection and
| | 01:05 |
another one allows us to create what we
call a smart collection.
| | 01:09 |
Let's click on the first icon which will
allow us to include these images in our
| | 01:13 |
new collection.
This is what we want to do, so we'll click
| | 01:17 |
Yes.
This gives us the ability to create this
| | 01:19 |
new collection, and I'll go ahead and call
this new collection Signs.
| | 01:23 |
Well, now that we have this collection of
images, you can see that we have these
| | 01:26 |
different photographs, and I realize that
htis image actually wasn't of a sign.
| | 01:31 |
It was of a painting, so I want to remove
this from the collection.
| | 01:34 |
No big deal, just click on the photograph,
and then click remove and it will remove
| | 01:38 |
that from the collection.
Another thing that you might want to do
| | 01:42 |
with collections is just create a new
collection from scratch.
| | 01:45 |
To do that, click on this icon here, and
then go ahead and give it a name.
| | 01:49 |
And I'll name this one Portraits.
Next, if you want to add images to the
| | 01:53 |
collection, well you can navigate to
various folders.
| | 01:56 |
Here I have a portrait that I want to add,
so I'll click and drag this to the
| | 01:59 |
collection.
And that is now part of that collection.
| | 02:02 |
You can also navigate to multiple folders.
Here I'll navigate to another folder and
| | 02:07 |
click and drag another portrait to the collection.
| | 02:11 |
And this is where collections get really
interesting, and also really powerful.
| | 02:16 |
If I click on the collection for
Portraits, you'll notice that we have two
| | 02:19 |
different images.
And these images came from two different
| | 02:23 |
folders.
What collections allow us to do, is to
| | 02:26 |
group together images in a way that isn't
dependent upon where the file is saved.
| | 02:32 |
And in this way, we can group images
together in a really phenomenal way.
| | 02:37 |
Another way that we can work with
collections, is to create a smart
| | 02:40 |
collection and we actually almost created
a smart collection in one of our previous
| | 02:43 |
movies.
Let me show you what I mean.
| | 02:46 |
Well, here, I'll go and click on my O2
Bridge folder.
| | 02:49 |
Next, I want to find all of the images in
one of my subfolders that include the
| | 02:54 |
filename "Salulita".
Do you remember the command to open up our
| | 02:58 |
Find dialog?
It's Cmd+F on a Mac or Ctrl+F on Windows.
| | 03:03 |
Here, I'm going to look in the Chapter 2 folder.
| | 03:06 |
I want my file name criteria to contain
Sayulita and I want it to search through
| | 03:10 |
all of the subfolders.
After having dialed in this criteria,
| | 03:14 |
we'll click Find.
This will now show me all of these images
| | 03:18 |
from my subfolders that meet my criteria.
And keep in mind the criteria can be
| | 03:22 |
anything that you want to specify.
In this case I just use filename to keep
| | 03:26 |
it simple.
Well, you may have noticed that there was
| | 03:29 |
a little icon right here.
Well, this icon is the Smart Collection
| | 03:33 |
icon.
If you click on it, it will allow us to
| | 03:36 |
create what is called a Smart Collection.
I'll go ahead and name this collection
| | 03:40 |
Salulita and then press Enter or Return.
This will then show us these files based
| | 03:45 |
on our search criteria.
And we can also create other smart
| | 03:49 |
collections as well.
Just click on the second icon.
| | 03:52 |
And here you can see we have the smart
collection criteria.
| | 03:56 |
Now the criteria in this dialogue looks
very similar to the find dialogue which we
| | 04:00 |
used previously.
And it is.
| | 04:03 |
Right?
It's all the same exact things.
| | 04:05 |
What we can do as smart collections is we
can search through our folders in order to
| | 04:09 |
find certain things.
In other words, let's go ahead and search
| | 04:13 |
in another location.
In this case, I'm going to search through
| | 04:16 |
all of my exercise files.
Rather than file name, I'm interested in
| | 04:20 |
finding my files which have a certain rating.
| | 04:22 |
Here, I'll go and choose is greater than
or equal to, and then from the Pull-down
| | 04:26 |
menu, I'll select 4 stars.
Next I'll click Save in order to create
| | 04:31 |
this collection.
What it's going to do, it's going to
| | 04:34 |
search through all of my files, and it's
going to find the images which have this
| | 04:37 |
rating.
I'll name this one, 4 Star.
| | 04:40 |
And this way, you could quickly find those
images which are your best photographs,
| | 04:44 |
and you could find those out of your
entire photo library, without even taking
| | 04:47 |
much effort.
I'll press Enter or Return to apply that
| | 04:52 |
name.
Well what would happen if I would go back
| | 04:54 |
to one of my folders?
Say if we were to go back to the family
| | 04:58 |
folder, and if I were to change the rating
of one of my images.
| | 05:02 |
Like with this image here, if I press
Cmd+4 on a Mac, or Ctrl+4 on Windows to
| | 05:06 |
change the rating to 4 stars, what we
would discovers is when we go to that
| | 05:09 |
collection, it would then update that here.
| | 05:14 |
In other words, the smart collection is
always thinking, it's always analyzing.
| | 05:18 |
You can set up certain criteria.
Once the criteria is met, it will then
| | 05:22 |
include that file inside of the smart
collection.
| | 05:26 |
| | Collapse this transcript |
| Using Review mode to create a collection of keepers| 00:00 |
Now that we know a little bit about how to
work with stars and labels and
| | 00:03 |
collections, I want to introduce you to
Review Review mode provides you with a
| | 00:07 |
phenomenal way to evaluate your images,
and also to group them together.
| | 00:14 |
You can access Review mode a few different ways.
| | 00:16 |
For starters, you can navigate to this
icon right here, click on it and select
| | 00:20 |
Review mode or.
You can navigate to the View Pul-down menu
| | 00:24 |
and then select Review mode or, you can
use the shortcut, which is Cmd+B on a Mac
| | 00:28 |
or Ctr+ B on Windows.
Well, either way, choose one of those
| | 00:32 |
techniques in order to launch Review mode.
Now, when you access Review mode, you'll
| | 00:37 |
notice that the rest of the Bridge
interface has disappeared.
| | 00:40 |
And now we have a carousel of images.
Here we can navigate through our
| | 00:44 |
photographs by using these controls, or by
using our arrow keys.
| | 00:48 |
Here I'll press the left arrow key in
order to move one direction through the
| | 00:51 |
carousel, or press the right arrow key in
order to move the other.
| | 00:55 |
We can also click on an image in order to
view it, and bring it up front.
| | 00:59 |
Here I'll click on one of the photographs
in the background in order to view this
| | 01:02 |
image.
To get a closer look, you can just click
| | 01:05 |
on the image in order to open up the loop,
which you can do is click and drag around.
| | 01:09 |
This gives us a 100% preview which allows
us check the sharpness of an image.
| | 01:14 |
To disable the loop just click again and
it will just disappear.
| | 01:17 |
Well here in Review mode what we can do is
we can add stars and labels to our
| | 01:21 |
photographs.
With this image, let's say we like it.
| | 01:25 |
Let's go ahead and add a four star rating.
So, here just press the number four on
| | 01:28 |
your keyboard.
Similar to when working in Full Screen
| | 01:31 |
mode, you don't need to add the modifier
key, you just press the numbers 1 through
| | 01:35 |
5 for stars, 6 through 9 for your labels.
If we want to add a label to this image,
| | 01:41 |
what we can do so by pressing the 6 key
that will add a red label.
| | 01:45 |
In this way, we can evaluate our images in
just a different context.
| | 01:49 |
Another great thing about review mode is
that it allows you to compare images
| | 01:52 |
really quickly.
Here I'll go ahead and scroll through some
| | 01:56 |
of my photographs.
And in this case, I like this picture but
| | 01:59 |
this next one I don't like.
I don't like that the fingers are cut off
| | 02:02 |
here, the composition is off.
So, I'll press the Down Arrow button.
| | 02:06 |
When I do that, you'll notice that that
image has disappeared from this view.
| | 02:10 |
Now, the image isn't deleted, rather it's
just out of Review mode.
| | 02:14 |
It's not part of this carousel of images.
Same thing with this photograph.
| | 02:18 |
The composition, don't like it, press the
down arrow key.
| | 02:21 |
That image is gone.
Next, this image is fine, I'll move to the
| | 02:24 |
next image by pressing the right arrow key.
| | 02:26 |
This ones just okay, so, I'm going to
press the down arrow key to get rid of it.
| | 02:31 |
Down arrow key.
Like the eye contact here.
| | 02:33 |
Like the eye contact.
This one's good.
| | 02:36 |
So, again, I'm just pressing my right
arrow keys and moving through the
| | 02:38 |
photographs.
When I get to this image, I realize it's
| | 02:42 |
okay.
Press the right arrow key, like this one
| | 02:44 |
better.
So, I'll press the left arrow key to go
| | 02:47 |
back, and then down to get rid of it.
In other words, what I'm doing here, is
| | 02:52 |
I'm whittling down all of these images to
my final keepers.
| | 02:55 |
And I'm doing that by just quickly
glancing through these images.
| | 02:59 |
And here we can press our arrow keys in
order to view the photographs.
| | 03:03 |
If ever there's an image that we don't
like, just press the down arrow key.
| | 03:07 |
And it's kind of a harmless way to
evaluate your photographs because, there
| | 03:10 |
aren't any stars or labels, there isn't
anything permanent.
| | 03:14 |
We're just trying to get together a good
set of these photographs.
| | 03:18 |
Well, after you've gone through your
photographs, and come up with a good set,
| | 03:21 |
what you can do is you can save these out
as a collection.
| | 03:25 |
In order to do that, just click on the
Collection icon which you'll find in the
| | 03:28 |
lower right-hand corner.
When we click on that icon, it will take
| | 03:32 |
us back to our Collections panel.
Here we can give this one a new name, and
| | 03:36 |
I'll go ahead and name this one Portrait-Selects.
| | 03:40 |
And here you can see it brought all of the
images which I had selected in that Review
| | 03:43 |
mode now, into this collection.
| | 03:46 |
| | Collapse this transcript |
| Stacking images into groups| 00:00 |
Another helpful way that you can organize
or group images together in Adobe Bridge
| | 00:04 |
is with Stacks.
Stacks are especially helpful when you
| | 00:07 |
have photographs which were captured in a
similar way.
| | 00:11 |
Like in this folder here, which is titled
portraits, you'll notice that there were
| | 00:14 |
three main garment changes.
Here, if I click through the images, you
| | 00:18 |
can see that these photographs were all
captured with the same garment, and then
| | 00:20 |
there was a change.
And here we have the next set of
| | 00:24 |
photographs, and then finally, the third set.
| | 00:26 |
Well, what I want to do is I want to group
my images together, and I want to group
| | 00:29 |
those images together based on the
different shooting that was done in this
| | 00:33 |
particular shoot.
To do that, we'll click in the first
| | 00:37 |
image, hold down the Shift key, then click
in the last image that you want to group
| | 00:40 |
together.
Then, navigate to the Stacks Pull-down
| | 00:44 |
menu and choose Group As Stack, or press
Cmd+G on a Mac, Ctrl+G on Windows.
| | 00:49 |
When you do that, what will happen is it
will group all of those images together,
| | 00:52 |
you can see them right here.
Let's group the other images as well.
| | 00:57 |
Click on the first photograph, hold down
the shift key, click on the last image,
| | 01:00 |
then press the shortcut.
Do you remember it?
| | 01:03 |
Cmd+G g on a Mac, or Ctrl+G on Windows.
Think G for group.
| | 01:08 |
One more time, click on the first image,
hold down the Shift key, click on the last
| | 01:11 |
image, then press Cmd+G on a Mac, Ctrl+G
on Windows.
| | 01:14 |
Well, now that I have these Stacks, I'm
going to go ahead and increase my
| | 01:16 |
thumbnail size by clicking and dragging
this thumbnail slider to the right.
| | 01:20 |
In doing that, we can now see that we have
an image which appears on the top of the
| | 01:24 |
stack.
In this case, this photograph here.
| | 01:27 |
To see the underlying images, we can click
and drag on this little Playhead right
| | 01:30 |
here, and it will take me through my photographs.
| | 01:33 |
Or you can also click Play, and it will
play through your images, as you can see
| | 01:36 |
here.
Now, what about the situations where you
| | 01:39 |
might want to expand or open the stack?
In order to do that there's a great
| | 01:43 |
shortcut.
On Mac, press Cmd + right or left arrow
| | 01:46 |
key, on Windows press Ctrl + right or left
arrow key.
| | 01:50 |
Cmd or Ctrl right arrow key opens the stack.
| | 01:53 |
Cmd or Ctrl left arrow key collapses it.
Here, let's go ahead and open the stack by
| | 01:58 |
pressing Cmd or Ctrl right arrow key.
In doing that, you'll notice that it's
| | 02:02 |
showing you the top image, which is this
photograph here.
| | 02:06 |
Now, let's say that you want to change
that up.
| | 02:08 |
Perhaps you prefer this photograph to be
the one which represents the Stack of
| | 02:12 |
images.
Well, to change this, you can simply click
| | 02:15 |
and drag this to this position.
In doing this, now that this is on the top
| | 02:19 |
or in the very front of the stack, when I
collapse it, that will be the image that
| | 02:23 |
you will first see in regards to the stack.
| | 02:27 |
Now, let's say that you've worked on your
images and you've realized you know what,
| | 02:30 |
I inadvertently grouped together
photographs, and I want to undo this
| | 02:32 |
stack.
I, I don't like it anymore.
| | 02:35 |
No big deal, navigate to the Stacks
Pull-down menu, then choose Ungroup From
| | 02:38 |
Stack.
Then this way, these images will now stand
| | 02:41 |
on their own, they're now ungrouped and
not part of that stack.
| | 02:45 |
| | Collapse this transcript |
|
|
5. Working Faster with BridgeResizing images quickly with Image Processor| 00:00 |
In this chapter we're going to focus in on
how we can use Adobe Bridge in order to
| | 00:03 |
speed up our work flow.
In this first movie I want to highlight a
| | 00:07 |
tool which is called the Image Processor.
The Image Processor can save you so much
| | 00:13 |
time.
It's a tool which you can use in order to
| | 00:16 |
process multiple files.
And we'll be working with this folder,
| | 00:19 |
which is titled, Portraits.
We saw these images in the previous
| | 00:23 |
chapter.
Yet in the previous chapter, we were
| | 00:25 |
working with the full high resolution files.
| | 00:29 |
What I want to do here, is make a
selection of a few images.
| | 00:32 |
Then I want to process those so that I can
save them out as a smaller JPEG file.
| | 00:37 |
Let's take a look at how we can do this
using the Image Processor.
| | 00:41 |
First and foremost, you need to make a selection.
| | 00:44 |
I'll click in the first image, hold on the
Shift key, then click in the last image of
| | 00:47 |
the images that I want to work on.
Next, navigate to the Tools pull-down
| | 00:52 |
menu.
Choose Photoshop and then you're looking
| | 00:55 |
for the Image Processor menu button.
Click on that and what will happen is it
| | 01:00 |
will launch the Image Processor dialogue
inside of Photoshop.
| | 01:04 |
Now at first glance you may be thinking,
gosh this dialogue looks a little bit
| | 01:08 |
bland or a little bit wimpy, well looks
can be deceiving.
| | 01:13 |
The image processor is incredibly powerful
and it can save you so much time.
| | 01:18 |
The strength of the processor really comes
from Photoshop.
| | 01:22 |
Let's take a look at how we can use it.
First, step one, select some images.
| | 01:25 |
We already did that.
It will process the files that we selected
| | 01:28 |
in Bridge.
Step two, we need to choose a location
| | 01:31 |
where we want to save the images.
We could choose to save them in the same
| | 01:34 |
location.
Now when you do this, it will save these
| | 01:37 |
images in a folder which it will create.
So we could choose to save them there, or,
| | 01:42 |
I'll choose my own location.
Here, click on Select Folder, and then
| | 01:46 |
I'll choose chapter 3 folder, because
that's the chapter that we're in, and then
| | 01:49 |
click on the button to select that.
After having defined the folder, we need
| | 01:55 |
to determine the file type.
Here we have a few options, JPEG, PSD, or
| | 01:59 |
TIFF.
As I mentioned, I want to save these as
| | 02:02 |
smaller JPEG files.
So, for the quality setting, that is going
| | 02:06 |
to tan.
I'm going to convert these to an SRGB
| | 02:10 |
profile, which is good if I'm going to
show these images on a monitor or online.
| | 02:15 |
I'll resize these images to fit within the
Width and Height of a 1000 pixels,
| | 02:19 |
perfect.
The last step allows us to run actions.
| | 02:23 |
We'll talk more about Actions in one of
the next movies so I'll leave that option
| | 02:26 |
turned off for now.
Next, all that you need to do in order to
| | 02:30 |
process all of those files is click Run.
When you click Run, Photoshop will do it's
| | 02:35 |
magic.
It will open these four high resolution
| | 02:38 |
files.
It will Resize the images and then Save
| | 02:40 |
those files out with the file format in
the size that we defined there in that
| | 02:44 |
field.
And what's great about this is while
| | 02:48 |
Photoshop is working, what we can do is go
get some coffee or go for a walk.
| | 02:53 |
Or we can also navigate back to Adobe Bridge.
| | 02:56 |
Now back in Adobe Bridge, you'll notice
that it created a subfolder here in my
| | 03:00 |
chapter 3 folder.
And it's starting to populate that folder
| | 03:03 |
with these JPEG files that it's created.
And again, the great thing about working
| | 03:08 |
with the image processor is that it does
all of this work behind the scenes.
| | 03:12 |
We don't need to do anything else.
We can continue to work in Bridge, we
| | 03:15 |
could work in Camera Raw.
Again, we could do whatever we need to do
| | 03:19 |
in order to keep our work flow going while
this happens in the background.
| | 03:24 |
Once this is done, we can click on the
images, and here you can see we now have
| | 03:28 |
smaller JPEG files with the SRGB color space.
| | 03:32 |
And again, you can imagine how this can
really help you out.
| | 03:35 |
In this movie, I worked on six images, yet
it isn't uncommon that you might use the
| | 03:39 |
image processor in order to work on 300 images.
| | 03:43 |
And so again, you can use this tool to do
all of the heavy lifting of opening up
| | 03:47 |
these files, resizing them and saving them.
| | 03:51 |
And as you can imagine, this is one of
those tools which will be a huge time
| | 03:54 |
saver.
It's one of those tools that you will
| | 03:58 |
definitely want to start to include in
your overall work flow.
| | 04:01 |
| | Collapse this transcript |
| Batch processing multiple files at once| 00:00 |
Another way that you can speed up your
workflow in Bridge, is by taking advantage
| | 00:04 |
of batch processing your photographs.
In order to batch process what we need to
| | 00:09 |
do, is to open an image up in Photoshop
and record an action.
| | 00:13 |
We can then recall or replay that action,
using the Batch Processing tool.
| | 00:18 |
So, let's start out by opening up one of
our images in Photoshop.
| | 00:21 |
We'll start off with this file Kara_01.
Double-click it and it will open it up in
| | 00:26 |
Photoshop.
Here it tells me I have an embedded
| | 00:29 |
profile mismatch.
Now, this is important to note because
| | 00:32 |
later there will be a setting in our batch
processing, which will allow us to skip
| | 00:36 |
this dialogue.
Now this is just telling me that my image
| | 00:40 |
has an sRGB color profile, well my working
color space is Adobe RGB, in this case it
| | 00:44 |
isn't that big of a deal.
I'll just use the embedded profile so,
| | 00:50 |
here we'll click OK.
Yet I want you to remember that we saw
| | 00:53 |
this profile mismatch dialogue.
Because we'll talk about it a little bit
| | 00:57 |
later.
All right, let's click OK to open up the
| | 00:59 |
image.
Next, we'll open up the Actions panel by
| | 01:02 |
clicking on the Actions panel icon right here.
| | 01:06 |
First what you want to do is click on the
Folder icon, which allows you to create a
| | 01:09 |
new set of actions.
We'll click on that and we'll name this
| | 01:13 |
set based on our name, Chris Orwig /g,
actions or whatever your name is.
| | 01:17 |
And then, we want to write or record an action.
| | 01:21 |
Here, we'll click on the new icon, which
allows us to record a new action.
| | 01:25 |
And this one is going to allow me to add a
bit of a sepia tone look to the image.
| | 01:29 |
So, you want to give it a name, and then
simply click record.
| | 01:33 |
Now, there's a lot that we can do here, in
Photoshop which can be recorded in our
| | 01:36 |
action.
Here, I'm just illustrating one thing that
| | 01:39 |
we might do.
I'll click on the Color Balance icon which
| | 01:42 |
allows me to change the color of the image
and I'll bring up my reds a little bit,
| | 01:45 |
bring down the yellows.
And again, just create a little bit of a
| | 01:50 |
subtle sepia tone look on this photograph.
All right, well after I've dialed that in,
| | 01:54 |
next we'll go back to Actions panel.
Here you can see it recorded that step
| | 01:58 |
that I created this adjustment layer.
Next thing I want to do is save the file.
| | 02:04 |
We'll navigate to the File pull-down menu,
choose Save.
| | 02:08 |
This will ask us how and where we want to
save the file.
| | 02:11 |
We'll save it to the same folder.
We'll save it out as a Photoshop document
| | 02:15 |
so that we can access this new layer.
Click Save.
| | 02:18 |
And then next, I want to close the file
so, here I'll choose File and then select
| | 02:22 |
Close.
After having gone through those steps, I
| | 02:26 |
now need to stop the recording.
And what we just did there was we recorded
| | 02:31 |
a simple process.
The process of creating an adjustment
| | 02:34 |
layer, modifying the settings on that
layer, and then saving and closing the
| | 02:38 |
file.
Well, if we go back to Bridge by
| | 02:41 |
navigating to the File pull-down menu and
choosing Browse in Bridge, what we'll
| | 02:45 |
discover is that this created this sepia
toned version of our photograph.
| | 02:51 |
Well, I want to apply that sepia tone
effect to all of the rest of the
| | 02:54 |
photographs.
To do that, click into one image, hold
| | 02:57 |
down the Shift key, and click in the last photograph.
| | 03:01 |
Then navigate to the Tools pull-down menu.
Here we're going to Photoshop.
| | 03:05 |
And then Batch.
When you click on the Batch menu button,
| | 03:09 |
it will open up our batch dialog here
inside of Photoshop.
| | 03:12 |
And what we can do, is we can play an
action from a particular set.
| | 03:17 |
In this case we could use the default
settings and there are a number of
| | 03:19 |
different actions which we can use or we
can use that set which we just created.
| | 03:24 |
Here, I only have one action to choose
from so, I can make the selection there.
| | 03:29 |
Next what you want to do is make sure to
suppress the color profile warnings.
| | 03:33 |
Because we had a color profile mismatch,
we need to turn this option on otherwise
| | 03:37 |
we would see that dialogue and need to
respond to it.
| | 03:41 |
I don't want to respond to it so, here
I'll turn it off.
| | 03:44 |
In certain situations, you might want to
respond to it so again, you'll need to
| | 03:47 |
make the choice based on your own files.
In this case it's a black and white image,
| | 03:52 |
it doesn't really matter.
Next we can define a destination if we
| | 03:55 |
want to choose a different location.
We wrote that into the action, so here we
| | 03:59 |
really don't need to do anything with that.
| | 04:02 |
All that we need to do is to click OK.
And when we click OK, what will happen is,
| | 04:07 |
is Photoshop will open up those files, it
will play this action.
| | 04:11 |
And if we go back to Bridge, what we'll
discover is now we have all of these
| | 04:15 |
images with this sepia tone effect applies
to them.
| | 04:19 |
| | Collapse this transcript |
| Creating a contact sheet| 00:00 |
Let's take a look at another time saving
tool which we can access in Bridge, and
| | 00:04 |
that's a tool which will allows us to
create a Contact Sheet.
| | 00:08 |
Again, we'll work with these images here
which we can find in our Chapter 2 folder
| | 00:12 |
which is titled Portraits.
These are all fall high resolution files,
| | 00:16 |
yet what I want to do is create a Contact
Sheet, so that I can print that out and I
| | 00:20 |
can evaluate the images.
In order to work with a Contact Sheet, you
| | 00:25 |
first need to make a selection.
Here I'll select all of the images in this
| | 00:29 |
folder by pressing Cmd+A on a Mac or
Ctrl+A on Windows.
| | 00:34 |
Next, navigate to the Tools pull-down
menu, select Photoshop, and then choose
| | 00:38 |
Contact Sheet.
When you click on the Contact Sheet menu
| | 00:42 |
button what it will do is it will launch
this dialog here inside of Photoshop.
| | 00:46 |
First, what it will ask you is for the
source images, in this case we've already
| | 00:49 |
selected those files.
And typically I recommend you do that
| | 00:53 |
beforehand or at least 20 images.
The next thing that we will need to do is
| | 00:57 |
define our document size.
Here, we'll have an 8 by 10, and rather
| | 01:01 |
than 300 pixels per inch, I'll print this
out at 240 pixels per inch.
| | 01:06 |
In regards to the color file, I'll choose
a larger color gamut, and choose Adobe RGB
| | 01:11 |
1998.
We want to flatten all layers which will
| | 01:14 |
create a flattened version of this image
so it just has one layer.
| | 01:19 |
That will give us a file that is a bit
smaller, which will help out when we send
| | 01:21 |
this to the printer.
Next we need to define the thumbnails.
| | 01:26 |
Here we can place the thumbnails across
first, typically you want to do that.
| | 01:30 |
Turn on use auto spacing, and then we need
to define the columns and the rows.
| | 01:35 |
Well here I have 20 files that I want to
work with.
| | 01:38 |
So if I have 5 columns, well, I'll go
ahead and select 4 rows, or vice versa, we
| | 01:41 |
could choose 4 columns and 5 rows, either
would work.
| | 01:46 |
Let's rotate the images for best fit so
that they fit in that space best.
| | 01:50 |
And then we can also include a file name
if we want to.
| | 01:53 |
I typically find that with Contact Sheets
it's helpful to have the file name, if the
| | 01:57 |
client's going to circle the Contact
Sheet, and then you need to refer back to
| | 02:00 |
it.
In other situations, if it's just a visual
| | 02:04 |
for me, I might leave this option turned off.
| | 02:07 |
After having walked through those various
settings, we just simply need to click OK.
| | 02:12 |
And what will happen is Photshop will
build this document for us.
| | 02:16 |
It will start off by creating an 8 by 10
blank document.
| | 02:20 |
And then slowly it will open up all of
these images and place them on the page.
| | 02:25 |
And here we'll kick back and watch
Photoshop do its magic.
| | 02:28 |
And we'll speed up this process a little
bit so that we don't have to watch the
| | 02:31 |
overall progress of this being built.
All right now that Photoshop has completed
| | 02:36 |
building this Contact Sheet next all that
we need to do is to Save this out.
| | 02:40 |
So here I'll go to the File pull-down and
I'll choose Save.
| | 02:44 |
This will allow me to specify the folder
where I want to save this.
| | 02:47 |
In this case the 03 Bridge Speed folder.
We'll leave this default name on Contact
| | 02:51 |
Sheet, 01.psd.
And here we'll go ahead and click Save.
| | 02:55 |
And we could of course send this file to
our printer in order to to create a
| | 02:59 |
printed version of the Contact Sheet.
And often it's the printed version of the
| | 03:03 |
Contact Sheet which is most helpful.
Many times in your own workflow, when you
| | 03:08 |
create this Contact Sheet, it can help you
or a client decide which photographs work
| | 03:11 |
best.
| | 03:13 |
| | Collapse this transcript |
|
|
4. Increasing Color AccuracyThe importance of using daylight-balanced lightbulbs| 00:00 |
In this chapter, we're going to focus in
on how we can increase color accuracy as
| | 00:03 |
we're working in Photoshop.
Yet before be start to work on our images,
| | 00:08 |
I want to pull up a slide.
Here I've selected a slide in the chapter
| | 00:13 |
four folder and I'll press the space bar
key to open it in full screen.
| | 00:17 |
This slide illustrates a really
interesting point.
| | 00:21 |
You'll notice that this is showing, that
there are different types of light bulbs
| | 00:24 |
which have different color temperatures.
There are certain light bulbs which appear
| | 00:29 |
a bit more yellow, others neutral and then
others a bit more cool.
| | 00:33 |
And you know, the lighting source or the
light that you have in your work
| | 00:36 |
environment right now, is affecting how
you're seeing color.
| | 00:40 |
For example, if you have a light source
which is yellow well, as you adjust the
| | 00:43 |
image and as you try to work on the color,
it will be difficult to do so, because of
| | 00:47 |
the color shift which is caused by the
light source.
| | 00:53 |
So, here's your first tip to increase
color accuracy in your own workflow.
| | 00:57 |
Go out and buy a light bulb, and buy a
light bulb which is daylight balance.
| | 01:02 |
Ideally, you are looking for something
which is 5700 to 6500 Kelvin.
| | 01:05 |
And what this will do, is it will create a
light source which is much more neutral.
| | 01:12 |
And this neutral lighting environment,
will then help you to then create more
| | 01:16 |
accurate color as you start to work in
Photoshop.
| | 01:20 |
| | Collapse this transcript |
| Correcting color casts using Camera Raw| 00:00 |
One of the best ways that you can correct
color in your photographs is with Adobe
| | 00:04 |
Camera Raw.
And you can access Camera Raw as a stand
| | 00:07 |
alone application from Adobe Bridge, or
you can also work with Camera Raw from
| | 00:11 |
right inside Photoshop.
Simply go to your Filter Pull-down menu
| | 00:15 |
and choose Camera Raw as filter.
And in either situation, what you'll want
| | 00:20 |
to do is work with the White Balance tool.
Now, the White Balance tool is really easy
| | 00:24 |
to use.
So, here, I want to show you a couple of
| | 00:27 |
examples which will require that you start
off with the tool, and then you make a few
| | 00:30 |
custom adjustments.
Here, we'll select the White Balance tool.
| | 00:35 |
And next, you want to position it over an
area of your image that you think should
| | 00:38 |
be neutral.
In this case, this is a portrait that I
| | 00:41 |
captured of a bride.
And here I think that this dress is white,
| | 00:45 |
but I'm not sure if it's pure white.
So, I'll go ahead and click on it.
| | 00:49 |
When you click on the dress, you can see
that it definitely has removed the color
| | 00:53 |
cast.
Click on the Preview checkbox.
| | 00:55 |
Here's before, and then now here's after.
Yet the question is, should this area be
| | 01:00 |
truly neutral?
Well, I don't necessarily think so.
| | 01:04 |
I think that made the image a bit too warm.
| | 01:06 |
So, here, we can further customize that by
decreasing the color temperature.
| | 01:10 |
And here I'll just drag this to the left a
little bit, so that it's a little bit more
| | 01:14 |
of a subtle correction.
Now, when I click on the Preview check
| | 01:18 |
box, you can see the before and then now
here is the after.
| | 01:21 |
So, in certain situations, you'll use the
White Balance tool.
| | 01:24 |
You'll click on an area of your image that
you think should be neutral, and it will
| | 01:28 |
be perfect.
Other times, you might need to further
| | 01:31 |
customize your temperature and tint sliders.
| | 01:34 |
Next, let's look at another photograph.
We'll click on this one here.
| | 01:38 |
This one was captured in some shade on a
cold afternoon up in Washington.
| | 01:43 |
And whenever you have a bit of shade, you
tend to have a little bit cooler color
| | 01:46 |
temperature.
And you can see that in this photograph.
| | 01:50 |
Now, I was there and I remember that this
jacket was black.
| | 01:54 |
So, I'll go ahead and click on the White
Balance Adjustment tool, and then click on
| | 01:57 |
an area of the jacket.
In doing that, you can see that its color
| | 02:01 |
corrected the photograph.
Here's the before, and then now here's the
| | 02:05 |
after.
And in this case, I think it did a pretty
| | 02:07 |
phenomenal job.
Now, of course, you could always go back
| | 02:10 |
and further customize this by modifying
these sliders if you wanted to bring it
| | 02:13 |
back to a little bit of a cooler tone as well.
| | 02:17 |
Yet with a portrait having a bit more
warmth in it, makes this image that much
| | 02:21 |
more inviting.
Again, we'll click on the Preview check
| | 02:24 |
box.
Here is before and then now here is after.
| | 02:28 |
Now, if you're new to working with Adobe
Camera Raw, I have a few courses which
| | 02:31 |
I've created which will help you really
get into how you can use this amazing
| | 02:34 |
tool.
Yet here, I simply needed to highlight how
| | 02:38 |
we can start to work with this White
Balance tool.
| | 02:41 |
Because in most work flows, you begin in
Camera Raw, and you color correct your
| | 02:45 |
image here before you even get to Photoshop.
| | 02:49 |
If you neglect to take that step, you can
always access Camera Raw as a filter.
| | 02:53 |
Because working with color temperature and
creating a color accurate representation
| | 02:57 |
of what you are seeing Is really easy when
it comes to Camera Raw because of this
| | 03:01 |
tool, and because of our temperature and
tint sliders.
| | 03:05 |
Alright.
Well, after having made those adjustments
| | 03:07 |
in order to apply those settings to the
photograph, all that we need to do is to
| | 03:10 |
simply click Done in order to exit and
apply those settings.
| | 03:14 |
| | Collapse this transcript |
| Correcting color casts using Levels and Curves| 00:00 |
Now that we've talked about how we can
work with Camera Raw in order to color
| | 00:03 |
correct our images, next let's look at how
we can work in Photoshop.
| | 00:08 |
And here we'll explore how we can use
Levels and Curves.
| | 00:12 |
Now we'll start off with some pretty basic
techniques and do something similar to
| | 00:15 |
what we did with Camera Raw.
Yet keep in mind that while these
| | 00:18 |
techniques are basic, they also are
building blocks.
| | 00:22 |
You can build upon what we're learning
here, in order to do much more advanced
| | 00:25 |
color correction as well down the road.
Well let's begin with Levels.
| | 00:31 |
Click on the Levels icon here in the
Adjustments panel, in order to create a
| | 00:34 |
Levels Adjustment layer.
This will open up our Properties panel.
| | 00:38 |
Here we have our Levels controls and three Eyedroppers.
| | 00:41 |
The Eyedropper that we want to use is the
mid-tone Eyedropper.
| | 00:45 |
Click on it, and position your cursor over
an area of your image that you think
| | 00:49 |
should be neutral.
This area needs to be not too bright nor
| | 00:53 |
too dark, somewhere right in the middle.
And go ahead and click.
| | 00:57 |
Now when you do that, you can see that it
has color corrected this image in dramatic
| | 01:00 |
ways.
Here' s the before, this strange
| | 01:03 |
red-yellow shift click again, then here's
the after.
| | 01:06 |
Now when you are working with this tool,
if you click on an area and if it doesn't
| | 01:10 |
look good say like this area here, well
you can keep clicking.
| | 01:14 |
And as I click around on different areas
with different brightness values, you can
| | 01:17 |
get a little bit of a different result.
So, again just know that if it doesn't
| | 01:22 |
work right the first time, just keep
clicking see if you can't find a better
| | 01:25 |
spot.
And the great thing about working with
| | 01:28 |
Levels or Curves as adjustment layers, is
that these adjustments are non
| | 01:31 |
destructive, we can see the before and after.
| | 01:34 |
And we can always make further
customizations to these as well.
| | 01:39 |
Well let's take a look at Curves.
Here we'll click on the second tab of the
| | 01:42 |
other image that I have open.
It's titled surfboard.jpeg.
| | 01:47 |
In order to create a Curves Adjustments
layer, we'll click on the Curves icon,
| | 01:51 |
it's the third one over, in the
Adjustments panel.
| | 01:55 |
This will create our Curve.
Currently, it isn't doing anything that is
| | 01:59 |
until we select the mid-tone Eye dropper.
Again, the same Eyedropper as we found in
| | 02:04 |
Levels.
Here we'll go ahead and click on an area
| | 02:06 |
of our image that we think should be neutral.
| | 02:09 |
I know that this surfboard was white, I
was there.
| | 02:11 |
This should be neutral so, I'll go ahead
and click on that.
| | 02:14 |
And you can see that it color corrected
the photograph.
| | 02:17 |
Again, we can see the before and then now
the after.
| | 02:19 |
Now this is really all we need to know at
this point, yet what I do want to
| | 02:22 |
highlight, is that later as you become
more advanced with working with Curves.
| | 02:28 |
One of the things that you can do, is you
can go into the different channels.
| | 02:32 |
The red, the green, and the blue channels.
As we go into these channels, what you'll
| | 02:36 |
discover is that color correction affected
each channel a little bit differently.
| | 02:41 |
Here we can see the adjustments that were made.
| | 02:44 |
As we get more advanced, what we can do is
we can go into these Curves and we can
| | 02:47 |
make adjustments increasing or decreasing
the amount of blue or yellow that we have
| | 02:50 |
in the photograph.
In this way, it can allow us to make some
| | 02:55 |
really precise color corrections to our photographs.
| | 02:59 |
Now, if ever we mess things up like I've
done here, you can just click that Reset
| | 03:02 |
button, which is this one located here.
Re-select your Mid-tone Eyedropper tool
| | 03:07 |
and click again and that will then color
correct your photograph.
| | 03:11 |
In other words, you have a lot of
flexibility and perhaps even more I just
| | 03:15 |
want to highlight that down the road, you
can also correct your images in really
| | 03:19 |
precise and incredibly advanced ways using Curves.
| | 03:23 |
Alright, well, that being said we've
learned how we can use these Eyedroppers.
| | 03:27 |
Let's go ahead and continue to talk about
increasing color accuracy.
| | 03:31 |
And let's do that in the next movie.
| | 03:32 |
| | Collapse this transcript |
| Masking away color problems in specific areas| 00:00 |
Sometimes when you color correct your
photographs with curves or levels, it will
| | 00:04 |
require one In other situations, you may
need to make other adjustments in order to
| | 00:07 |
correct certain areas in your photograph.
And this is a photograph that will work on
| | 00:13 |
which will require two steps.
This is a picture of one of my good
| | 00:16 |
friends with his three daughters.
I love how he's just surrounded by all of
| | 00:20 |
his kids here.
So, here, let's go ahead and click on the
| | 00:23 |
Curves Adjustment Layer icon to create a
new layer.
| | 00:26 |
Then we'll click on our Mid-tone
Eyedropper, and in this case I'm going to
| | 00:29 |
click on the garment here, the shoulder of
the garment of this little one here.
| | 00:33 |
And when we do that, we can see the color correction.
| | 00:36 |
Here's the before, here's the after.
It's pretty subtle, but it just warms the
| | 00:39 |
image up a bit.
It makes it a bit more inviting.
| | 00:42 |
Yet next, what I want to do is work on the shirt.
| | 00:46 |
If we were to use our eyedropper and click
on the shirt, what would happen is it
| | 00:50 |
would just be over the top.
So, I need to undo that.
| | 00:54 |
To undo that, press Cmd+Z on a Mac or
Ctrl+Z on Windows.
| | 00:58 |
Notice that this shirt has some blue tint
in it.
| | 01:01 |
Now, that could be a result of the color
of the fabric, or it could also be because
| | 01:05 |
it's in a bit more of a shadow area.
Well, either way, what I want to do is
| | 01:10 |
color correct that area of the image, so
that we don't have any blue in that part
| | 01:14 |
of the photograph.
One way that you can do that is by using
| | 01:18 |
Hue Saturation.
Here I"ll click on the Hue Saturation icon
| | 01:21 |
in order to open up a Hue Saturation
Adjustment layer.
| | 01:25 |
Next, we have a Target Adjustment tool.
If you can click on that, you can position
| | 01:29 |
your cursor over the image and click.
That will then target those specific
| | 01:33 |
tones.
Here you can see it's the blues.
| | 01:35 |
When I click and drag the saturation
slider to the right, I can increase the
| | 01:38 |
blues or I can also remove the color from
that area as well.
| | 01:43 |
Now, the problem with this of course, is
that it will remove the blue from the
| | 01:46 |
shirt, but also from other areas in the picture.
| | 01:49 |
And I just want this to be affecting the shirt.
| | 01:52 |
What we need to do in order to limit this
adjustment to the shirt is to work on our
| | 01:56 |
mask.
If you navigate to the Mask panel by
| | 01:59 |
clicking on this icon right here, you'll
notice that you have a button which is
| | 02:02 |
called Color Range.
Click on that button, and it will open up
| | 02:06 |
the Color Range dialog.
Here, what you can do is you can click on
| | 02:10 |
different areas of your photograph in
order to start to build up a mask.
| | 02:14 |
If we click on the shirt, you can see that
it's showing me an area which is white,
| | 02:17 |
and the rest of the image which is black.
The white area is the area which will be
| | 02:22 |
affected.
Well, this is currently a really small
| | 02:25 |
area, I need to add to that.
So, I'll use the eyedropper with the plus
| | 02:29 |
icon next to it, and just click and drag
around the area of the photograph that we
| | 02:32 |
want to modify.
Now, as we do that we can control the
| | 02:36 |
range.
If we increase the range, it will affect
| | 02:39 |
areas far away from where we clicked.
As we decrease it, it'll make sure that
| | 02:43 |
the only area that's affected is close to
the area that you're clicking.
| | 02:48 |
So, here I'll go ahead and click around
the photograph, decrease the range just a
| | 02:51 |
touch, increase the fuzziness in order to
soften that selection also to select more
| | 02:55 |
areas.
Or decrease that as well, depending upon
| | 02:58 |
what you want to do.
Next we'll go ahead and click OK.
| | 03:03 |
Well, after having done that, we now have
an adjustment which primarily effects that
| | 03:06 |
part of our photograph, and we've color
corrected this area.
| | 03:10 |
We've removed that color shift.
And sometimes what I find is helpful when
| | 03:14 |
you're working on color in this way, is to
work on the mask and is to add just a
| | 03:17 |
little bit of a feather.
What that can do is soften out the edges.
| | 03:22 |
And that in turn can help to have an
effect which is a bit more realistic.
| | 03:27 |
After we've dialed in the mask or created
the mask using color range, I like to go
| | 03:30 |
back to the Hue Saturation adjustment, and
then go back to the area that I'm working
| | 03:33 |
on.
In this case, the blues.
| | 03:37 |
Well, now that I've really limited this
adjustment to these areas here, in a sense
| | 03:40 |
it's just this shirt and a little bit of
his daughter's shirt there in the
| | 03:43 |
background, I can then pull out a bit more
color so that looks good.
| | 03:48 |
You can also control the brightness of
this area.
| | 03:50 |
It might be nice to change the overall
brightness just a touch.
| | 03:53 |
I'll darken it up just a little bit.
So, now we have a little bit more of a
| | 03:57 |
gray tone on the shirt, or a darker gray I
should say.
| | 04:00 |
And if we click on the eye icon, we can
see there's the before, and then now
| | 04:03 |
here's the after.
Let me zoom in even closer so you can see
| | 04:06 |
that a bit better.
Again, that before, and then now the
| | 04:10 |
after.
And if we look at our overall before and
| | 04:13 |
after, what we'll see is the original
image, and then the image after we've
| | 04:16 |
taken two steps in order to color correct
the photograph.
| | 04:21 |
Keep in mind as well that we started off
with curves or levels, and we didn't
| | 04:25 |
adjustment which color corrected the image.
| | 04:28 |
And then we targeted or focused in on a
specific area.
| | 04:32 |
And this is often what you'll need to do
as you get to more advanced color
| | 04:36 |
correction.
Here in this example, we worked on a
| | 04:39 |
t-shirt.
In other images, you may need to work on
| | 04:41 |
different areas of your photograph.
Either way, this technique starts to
| | 04:45 |
highlight how you can begin to use
multiple adjustments in order to improve
| | 04:49 |
the color in your photographs.
| | 04:52 |
| | Collapse this transcript |
|
|
5. Becoming an Expert with LayersShortcuts for copying layers and layer style effects| 00:00 |
In the previous installment in this
series, Photoshop for photographer's
| | 00:03 |
fundamentals, we introduced how to work
with layers.
| | 00:07 |
Here, I want to build upon what we already
know, and dig a bit deeper.
| | 00:11 |
And in this movie in particular, I want to
talk about how we can start to duplicate
| | 00:14 |
or copy layers.
And I also want to take a look at a few
| | 00:18 |
shortcuts that we can use in order to
duplicate or copy Layer Style effects from
| | 00:21 |
one layer to another. Alright.
| | 00:24 |
Well, here in the layers panel, you can
see that we have multiple layers.
| | 00:27 |
Let's go ahead and click in the top layer,
which is the text layer here.
| | 00:31 |
Now, we've already talked about a few
techniques that you can use in order to
| | 00:34 |
duplicate or copy a layer.
Let me first review what we already know.
| | 00:38 |
We can click into a layer, and click and
drag it to the new layer icon, and that
| | 00:41 |
will give us a copy version of that layer.
So, now we have two versions of this text
| | 00:46 |
layer.
To delete a layer, press the Delete key,
| | 00:49 |
or the Mac Space key.
Another technique that we know that we can
| | 00:53 |
use in order to copy or duplicate a layer,
is to press a keyboard shortcut
| | 00:56 |
combination.
On Mac press Cmd+J, on Windows press
| | 01:01 |
Ctrl+J.
Think of J as jump.
| | 01:03 |
What it will do is it will take the
contents from one layer and jump or copy
| | 01:07 |
those to another layer.
In this way again we have an exact
| | 01:11 |
duplicate or copy version of that
underlying layer.
| | 01:15 |
Alright.
Once again, let's delete the copy layer by
| | 01:18 |
pressing Delete or Backspace.
Well, now what I want to do is show you
| | 01:21 |
another technique that you can use which
will speed up your workflow even more.
| | 01:26 |
In order to use this technique, you need
to select the Move tool, then target the
| | 01:29 |
layer you want to work on.
Let's go ahead and work on the Type layer.
| | 01:33 |
Hold down the Option key on a Mac, Alt on Windows.
| | 01:36 |
Notice that the cursor changes when I do that.
| | 01:38 |
You can see a little double cursor there.
When you hold down Option on a Mac, Alt on
| | 01:42 |
Windows and click and drag, what it'll
allow you to do is to click and drag out a
| | 01:46 |
duplicate or a copy of the layer.
And in this case, we now have two versions
| | 01:52 |
of the Sunrise Text layer.
And keep in mind, this works on different
| | 01:55 |
layer types as well.
For example, if I click into my Background
| | 01:59 |
layer, hold down the Option key on Mac,
Alt on Windows, you can see that I can
| | 02:02 |
drag out a duplicate version of the
Background layer as well, as you can see
| | 02:05 |
here. Alright.
| | 02:08 |
Well, here I'm going to delete the
duplicate of the Background layer, because
| | 02:12 |
I want to focus in on this new text layer,
sunrise copy.
| | 02:15 |
You know, rather than having this read
sunrise, I want it to say Santa Barbara.
| | 02:19 |
And I want it to be much smaller.
Well, the quickest way to select the text
| | 02:23 |
is to double click the T icon in the
Layers panel.
| | 02:28 |
Notice that, that highlights this text field.
| | 02:30 |
Here, we can change the font if we want.
Go up to the Options bar, and just click
| | 02:34 |
and drag over the T right there, and drag
to the left to make that a smaller size.
| | 02:38 |
Then, while that field is still active, we
can go ahead and type out a new name.
| | 02:43 |
In order to apply the text, and because I
know I'm going to move it, I'll select the
| | 02:46 |
Move tool.
That will apply the text, and then here we
| | 02:50 |
can click and drag in order to reposition
this text field.
| | 02:54 |
Now, if ever you decide you want to resize
the text field again, well, you can
| | 02:57 |
double-click the T icon.
That will highlight the whole text field.
| | 03:02 |
Here, we can make the change this way, and
then select the move tool to apply that.
| | 03:06 |
Or another method that you can use is to
use a transform shortcut.
| | 03:10 |
The transform shortcut can be found if you
navigate to the Edit Pull-down menu, and
| | 03:14 |
here it is, Free Transform.
It's Cmd+T on a Mac or Ctrl+T on Windows.
| | 03:21 |
When you select this menu item or use that
shortcut, you can then hold down the Shift
| | 03:24 |
key and click on one of the corner points
and drag.
| | 03:28 |
In that way it will constrain the
proportions, so that you can then change
| | 03:31 |
the text size.
After you've re-sized that with Free
| | 03:35 |
Transform, press Enter or Return. Alright.
| | 03:38 |
Well, so far, we've learned a few really
helpful shortcuts there.
| | 03:42 |
If you feel like I'm going to fast, feel
free to pause this movie and go back and
| | 03:45 |
re-watch those.
because I think you'll want to learn how
| | 03:48 |
to use those techniques, because they'll
speed up your workflow.
| | 03:52 |
And also before you got this movie up,
let's talk a little bit about Layer Style
| | 03:55 |
effects.
Here, I want to target the Sunrise layer.
| | 03:59 |
You can add a layer style effect by
clicking on the Effects icon and choosing
| | 04:03 |
the effect that you want to apply.
Or, you can also double click the layer,
| | 04:07 |
and you want to double click half of the
layer names, just double click that and it
| | 04:10 |
will open up the Layers Style Effect dialog.
| | 04:15 |
Now, we already talked about how we can do
that in the fundamentals course, yet here
| | 04:18 |
what I want to do is apply some Layer
Style effects, and then copy and paste
| | 04:21 |
those onto a separate layer.
So, first though, lets work on the Sunrise
| | 04:27 |
layer.
Here, we'll add a brush stroke around the
| | 04:29 |
outer edge of the text, click into the
brush stroke field, change the color to
| | 04:33 |
let's say white.
We'll go ahead and add a little white
| | 04:36 |
brush stroke there and then go ahead and
click OK.
| | 04:40 |
Next, I'll add a drop shadow by clicking
on the Drop Shadow right here.
| | 04:44 |
Click into the Drop Shadow in order to be
able to dial in these controls.
| | 04:48 |
And in this way, I'll just change the look
of this drop shadow a little bit.
| | 04:51 |
And here you can see how we can customize this.
| | 04:53 |
And I'll just customize it a bit so, I
have that drop shadow following behind my
| | 04:56 |
letters there.
Actually, let me push that off a little
| | 04:59 |
bit more, let's see if I can't get that
out there so, you can see it a little bit
| | 05:02 |
better, because I know it's difficult to see.
| | 05:06 |
Next, click OK. Alright.
| | 05:08 |
Well, here we have the Layer Style effects
before, and then now here's after.
| | 05:12 |
Well, if ever you want to re-use Layer
Style effects, all that you need to do is
| | 05:16 |
to use that shortcut which we learned
before, which allowed us to copy or
| | 05:19 |
duplicate a layer.
And here it is, hold down Option on Mac,
| | 05:24 |
Alt on Windows, and then click and drag on
the Layer Style effects.
| | 05:29 |
When you do that, you'll notice that your
cursor changes.
| | 05:31 |
You have the double arrow cursor once again.
| | 05:34 |
When you Option or Alt click and drag, it
allows you to copy and paste the Layer
| | 05:37 |
Style effect from one layer to another.
And in this way, you can really speed up
| | 05:42 |
your work flow especially when you need to
have Layer Style effects on multiple
| | 05:46 |
layers as I wanted to have here with this image.
| | 05:50 |
Alright.
What we've already covered, quite a bit of
| | 05:52 |
ground here with this file, yet I want to
continue to work with this image.
| | 05:56 |
So, go ahead and leave this one open,
because we'll continue to work on it in
| | 05:59 |
the next movie.
| | 06:00 |
| | Collapse this transcript |
| Changing fill and opacity| 00:00 |
In this brief movie, I want to focus in on
a couple of shortcuts that we can use when
| | 00:04 |
working with Layer Style effects and also
opacity, and fill Let's start off with
| | 00:07 |
Layer Style effects.
In this document, we have an image which
| | 00:12 |
has two layers which both have Layer Style effects.
| | 00:16 |
Now, you can open and close the view of
the Layer Style effects by clicking on
| | 00:19 |
this icon here.
And often, you'll have documents which
| | 00:23 |
will have a lot of Layer Style effects.
If you wannao open and close them all at
| | 00:27 |
once, hold down the Option key on a Mac,
Alt on Windows, and then click on this
| | 00:30 |
icon.
And you'll notice how it will close both
| | 00:33 |
of those Layer Style effects at once.
Option or Alt, click again, and then you
| | 00:38 |
can open them.
In this way, you can open and close all of
| | 00:40 |
those really quickly. Alright.
| | 00:43 |
Well, next, let's target the Sunrise
layer, and let's look at our Opacity and
| | 00:47 |
Fill sliders.
Now, how these sliders work is actually
| | 00:50 |
kind of interesting.
The Opacity slider allows us to decrease
| | 00:53 |
the opacity of this layer, and here we can
see that we can see through the layer
| | 00:56 |
until it completely disappears.
Now, we can change the opacity by working
| | 01:02 |
with this slider, or we can also use a
really handy shortcut.
| | 01:06 |
If you simply tap a number on your
keyboard, like the number 5, it will take
| | 01:09 |
the opacity to 50%.
If you type two numbers, say 33, it will
| | 01:15 |
take the opacity to 33%.
But what about resetting this back to 100?
| | 01:21 |
You can do that by pressing the zero key.
Next, we have the Fill slider.
| | 01:25 |
What the Fill slider allows you to do, is
to remove the pixels on the layer so that
| | 01:29 |
the only thing that remains is the Layer
Style effects.
| | 01:34 |
In this case here, when we click and drag
this down, you can see that we can start
| | 01:37 |
to see through this image so that it now
looks like these letters are filled with
| | 01:40 |
the sunrise there in the background.
And here if we click and drag to move this
| | 01:45 |
around, what we'll discover is that we're
simply just being able to see through this
| | 01:49 |
area.
So, it's as if the text field or the text
| | 01:52 |
on this layer is now invisible.
And keep in mind, this works with any type
| | 01:56 |
of layer.
Now, we can change our fill amount by way
| | 02:00 |
of a shortcut as well.
Remember opacity, you just type the number
| | 02:03 |
on the keyboard.
Well, for fill, if you press Shift and
| | 02:06 |
then a number, it will then change that
fill amount.
| | 02:10 |
In this case, I press Shift+6, it took it
to 60%.
| | 02:12 |
If you press Shift 55, it will take it to 55%.
| | 02:16 |
Last but not least, to reset the fill,
press Shift and then 0, and that will take
| | 02:21 |
the fill amount to 100%. Alright.
| | 02:26 |
Well, just because these shortcuts may be
a bit new to you, let me review them.
| | 02:30 |
Remember that we can change opacity by
pressing a number on the keyboard.
| | 02:34 |
Press 5 and the opacity changes to 50%.
Press 0, bring it back to 100.
| | 02:40 |
The fill on the other hand, we can change
by holding on the Shift key and then
| | 02:42 |
pressing a number.
In this case, Shift+5 to go to 50%,
| | 02:47 |
Shift+1 to go to 10%, or Shift+0 to bring
this back up to 100%.
| | 02:54 |
| | Collapse this transcript |
| Creating layer clipping masks| 00:00 |
In this movie, I want to focus in on how
we can work with what are called layer
| | 00:03 |
clipping masks.
Layer clipping masks allow us to apply
| | 00:08 |
adjustments to a specific layer rather
than the entire document.
| | 00:13 |
And in order to illustrate how this works
we'll work with kind of a fun technique
| | 00:16 |
which will allow us to fill up the text
field that we have here above with the
| | 00:20 |
background image.
In order to do this, we'll click into the
| | 00:24 |
background image, and we'll duplicate this layer.
| | 00:27 |
Here, let's use a technique of pressing
Cmd+J on a Mac, or Ctrl+J on Windows in
| | 00:31 |
order to duplicate the layer.
Next, you need to click the layer above
| | 00:36 |
the layer of which you want to apply it to.
| | 00:38 |
In other words, I want the background to
cover up or fill up the Sunrise layer.
| | 00:44 |
So, here I have the Background layer above
this layer here.
| | 00:47 |
Next, in order to create the layer clippy
mask, you hold down the Option key on a
| | 00:50 |
Mac, Alt on Windows, and then you position
your cursor on this dividing line between
| | 00:54 |
the two layers.
Notice that the icon changes when you do
| | 00:58 |
that.
So, again, hold down Option or Alt, and
| | 01:00 |
then just position your cursor between
these two layers.
| | 01:04 |
Now, in doing that, what will happen is
this layer will fill up the underlying
| | 01:07 |
layer.
And in order to really see how this works,
| | 01:09 |
I'm going to go ahead and turn off the
visibility of the other layers for a
| | 01:12 |
moment, so we can focus in on what we have.
| | 01:16 |
This top layer right here, well, it's now
filling up the underlying layer, because
| | 01:20 |
this is a layer clipping mask.
Now, we can still edit and modify both
| | 01:24 |
layers.
For example, if we have the Move tool
| | 01:26 |
selected, we can click and drag around.
What this will allow us to do is fill this
| | 01:31 |
text area up with a different part of the image.
| | 01:34 |
We can also modify the Text layer by
clicking into it, and here we can click
| | 01:37 |
and drag that around as well.
We can modify the text.
| | 01:41 |
And again, it's just a normal layer, the
only thing that's different is that this
| | 01:44 |
layer is now effecting the underlying layer.
| | 01:48 |
Alright.
Well, let's bring back our background for
| | 01:50 |
a moment.
Well, here we can see that this layer is
| | 01:52 |
indeed filling up this part of the image.
Yet what I want to do is I want to have it
| | 01:56 |
fill up with this part of the image here,
but I want it to be a different color.
| | 02:01 |
To change the color, we'll click on our
Hue Saturation Adjustment layer icon.
| | 02:06 |
You can find that in the Adjustments panel.
| | 02:08 |
So, go ahead and click on that icon, and
that will fire up or open up Hue
| | 02:11 |
Saturation.
Next, a great way to work with hue
| | 02:15 |
saturation if you want a solid color is colorize.
| | 02:18 |
Here we can increase the saturation, and
I'll go ahead and choose let's say a blue.
| | 02:22 |
After having selected colorize, modified
these to sliders, close that panel, and
| | 02:26 |
here we can see the before and then now
the after.
| | 02:31 |
Well, currently the Hue Saturation layer
on colorize is effecting all of my
| | 02:35 |
underlying layers.
But I don't want it to affect everything.
| | 02:39 |
Rather, I only want it to affect the layer
immediately underneath it.
| | 02:43 |
So, again, this is when layer clipping
mask come into play.
| | 02:47 |
In order to have one layer just affect the
layer underneath it.
| | 02:50 |
Well, here hold down option on a Mac, Alt
on Windows.
| | 02:53 |
Position your cursor over that little
dividing line right there and then click.
| | 02:58 |
And here you can see that this layer now
only affects the layer underneath it.
| | 03:02 |
We can also modify this further.
Double-click the icon for Hue Saturation,
| | 03:06 |
and here we can change the color of that,
that we're using with this colorize
| | 03:09 |
effect.
And in this way, we can start to really
| | 03:13 |
focus in on how we can make adjustments
into specific areas of our photograph.
| | 03:18 |
Now, sometimes you'll use layer clipping
masks in order to have a creative effect
| | 03:22 |
like this.
In other situations, it might be to make a
| | 03:25 |
really specific correction or enhancement
to a certain area of your photograph.
| | 03:29 |
Either way, layer clipping mask can help
you immensely when it comes to making
| | 03:33 |
particular adjustments to specific layers.
| | 03:36 |
| | Collapse this transcript |
| Using layers to create a two-image layout| 00:00 |
In this movie we're going to work on a
project which will involve opening up
| | 00:04 |
multiple images in a single Photoshop
document as separate layers.
| | 00:08 |
Then we'll look at how we can rearrange
those layers, how we can create new layers
| | 00:12 |
with a solid color.
We'll also explore how we can change the
| | 00:16 |
fill amount of a layer in order to create
a border or edge around our document.
| | 00:21 |
We'll be working with these two images, here.
| | 00:23 |
So, go ahead and click into One file, hold
down the Cmd key on Mac, Ctrl on Windows,
| | 00:26 |
and click into the other.
I want to have both of these images side
| | 00:30 |
by side in a single document in Photoshop.
Well, to do that, to open up both of these
| | 00:35 |
images as layers in Photoshop.
Navigate to Tools.
| | 00:39 |
Select PhotoShop, and then choose Load
Files into Layers.
| | 00:42 |
This command allows you to load two or
more images into a single document so that
| | 00:46 |
each of the images will appear on a
separate layer.
| | 00:50 |
Go ahead and click on that Menu item and
it will launch Photoshop and it will
| | 00:54 |
create this layer document for us.
Here, you can see we now have these
| | 00:58 |
images.
They are two separate layers.
| | 01:01 |
We have the background layer, and then we
have the layer above.
| | 01:03 |
Well, I want these to be side by side.
I also want to open up a little bit more
| | 01:07 |
scree real estate.
So, here I'll press the F key to go to
| | 01:10 |
full screen mode.
Next, select the Move tool.
| | 01:13 |
You can select that by pressing the V key
or click on the tool, the Tools panel.
| | 01:18 |
Then hold down the Shift key, and click
and drag to the left.
| | 01:21 |
By doing that we can push an image over.
Now, in this case I didn't push it all the
| | 01:26 |
way over, so I'll hold down the Shift key
and continue to push it off out of the
| | 01:29 |
edge of my canvas area.
Now, in this case, what I really need to
| | 01:33 |
do now is extend my canvas because I
pushed that image off to the side where we
| | 01:37 |
can't see it.
The easiest way to do that is to navigate
| | 01:41 |
to Image, and then here you want to choose
Reveal All.
| | 01:46 |
When you click Reveal All, what it will do
is Photoshop will analyze your layers and
| | 01:49 |
say, hey, is there anything outside of
what we can see here.
| | 01:53 |
Oh yeah, there is.
Well, let's extend the canvas so that we
| | 01:56 |
can now include that.
All right, next I'll zoom out just a
| | 01:59 |
little bit so we can see that we have
these two images side by side.
| | 02:02 |
Here they are, one on the left, and one
over here on the right.
| | 02:06 |
Well, currently we have this little
transparent gap between the two images.
| | 02:10 |
What I want to do is create a background color.
| | 02:13 |
And I want to fill that either with white
or black so I have a solid white line.
| | 02:17 |
Or solid black line between these two photographs.
| | 02:21 |
Now, we all know that you can create a new
layer by clicking on the new layer icon.
| | 02:24 |
Yet, when you do that, it creates a new
layer above.
| | 02:27 |
Now, after having created a new layer
above, you could of course drag it down to
| | 02:31 |
a lower area in your Layers panel or you
could also create a new layer a little bit
| | 02:34 |
more quickly.
I'm going to click and drag this to the
| | 02:38 |
trash can icon and show you what I mean.
Click into the bottom layer of this
| | 02:43 |
document, then hold down Cmd on a Mac or
Ctrl on Windows.
| | 02:47 |
When you add that modifier key, and then
press on the new layer icon, it creates a
| | 02:50 |
new layer underneath the layer which you
have targeted.
| | 02:54 |
And again, that's just a little sneaky
trick that you can use in order to speed
| | 02:58 |
up your work flow when you want to create
a layer underneath the layer that you've
| | 03:01 |
selected.
Well, either way, whether we create a new
| | 03:05 |
layer or drag it down there, or use that
shortcut to create this underneath these
| | 03:08 |
layers here.
I want to have this on the bottom of the
| | 03:11 |
layer stack.
Next, let's navigate to our Edit Pull-down
| | 03:15 |
menu.
In Edit Pull down menu, we're going to
| | 03:17 |
choose the Fill command.
This will allow us to fill this layer with
| | 03:21 |
a solid color.
In this case, let's choose White, so that
| | 03:24 |
we have a nice white line coming down the
middle between these two images.
| | 03:29 |
Go ahead and click OK and it will fill
that layer with this color.
| | 03:32 |
Here we can see the before and after, let
me zoom in.
| | 03:34 |
A little bit more so we can see that.
Alright, before and then now after.
| | 03:38 |
If ever you want to flip flop the color,
if you have something that's white and you
| | 03:42 |
want to make it black, press Cmd+I on the
Mac, Ctrl+I on Windows.
| | 03:46 |
Now, we'll then invert that layer.
It this case, because it's white it will
| | 03:50 |
make it black or vice versa.
If we click on an image layer and press
| | 03:54 |
Cmd+I, it will turn it into a negative.
So, again, Cmd or Ctrl+I allows us to
| | 03:59 |
invert a layer, a mask or a channel, and
sometimes this can be a quick way to
| | 04:03 |
change what you want to have there.
Well, in this case, as I mentioned, I
| | 04:08 |
really want to have a white line, so I'll
press Cmd+I on a Mac or Ctrl+I on Windows.
| | 04:13 |
Next, let's zoom out.
Well, I've decided that in order to finish
| | 04:16 |
off this project, another thing that I
want to do is add a border or an edge
| | 04:20 |
around this photograph.
A really easy way to do that is to create
| | 04:25 |
a new layer and to fill that layer with a
solid color and to add a layer style
| | 04:28 |
effect.
Let me show you what I mean.
| | 04:32 |
So here, let's go ahead and click on the
new layer icon.
| | 04:35 |
That will create a new layer.
And let's drag this to the top of our
| | 04:38 |
layer stack.
Next, let's fill this layer with a solid
| | 04:41 |
color by navigating to Edit and then
choose Fill.
| | 04:45 |
In this case we can choose either White or Black.
| | 04:48 |
It doesn't really matter.
I'll choose Black because I think it will
| | 04:50 |
be easier to understand what's happening here.
| | 04:52 |
So, let's go ahead and click OK.
Well, currently we have this layer that's
| | 04:57 |
solid filled with black covering up
everything underneath.
| | 05:00 |
Well, the reason why we have this layer is
because we need to have something if we're
| | 05:04 |
going to add a layer style effect.
Next, to add the effect, double click to
| | 05:08 |
the right of the layer, then in the layer
style effects dialogue, choose
| | 05:12 |
Brushstroke.
We need the Brushstroke to be inside.
| | 05:17 |
Let's change the color to White.
I'll go ahead and choose a white edge
| | 05:20 |
there.
And I'll make this a little bit thicker by
| | 05:23 |
dragging the size slider to the right.
And then click OK.
| | 05:26 |
Well, now we have this black layer with a
white border around it.
| | 05:31 |
Yet, the only problem of course is that
the black area is covering up the image.
| | 05:35 |
Well, in order to get rid of that we
already know how we can do that.
| | 05:38 |
We can change the fill amount.
As we drag the fill slider to the left,or
| | 05:42 |
if we use our shortcut.
Remember the shortcut.
| | 05:45 |
Press Shift and then a number on the keyboard.
| | 05:48 |
We can take this fill amount all the way
down until it completely disappears.
| | 05:52 |
In this way, we can remove all of the
black from that layer so that we have this
| | 05:56 |
nice diptych layout.
And what a diptych is, is when you have
| | 05:59 |
two images side by side.
And here we have a border or an edge.
| | 06:04 |
We have the white in between the two
images and it's kind of an interesting set
| | 06:07 |
up.
I'll press the Z key to select the Zoom
| | 06:09 |
tool.
And then just click and hold in order to
| | 06:11 |
zoom in a little bit so that we can see
this a bit better.
| | 06:14 |
All right.
Well, to review a couple things here,
| | 06:17 |
let's go back to what we did.
Well, first we selected multiple
| | 06:20 |
documents, and then we use that tool which
allowed us to open up multiple files as a
| | 06:24 |
layered document in Photoshop.
Then we clicked into one of the layers,
| | 06:28 |
and with the move tool, we pushed that off
to the side.
| | 06:32 |
Next, we went to our Image Pull down menu,
and chose Reveal All.
| | 06:36 |
That extended the canvas size so that we
could see both images.
| | 06:39 |
After having done that, we created a new layer.
| | 06:42 |
And we created a new layer and brought it
down to the bottom of our layers stack.
| | 06:46 |
And filled that with a solid color, in
this case white.
| | 06:49 |
After we created that background layer, we
then created a new layer, fill that one
| | 06:53 |
with black and added our layers cell
effect, which in turn allowed us to add
| | 06:56 |
this border or edge around this photograph.
| | 07:01 |
And with that step, we have finished off
this project and along the way, we've
| | 07:04 |
learned some valuable tips and tricks that
we can use when working with layers.
| | 07:09 |
| | Collapse this transcript |
| Shortcuts for creating new layers| 00:00 |
As you start to work with Layers more, one
of the most common things that you'll be
| | 00:03 |
doing is creating new layers.
So why not learn a few shortcuts which can
| | 00:08 |
help you out as it can speed up your work
flow when it comes to creating new layers.
| | 00:13 |
Now we all know that you can create a new
layer by clicking on the New Layer icon at
| | 00:16 |
the bottom of the Layer panel.
We can delete layers by pressing Delete or
| | 00:20 |
Backspace.
Yet you can also create a new layer by
| | 00:23 |
using a keyboard shortcut combination, and
here it is.
| | 00:27 |
If you want to retouch something in your
image, for example, like remove this tree,
| | 00:30 |
you might want to create a new layer.
And you would want to create a new layer
| | 00:34 |
by pressing Shift+Cmd+N on a Mac, or
Shift+Ctr+N on Windows.
| | 00:39 |
This will open up the new layer dialogue.
And you'd want to include this dialogue so
| | 00:43 |
that you could then include the word
retouching so that you can name that
| | 00:46 |
layer.
You can also specify a certain Color for
| | 00:49 |
the layer if you wanted to give it a color.
| | 00:51 |
Or you could choose a blending Mode and
the Layer Opacity.
| | 00:54 |
Well here I'll leave it at 100% and just
simply click OK in order to create this
| | 00:58 |
new layer.
Now on this new layer, I can select one of
| | 01:02 |
my retouching tools, like this one here
and choose to Sample All Layers.
| | 01:06 |
Next, I'll press the right bracket key to
make my brush bigger.
| | 01:10 |
I'll just paint over this area in order to
retouch that tree out of the image.
| | 01:14 |
Now what's happened is that all of the
retouching has now been done on a separate
| | 01:17 |
layer.
And the great thing about this obviously
| | 01:20 |
is that this is nondestructive we can
always turn off the visibility of this
| | 01:24 |
layer in order to undo that.
Another way that you can create a new
| | 01:28 |
layer without seeing the layer dialog is
by pressing a similar shortcut.
| | 01:33 |
Remember it was Shift+Cmd+N or
Shift+Ctrl+N in order to create a new
| | 01:36 |
layer with the dialog.
Well, on a Mac press Shift+Option+Cmd+N.
| | 01:41 |
On Windows, press Shift+Alt+Ctrl+N in
order to create a new layer without a
| | 01:45 |
dialogue.
And that's helpful in those situations
| | 01:48 |
where you don't really care what your
layer is named.
| | 01:52 |
Now, if ever you want to go back and
rename the layer, just double-click the
| | 01:55 |
layer name.
And here you could go ahead and type in a
| | 01:57 |
new name for that layer.
Yet sometimes I find when I'm working, and
| | 02:01 |
when I really want to be creative.
I'll use that second shortcut,
| | 02:05 |
shift+Option+Cmd+N on a Mac or
Shift+Alt+Ctrl+N on Windows.
| | 02:08 |
And I'll use that shortcut to quickly
create a new layer to test that idea, and
| | 02:12 |
just to keep those creative juices flowing.
| | 02:15 |
Well, either way, you now know two
shortcuts that you can use in order to
| | 02:18 |
create new layers more quickly.
| | 02:21 |
| | Collapse this transcript |
| Increasing the size of the Layers panel| 00:00 |
In the next few movies, I want to share
with you some tips and techniques which
| | 00:03 |
are especially helpful, when you have
documents which have lots of layers.
| | 00:09 |
In this first movie, we'll keep things
simple and then in the next one we'll dig
| | 00:12 |
a bit deeper.
And here in the first one, I want to focus
| | 00:14 |
in on how we can open up more screen real
estate for our Layers panel.
| | 00:18 |
And I also want to talk about how we can
change the Layer panel thumbnail size.
| | 00:23 |
Alright well, obviously this particular
document, it has lots of layers.
| | 00:27 |
If you navigate to the Layers panel, you
notice that there's a scroll bar, and here
| | 00:30 |
we need to scroll up and down in order to
view all of these layers.
| | 00:34 |
Well, if you want to open up more screen
real estate for your Layers panel, one
| | 00:38 |
technique that you can use is to
double-click the tabs above.
| | 00:41 |
When you double click the Adjustments tab,
it will collapse it.
| | 00:45 |
Double-click the Histogram tab and that
will collapse that panel group.
| | 00:49 |
In this way, we don't have to scroll quite
as much in order to view all of our
| | 00:52 |
layers.
We can also increase the layer size by
| | 00:55 |
positioning our cursor over the edge of
the Layers panel here and clicking and
| | 00:58 |
dragging.
In this way, we can open it up and this is
| | 01:02 |
helpful especially if you have layers with
masks, or layers with long names.
| | 01:06 |
And you just need to see more of the
Layers panel.
| | 01:09 |
Well, here in my case, the layer names are
pretty short; there aren't any masks.
| | 01:13 |
So, I'll leave this at the default setting.
| | 01:15 |
Yet, still it's helpful to know that you
can always click and drag that out.
| | 01:18 |
Next, let's change the thumbnail size that
we see here.
| | 01:21 |
In order to do that, navigate to the
Layers tab, move over to the right where
| | 01:25 |
you find this icon which allows to access
what's called panel options.
| | 01:30 |
Scroll down until you find that Menu
button and then click on it.
| | 01:34 |
In the top area of the Layers panel
options, we have the ability to change the
| | 01:37 |
thumbnail size.
Now typically, you want to choose between
| | 01:41 |
small medium or large or if you have a ton
of layers and if you don't need to see a
| | 01:45 |
preview thumbnail, you can also choose none.
| | 01:49 |
Well, with this document I think that
medium will work well so, I'll go ahead
| | 01:52 |
and click on that option and then click OK.
| | 01:55 |
Now in doing that, you can see that the
scroll bar has disappeared and now I can
| | 01:58 |
see all of my layers.
And that's exactly what I want because
| | 02:02 |
what I want to be able to do, is to
change, select and move some of these
| | 02:05 |
layers.
So, let's go ahead and leave this document
| | 02:09 |
open because we'll continue to work on it,
and we'll continue to take a look at how
| | 02:12 |
we can select and move around our layers.
And we'll do that in the next movie.
| | 02:17 |
| | Collapse this transcript |
| Selecting layers with more speed| 00:00 |
One of the challenges of working with a
document which has a lot of layers is
| | 00:03 |
selecting the correct layer to work on.
And so here, I want to highlight a few
| | 00:08 |
short cuts you can use which will help you
to select, target and move your layers.
| | 00:12 |
These are photographs that i captured of
front doors of these interesting beach
| | 00:16 |
shacks that I came across in the UK while
I was on a trip.
| | 00:20 |
And I was fascinated by the locks and the colors.
| | 00:22 |
So, I got up close and I captured a number
of images.
| | 00:26 |
And I wanted to create a layout grid with
all of these different colors.
| | 00:29 |
And you can see the end result here.
Yet what I want to do next is mix things
| | 00:33 |
up a bit.
I want to move a few images around.
| | 00:36 |
So here, let's say that we want to move
the orange layer to another position.
| | 00:40 |
Well, I could of course go to the Layers panel.
| | 00:42 |
I could look for the layer which is named orange.
| | 00:44 |
I could try to find that layer and then
click and move it.
| | 00:47 |
In this case I selected the wrong orange layer.
| | 00:50 |
Well that often happens when we have a
document with a lot of layers.
| | 00:54 |
So here, I'll press Cmd+Z on a Mac or
Ctrl+Z on Windows in order to undo that.
| | 00:59 |
And a lot of times when we have a lot of
layers, frankly.
| | 01:02 |
We aren't naming our layers very well, so
it's really hard to find those layers.
| | 01:06 |
A better way to select a layer is to hold
down theCmd key on a Mac or Ctrl key on
| | 01:09 |
Windows and then to click on the layer.
Here as I do that, you can see that in my
| | 01:14 |
Layers panel it's jumping around to the
different layers that I'm selecting.
| | 01:19 |
So, hold down the Cmd key on a Mac, Ctrl
on Windows and then click on this orange
| | 01:22 |
image here.
Next I want to reposition that, so I'll go
| | 01:26 |
ahead and click and drag this over to the right.
| | 01:29 |
Well, now that this is over to the right,
it's underneath this door here, which is
| | 01:32 |
blue.
Well, if I want to move the blue door
| | 01:35 |
over, hold down Cmd or Ctrl, and then click.
| | 01:39 |
In doing that I can then reposition this
over to the right.
| | 01:42 |
And in this way I can start to shuffle
things around.
| | 01:45 |
Now, let's say I've decided I actually
want to move this orange door up to where
| | 01:48 |
the pink one is.
Again, Cmd on a Mac, Ctrl on Windows,
| | 01:51 |
click on that, and then click and drag it
up to this position.
| | 01:55 |
Now, in doing that, I have it up in this
position underneath where the pink
| | 01:58 |
photograph is.
Let's say that I accidentally select
| | 02:02 |
another layer.
For example, I select the yellow layer.
| | 02:06 |
Then I decide that what I want to do is
actually move the orange layer.
| | 02:10 |
Well, if I Cmd or Ctrl click now it's only
going to give me the pink layer, because
| | 02:14 |
the pink layer is covering the orange layer.
| | 02:18 |
Well, wouldn't it be great if there was a
way to select a layer, which is underneath
| | 02:21 |
one of your other layers.
Well there is.
| | 02:25 |
All that you need to do is to right click
or Ctrl click.
| | 02:28 |
When you do that, it will list whatever
layers are immediately underneath your
| | 02:32 |
cursor.
In this case, we have pink or orange.
| | 02:36 |
Here I'll select orange.
It will then target or select that layer.
| | 02:40 |
And then I can click and drag and bring
this back to the other position over here.
| | 02:44 |
So, in this way, when you right click or
Ctrl click, you can quickly select layers
| | 02:48 |
if you have layers which overlap.
And you know what?
| | 02:51 |
The reality of it is, in most situations
you do.
| | 02:54 |
Yet, that being said, I find that knowing
both of these shortcuts speeds up my work
| | 02:58 |
flow immensely.
So again, to review, hold down Cmdon a
| | 03:02 |
Mac, Ctrl on Windows in order to click on
different layers and to select those
| | 03:05 |
layers.
Or, if ever you have overlap, right click
| | 03:10 |
or Ctrl click.
That will then open up a contextual menu,
| | 03:13 |
which will list the layers immediately
under the area that you've clicked.
| | 03:18 |
Here, you can go ahead and select the
layer that you want to work on.
| | 03:20 |
And then make the adjustment that you need
to make to that layer.
| | 03:24 |
| | Collapse this transcript |
| An advanced way to select and reorder layers| 00:00 |
In this movie, I want to review and build
upon what we've already learned, and then
| | 00:03 |
introduce some more advanced topics.
And this is the topic of how we can select
| | 00:09 |
and target layers by way of a shortcut.
And also how we can move and rearrange
| | 00:14 |
layers by way of a similar shortcut.
All right, well let's get familiar with
| | 00:18 |
this project, and then review a few things first.
| | 00:21 |
Here we have some photographs of my
daughter, Sophia, we have one image where
| | 00:24 |
she's talking on the phone, another where
she's wearing one of my ski hats.
| | 00:28 |
And then a text field which says her name.
In the Layers panel we can see the
| | 00:32 |
stacking order.
Now, whatever layer is on top will cover
| | 00:36 |
what's underneath.
We know that we can click into a layer
| | 00:40 |
like Sophia Phone and then click and drag
in order to reposition that layer to the
| | 00:43 |
top.
Now, if it's covering something in a way
| | 00:47 |
that we don't really like it, we can
always select another layer.
| | 00:51 |
We can select layers either by right
clicking, or Ctrl clicking, and selecting
| | 00:55 |
from this contextual menu.
For example, let's say we want to choose
| | 00:59 |
the text field.
Here, I'll right click or Ctrl click, and
| | 01:02 |
then select the text field, and that will
then target this layer.
| | 01:06 |
Yet, in order to move this layer up so
far, the only way that we know how we can
| | 01:10 |
do that is to click and drag.
Here, we can then click and drag so that
| | 01:15 |
that text is then above the image.
Yet, there also are some shortcuts that we
| | 01:19 |
can use as well.
And here I want to highlight those.
| | 01:22 |
If you pay attention to the Layers panel
for a moment, you'll notice that what I
| | 01:25 |
can do is I can use shortcuts in order to
target or select various layers.
| | 01:30 |
And here's what the shortcut is.
On a Mac, press and hold Option.
| | 01:34 |
On Windows, press and hold Alt.
Then use your bracket keys.
| | 01:38 |
Now when you press the left bracket key,
you can move down in the layer stack.
| | 01:42 |
When you press the right bracket key, you
can move up.
| | 01:45 |
So, what's the advantage of being able to
do that?
| | 01:48 |
Well, sometimes you might be on a layer
and just need to select the layer
| | 01:50 |
underneath it.
Rather than using your cursor and moving
| | 01:54 |
it all the way over to the Layers panel,
we'll just press Option on Mac, Alt on
| | 01:57 |
Windows and left bracket.
And then you can then target or select
| | 02:01 |
that layer.
Another thing that you can do is actually
| | 02:04 |
reorder layers.
So here, let's go ahead and select the
| | 02:07 |
Sophia Hat layer.
To keep things simple, I'll click into
| | 02:10 |
that layer.
I want to move this up in the layer stack.
| | 02:14 |
Well to do that, I'll press and hold Cmd
on a Mac, Ctrl on Windows, and then press
| | 02:18 |
the right bracket key.
Here, you can see I'm moving it up in my
| | 02:22 |
layer stack.
In order to move it down, press and hold
| | 02:26 |
Cmd on a Mac, Ctrl on Windows and then
left bracket key.
| | 02:29 |
So, in this way we can move our layers
around, or rearrange the layer order by
| | 02:32 |
way of a shortcut.
Now, what I've discovered is that these
| | 02:36 |
shortcuts are more advanced.
They're not for everyone.
| | 02:39 |
But, if you want to get really good at
Photoshop, if you want to be kind of a top
| | 02:42 |
notch expert, you'll want to learn these shortcuts.
| | 02:46 |
So, let me review them one more time.
Press Option on a Mac, Alt on Windows, and
| | 02:50 |
then right or left bracket key in order to
move up or down the layer stack in order
| | 02:53 |
to select or target various layers.
Next, press Cmd on a Mac, Ctrl on Windows,
| | 02:59 |
and then right or left bracket key in
order to reorder layers.
| | 03:04 |
Again, right bracket key moves it up.
Left bracket key moves it down.
| | 03:09 |
| | Collapse this transcript |
| Merging and flattening layers down| 00:00 |
In this movie, I want to take a look at
how we can flatten and merge multiple
| | 00:03 |
layers together.
We'll be working with this project which
| | 00:07 |
comes to us from one of my other Photoshop courses.
| | 00:10 |
And if we click through the layers, you
can see here we have the original file,
| | 00:13 |
some retouching and then some color and tone.
| | 00:17 |
And if we click to open up this top group
here, you can see that a lot of work went
| | 00:20 |
into the overall color and tone.
So, here we have a lot of different
| | 00:24 |
layers.
Well, what I want to do is, I want to
| | 00:27 |
deliver this image to the client so I need
to flatten it.
| | 00:30 |
In order to flatten the file, typically
what you want to do first is duplicate the
| | 00:33 |
image.
And you want to do that so that you also
| | 00:36 |
have a version with all of those layers,
in case you need to go back and make any
| | 00:39 |
changes.
So, to duplicate a file, choose Image, and
| | 00:44 |
then click on the menu item, which is Duplicate.
| | 00:47 |
This allows us to create another version
of this document.
| | 00:50 |
Here I'll name it layers-flat.
Then click OK in order to create that
| | 00:55 |
document.
Now, both of these images are identical.
| | 00:59 |
They're both exactly the same.
They have exactly the same layers.
| | 01:03 |
When you duplicate a file, it gives you
this flexibility of having just another
| | 01:06 |
version of this document.
Now, with this document, I want to
| | 01:10 |
highlight a couple of techniques.
One is merging layers together, the other
| | 01:14 |
one is flattening the image.
First, let's take a look at merge.
| | 01:18 |
If we click into that retouch layer, let's
say that we've decided that we want to
| | 01:21 |
merge the retouched and the background
layers together.
| | 01:25 |
Well, to do that click into the layer
above the layer that you want to merge
| | 01:29 |
down, then navigate to the Layer pull-down menu.
| | 01:32 |
And select Merge Down or you can use the
short cut Cmd+E on a Mac or Ctrl+E on
| | 01:36 |
Windows.
What that will do is it will make those
| | 01:40 |
two layers one and combine those together.
Let me undo that to illustrate another way
| | 01:46 |
that you might use merge down.
You can merge down one layer by pressing
| | 01:50 |
Cmd+E on a Mac, Ctrl+E on Windows or you
can click into a layer, hold down the
| | 01:54 |
Shift key and click into another and then
press that shortcut.
| | 02:00 |
Do you remember it?
Cmd+ E on a Mac or Ctrl+E on Windows.
| | 02:04 |
What that allows you to do is to merge
multiple layers together.
| | 02:08 |
In this case, it allowed us to merge all
of our layers so that now all of the
| | 02:11 |
layers have become one.
Now, if ever you forget that trick about
| | 02:15 |
merging, what you can always do is use a
command which allows you to flatten the
| | 02:19 |
image as well.
Here I'll press Cmd+Z on Mac or Ctrl+Z on
| | 02:23 |
Windows in order to undo that.
To flatten a document, navigate to the
| | 02:28 |
Layer pull-down menu and then down near
the bottom, you can select on the option
| | 02:31 |
which is called Flatten Image.
When you chose that, it will then flatten
| | 02:37 |
the file.
Now the image will appear exactly the
| | 02:39 |
same, yet all those layers will be gone.
And that's typically why you want to do
| | 02:44 |
this on a duplicate version of your document.
| | 02:47 |
Because in this case, lets say the client
says you know we really like it but we
| | 02:50 |
wish you could change this or that.
Well, here we've lost all of that
| | 02:54 |
flexibility because we've lost all of our layers.
| | 02:58 |
So, if the client did make that decision
or if we made that decision, we could
| | 03:01 |
always go back to the original document.
One of the advantages of flattening your
| | 03:06 |
files though, is that while you lose
flexibility, you save file size.
| | 03:10 |
So, sometimes when you have really high
resolution files and you have a lot of
| | 03:14 |
layers, you'll just need to merge them
down or flatten those layers down so that
| | 03:17 |
you can have a smaller file size, which is
a bit more manageable.
| | 03:23 |
Well, now that we've seen how we can merge
layers together or flatten images down.
| | 03:27 |
What I want to do is show you one more
technique, which allows you to merge all
| | 03:30 |
of your layers to the top of the document.
So, here we'll go ahead and continue to
| | 03:36 |
work with these files.
So, leave them open and in the next movie
| | 03:39 |
we'll talk about another technique which
we can use to merge to top.
| | 03:43 |
| | Collapse this transcript |
| Merging all layers to the top| 00:00 |
In this movie, I want to highlight what
might be one of the most important layer
| | 00:04 |
shortcuts.
And it's also one of the most advanced.
| | 00:08 |
Yet once you learn the shortcut, you'll
discover that you'll use that all the
| | 00:11 |
time.
A lot of times when you work with layers,
| | 00:14 |
what will happen is you'll have a lot of
different layers.
| | 00:18 |
And near the end of your workflow, what
you'll typically need to do is to sharpen
| | 00:21 |
the image.
In order to be able to sharpen the image
| | 00:25 |
in all of the under laying layers, what
you'll need to do is to merge all of those
| | 00:29 |
layer to the very top.
This is especially true if you're
| | 00:33 |
retouching something onto a new layer.
And if you retouch something onto a new
| | 00:37 |
layer, well, you can't go back and sharpen
just that layer, rather you need to
| | 00:40 |
sharpen everything together.
Here's how it works, what you do is you
| | 00:44 |
click in your topmost layer.
Next, you press a keyboard shortcut co,
| | 00:49 |
combination.
Now, this one is a bit long, yet its
| | 00:52 |
really worthwhile to learn it.
Here it is, on a Mac press
| | 00:55 |
Shift+Option+Cmd+E.
On Windows, press Shift+Alt+Ctrl+E.
| | 01:01 |
That will then merge all of the underlying
layers to the top.
| | 01:04 |
On a sense, it takes all of those layers,
and flattens them, and puts that in the
| | 01:07 |
very top layer.
In this way, we could then rename this
| | 01:11 |
layer sharpen.
And here then we could apply the
| | 01:13 |
sharpening effect, which in turn would be
applying it to all of our underlined
| | 01:17 |
layers.
Now with certain files, this is an
| | 01:20 |
absolute must say, for sharpening.
In other situations, it's helpful to
| | 01:24 |
combine everything together, so that you
can then make further adjustments as well.
| | 01:29 |
So, again, this is one of those shortcuts
which is a bit more advanced, and it's
| | 01:33 |
also one that you'll want to jot down.
Here it is again, on a Mac you press
| | 01:37 |
Shift+Option+Cmd+E, on Windows, that's
Shift+Alt+Ctrl+E, in order to merge all of
| | 01:42 |
the underlying layers to the topmost
layer.
| | 01:46 |
| | Collapse this transcript |
|
|
6. Making Better Selections and MasksWorking with the Quick Selection tool| 00:00 |
The Quick Selection tool is such a helpful
tool, it's ridiculous.
| | 00:04 |
And this is one of those tools that you'll
use quite frequently.
| | 00:07 |
And here in this movie, I'll imagine that
you have a good working understanding of
| | 00:10 |
how to use the tool.
Yet what I want to do is build upon that,
| | 00:14 |
and share with you a few tips and
shortcuts in order to optimize the way
| | 00:17 |
that you make quick selections.
We'll be working with this photograph of
| | 00:22 |
my little daughter Elsie here, when she
was just a few days old.
| | 00:27 |
And here she is bundled up, now what I
want to do is make a selection of her so
| | 00:30 |
that I can select her and the blanket that
she's wrapped up in.
| | 00:34 |
And remove the background.
In order to do that, we'll use the Quick
| | 00:37 |
Select tool.
First thing you want to do is press the W
| | 00:40 |
key, to select this tool.
If you see the Magic Wand visible rather
| | 00:44 |
than the Quick Select tool, just press
Shift W, that shortcut allows you to
| | 00:48 |
toggle between these two tools.
Next, you want to make sure to navigate to
| | 00:53 |
the options bar and turn on Auto Enhance.
Typically by default, this isn't selected
| | 00:58 |
so, turn this on and as you make these
selections it will automatically start to
| | 01:02 |
fix up the edges a bit.
Now in regards to your brush size, you can
| | 01:07 |
change that by tapping the bracket keys.
Right bracket key makes a bigger brush,
| | 01:11 |
left bracket key makes a smaller brush.
Then what you want to do is, click and
| | 01:15 |
drag over the area that you want to select.
| | 01:18 |
Now as we do this, for the most part,
Photoshop will do fine except, it may have
| | 01:21 |
some difficulty around this area where
it's starting to select the background.
| | 01:27 |
And what will happen is, it won't be sure
which area you actually want to work on.
| | 01:30 |
So, I'm going to paint my selection.
I'm going to try to make this as good as I
| | 01:34 |
can.
And in doing that, we can see that it
| | 01:36 |
really isn't very good at all.
Well we can fix that up, by holding down
| | 01:40 |
the Option key on Mac, Alt on Windows.
And just start to click and paint away the
| | 01:44 |
area that you don't want to select.
And you know what's interesting about
| | 01:48 |
this, is that this is actually taking in information.
| | 01:51 |
And you can go ahead and just hold down
the Option key and paint over an area that
| | 01:54 |
you don't want to select, and you notice
that it's getting a little bit better.
| | 01:58 |
This is one of those tools that gets
smarter as you use it.
| | 02:02 |
So, here I'll go ahead and work on the
edges again and now it kind of knows what
| | 02:05 |
I'm looking for.
Tap the left bracket key to make it
| | 02:09 |
smaller, hold Option on a Mac, Alt on
Windows and so it will help me to find
| | 02:12 |
those edges a little bit better.
Now of course, sometimes you have to use a
| | 02:17 |
little teeny brush and get in there in
order to work on those details as I need
| | 02:20 |
to do in this area here.
Next we'll go ahead and click and paint
| | 02:24 |
over these areas.
And I think we're getting close to having
| | 02:27 |
a decent selection.
Now, back to the point about working with
| | 02:31 |
this tool when we hold down the Option key
on a Mac, Alt on Windows, in order to
| | 02:34 |
subtract.
As I mentioned it takes in that
| | 02:38 |
information so, if you know that there's
an area that you don't want this tool to
| | 02:41 |
select, hold down Option or Alt and just
click and drag over it.
| | 02:46 |
And sometimes that can help to make your
edges even better, as you start to build
| | 02:49 |
the selection.
Well next what we need to do of course, is
| | 02:52 |
refine the edge.
We all know that quick selection works
| | 02:55 |
well, it makes selections quickly.
Yet they aren't always the best.
| | 03:00 |
That's why Refine Edge is located right here.
| | 03:03 |
Let's go ahead and click on Refine Edge
and that will open up our Refine Edge
| | 03:06 |
dialog.
Now, one of the shortcuts that I want to
| | 03:09 |
highlight here allows you to change the
view that you have of your selection or of
| | 03:13 |
your edge.
The first one is the F key, when you press
| | 03:16 |
the F key, you can toggle through all of
the different views that you have.
| | 03:21 |
For example, if this image were to appear
on a darker background, this view might be
| | 03:25 |
helpful, or keep pressing the F key again
to toggle through all of these different
| | 03:28 |
perspectives.
And, you know, sometimes you can quickly
| | 03:32 |
tap through these and they help you to
realize something.
| | 03:36 |
Like for example, something I hadn't
anticipated is that this area of my
| | 03:39 |
selection up here is a little bit soft, so
I might need to fix that up a bit later.
| | 03:45 |
Well, that's helpful information so I'm
glad that I saw that.
| | 03:48 |
You can also access all of these views by
clicking on them from this pull-down menu.
| | 03:52 |
But I find it just easier to tap that F
key until you have the view which helps
| | 03:55 |
you to evaluate your photograph.
Next, another thing that you can do is you
| | 04:00 |
can temporarily disable whatever view you
have by pressing the X key.
| | 04:04 |
Think of Xing that out so here when we
press the X key we can turn that off.
| | 04:09 |
Press the F key to go to a different view.
Here I'll press the X key, and you can see
| | 04:13 |
that the red overlay there is turning on
and off.
| | 04:16 |
So, the two shortcuts that you want to
write down for the Refine Edge dialogue,
| | 04:20 |
are this.
The F key and the X key.
| | 04:23 |
Perhaps most important is the F key.
Alright, well again let's go back to an
| | 04:28 |
area where we can see our photograph like this.
| | 04:31 |
And then, I'll modify these settings.
Click on the Smart Radius check-box, you
| | 04:34 |
almost always want to do that.
Increase your radius a little bit and
| | 04:38 |
watch those edges, you'll see that this
will improve the edges dramatically.
| | 04:42 |
You might want to add a little bit of
contrast to the edge, you can also feather
| | 04:45 |
and smooth it out just a touch here.
And then, you can shift the edge which
| | 04:50 |
will make the edge bigger or smaller.
Sometimes just taking a pixel or two off
| | 04:54 |
of the overall edge can help it to have a
tighter selection.
| | 04:58 |
Of course it depends upon what you're
trying to select.
| | 05:01 |
With this photograph, because it's a
blanket, I probably could increase the
| | 05:04 |
feather amount even more.
Well again I imagine you already know how
| | 05:08 |
to use these sliders, so this is all a bit
of a review.
| | 05:12 |
After you've dialed in all of your
settings for Refine Edge, go ahead and
| | 05:15 |
click OK in order to apply those.
Now at this point, nothing has happened,
| | 05:20 |
we've just created a great selection.
The next step of course, is to do
| | 05:24 |
something with this selection.
What I want to do Is remove the subject
| | 05:27 |
from the background.
One way to do that, is to click on the Add
| | 05:31 |
Layer Mask icon.
When you have a selection and when you
| | 05:34 |
click on the Add Layer Mask icon, it will
create a mask based on that selection.
| | 05:39 |
And here you can see we now have
successfully removed my little daughter
| | 05:42 |
Elsie here from the background.
And perhaps more importantly, I've
| | 05:47 |
highlighted a few tips for you.
And the first one was to click on the Auto
| | 05:50 |
Enhance button, so that it will
automatically start to work on your edges
| | 05:54 |
as you build the selection.
And then, the second and third tips were,
| | 05:59 |
when you're in the Refine Edge dialog, to
use the shortcut which was the F key to
| | 06:03 |
change the preview of the selection.
And then the last one was to press the X
| | 06:08 |
key, in order to toggle that preview on
and off.
| | 06:12 |
| | Collapse this transcript |
| Improving the edges of a mask and masking shortcuts| 00:00 |
In this movie we're going to add a new
solid background to this photograph.
| | 00:04 |
And we'll look at how we can clean up our
mask, and I want to share with you some
| | 00:07 |
advanced shortcuts that you can use that
might be helpful when working with masks.
| | 00:13 |
In the previous movie we made a quick
selection, and we turned that quick
| | 00:16 |
selection into a mask.
And in a sense a mask is just a quick
| | 00:20 |
selection.
It's a selection though that you can
| | 00:23 |
toggle on and off, and you can constantly change.
| | 00:26 |
Now you can target the image by clicking
on the image icon or you can target the
| | 00:30 |
mask by clicking on the mask icon.
You'll notice there are brackets around
| | 00:35 |
the mask or around the image showing you
which one you've selected.
| | 00:40 |
Well, in this case, before we actually
start to work on the mask, what I want to
| | 00:42 |
do is add a new background color.
To do that, let's navigate to the bottom
| | 00:46 |
of the Layers panel, click on the icon
which allows us to make different types of
| | 00:49 |
adjustment layers.
The one that I'm interested in applying,
| | 00:54 |
or using, is Solid Color.
So go ahead and choose Solid Color, and
| | 00:57 |
then click OK.
Now, obviously, we have a problem here.
| | 01:01 |
The solid color is on top of the image or
the photograph.
| | 01:04 |
We need to lower this center layer stack.
We can either use the shortcut which I
| | 01:08 |
mentioned in one of the previous chapters
which is command left bracket on a Mac or
| | 01:12 |
control left bracket on Windows.
Or you can always just click and drag this
| | 01:17 |
up or down.
Alright, well now that we have this
| | 01:20 |
background color, we can change this further.
| | 01:22 |
Just click on the color chip and we could
sample, say, a color from the image.
| | 01:26 |
Here you can see I can choose colors from
the image or I can choose white as the
| | 01:29 |
background.
Let's go back to black though, because I
| | 01:32 |
think that will show us the problems with
our mask.
| | 01:35 |
Less closely, so here lets zoom in on the
photograph a little bit and I'll zoom by
| | 01:39 |
pressing Cmd + Plus on a Mac or Ctrl +
Plus on Windows.
| | 01:44 |
Little Elsie there is so cute, I think
shes just 2 days old in this picture.
| | 01:48 |
Well, anyway, lets get to the mask.
Well here in the mask I can see that it
| | 01:52 |
isn't very good because these edges and
these areas are a bit too soft.
| | 01:57 |
Well to clean that up, we'll click onto
the mask.
| | 01:59 |
And then what you can do is grab your
brush tool by pressing the B key.
| | 02:03 |
Or select the brush tool icon in the tools panel.
| | 02:05 |
Here, we want to paint with black.
So I'll click on the switch icon, which
| | 02:09 |
allows us to choose black as the foreground.
| | 02:12 |
Then we need to choose a brush.
Whenever you're working with a mask like
| | 02:15 |
this, you typically will want your
hardness set to zero.
| | 02:19 |
You want a nice small brush.
And this brush size is actually pretty
| | 02:22 |
good, size 20 looks good.
To close this little dialogue just click
| | 02:26 |
on the options bar.
Did you know that you can access that
| | 02:29 |
dialogue on the images wall?
If you have the brush tool just Right
| | 02:32 |
Click or Ctrl + Click and this will open
up the dialogue.
| | 02:35 |
And just click on another area of the
interface in order to make it disappear.
| | 02:39 |
With this one all that I want to do is
just paint with black on the mask.
| | 02:43 |
That's just going to clean up those little edges.
| | 02:46 |
Now, these adjustments here are pretty
small yet, nonetheless it's helpful to
| | 02:50 |
make this masked edge even better.
So again, we'll just go ahead and paint
| | 02:54 |
back and forth over these areas with black.
| | 02:57 |
Press the Spacebar key to click and drag,
to reposition your photograph.
| | 03:01 |
And just go carefully over those edges so
you have a nice clean good edge.
| | 03:06 |
This case I think we're going in a pretty
good direction.
| | 03:09 |
And that looks just fine.
Now if ever you make a mistake as I did
| | 03:12 |
here, what the mistake is, it isn't that
you added black.
| | 03:16 |
Rather it's that we're seeing through the
image to the background color.
| | 03:20 |
So we need to fix that.
We'll go ahead and swtich this so we can
| | 03:23 |
paint with white and we'll just paint with
white to bring this area back into the
| | 03:26 |
photograph.
And masks allow us to reveal and conceal
| | 03:30 |
different things as we've discovered in
the previous course, Fundamentals.
| | 03:34 |
WEll now that we've done that which so far
should be something that we've seen
| | 03:37 |
previously.
What I want to do next is talk about a few
| | 03:41 |
different ways that we can view the mask.
Here, I'm going to zoom out a little bit
| | 03:45 |
so we can see a bit more of our photograph.
| | 03:48 |
Well, with this mask we can view it by
holding down some modifier keys and
| | 03:52 |
clicking on the mask.
First, you can Shift + Click on the mask
| | 03:56 |
in order to toggle the view of that, or to
temporarily disable it on or off, so Shift
| | 04:00 |
clicking turns it on and off.
Another option you have is hold down the
| | 04:06 |
Shift key and the Option key that's for
Mac, Shift + Alt for Windows.
| | 04:11 |
That turns on this red rubylith overlay.
Sometimes this is helpful to help you
| | 04:15 |
identify problem areas in your mask.
So again that one is Shift + Opt + Click
| | 04:20 |
on a Mac, Shift + Alt + Click on Windows.
Another option which allows you to just
| | 04:25 |
view the mask is hold down the Option key
on Mac, Alt on Windows and then click.
| | 04:30 |
Here its showing me my mask and again this
can help me to identify any problems or
| | 04:34 |
issues that I might have.
Hold down Option on a Mac, Alt on Windows
| | 04:38 |
and click.
In order to take the view back to what we
| | 04:41 |
had previously, where we can see the image
with the mask applied.
| | 04:46 |
Alright, well I wanted to show you those
extra shortcuts, because they can help you
| | 04:50 |
out as you start to work with masks in
more advanced situations.
| | 04:54 |
| | Collapse this transcript |
| Refining mask edges with the Maximum filter| 00:00 |
In the next few movies we'll look at a few
techniques that we can use in order to
| | 00:03 |
make better selections.
We'll start off by working with quick
| | 00:07 |
select, yet we won't simply rehash how
we've used quick select before.
| | 00:11 |
Rather, we'll begin with quick select, and
then we'll apply another filter, which I
| | 00:15 |
image you haven't heart about before.
In order to finish off our selection and
| | 00:19 |
the change to this photograph.
Well, let's say that we want to do here is
| | 00:23 |
change the color of the hat.
So, first press the W key to select the
| | 00:27 |
Quick Select tool.
Then make sure you turn on auto-enhance
| | 00:31 |
and click and paint over the hat.
And this is a photograph of Kaylee.
| | 00:36 |
She's one of my daughter's good friends.
She's a cutie.
| | 00:38 |
And what we want to do is change the color
of the hat, so we use the Quick Select
| | 00:42 |
tool to make our first selection.
Then typically what we do is we press
| | 00:46 |
Refine Edge.
Refine edge shows us our refine edge
| | 00:49 |
dialogue.
Here we can press the F key in order to
| | 00:52 |
view different perspectives of this selection.
| | 00:55 |
And for the most part the selection looks okay.
| | 00:58 |
Click on the check box for Smart Radius
and then click and drag to increase that a
| | 01:01 |
little bit.
That will improve the edge detail that we
| | 01:05 |
have there.
Next, I'll go ahead and click OK in order
| | 01:08 |
to fix up or refine that selection.
Well, after having done that, I actually
| | 01:13 |
notice it's selecting the background a
little bit there so I'll hold down the
| | 01:16 |
Option key on a Mac, Alt on Windows, and
click and paint that away.
| | 01:21 |
Well, there we have it, our selection.
Next, I want to change color, so I'll use
| | 01:25 |
hue saturation.
Here, we'll click on the Adjustment Layer
| | 01:28 |
icon for hue saturation.
And because we had a selection active, it
| | 01:32 |
created a Hue Saturation Adjustment with a
mask attached to it.
| | 01:36 |
This mask allows us to then modify the
color and adjust the color of the hat.
| | 01:41 |
Though we could modify the color by using
this slider here, or you can also turn on
| | 01:45 |
colorize.
That's a great way to work with color.
| | 01:47 |
And here we can change the overall color
of the hat.
| | 01:51 |
Yet, one of the problems that I'm noticing
is that you'll notice that there's a
| | 01:54 |
little bit of a pink edge around the side
of the hat there.
| | 01:59 |
And that's because my selection wasn't perfect.
| | 02:02 |
It kind of softened out at the edge.
So, I need to fix that up.
| | 02:06 |
Here, I'll leave my saturation as it is
for now.
| | 02:08 |
And I'll go over to the Masking panel.
In the Masking panel, we can click on Mask
| | 02:13 |
Edge.
This will open up the refine mask dialog,
| | 02:16 |
which is identical to the refined edge dialog.
| | 02:20 |
It's just here, this is going to work on
the mask.
| | 02:23 |
Well, what we might want to do is try to
shift the edge.
| | 02:25 |
If we shift the edge by dragging this one
way or another.
| | 02:28 |
What we can do is we can increase or
decrease the overall size of this edge.
| | 02:33 |
Here, you can see I can bring this in.
So, I see more of the pink or I can extend
| | 02:36 |
this out to see less of it.
Yet, in doing that, I can see that it
| | 02:40 |
looks good on the front of the hat, but
these edges they still aren't extended out
| | 02:44 |
far enough.
If ever you need to change how you're
| | 02:49 |
extending your mask or decreasing that.
In other words, if ever you need to shift
| | 02:53 |
the edge one way or another, and if this
dialogue doesn't work completely for you.
| | 02:58 |
But here's what you need to do.
Click OK to apply that.
| | 03:01 |
It's at least better than it was, then
click into the mask and use one of your
| | 03:04 |
selection tools like the Lasso tool.
Here, with the Lasso tool we can make a
| | 03:09 |
Lasso selection of the area of the image
that we want to work on.
| | 03:13 |
In this case I'm going to go all the way
around this edge where I see a little bit
| | 03:17 |
of pink fringing.
Now it may be difficult to see the pink
| | 03:20 |
fringe with this zoom right here.
So, let me zoom in even closer.
| | 03:25 |
When we zoom in even closer, what I'm
hoping you'll start to see is I have a
| | 03:28 |
blue hat and then we have the pink edge there.
| | 03:32 |
Well, I can change that now because I've
made a selection of a mask.
| | 03:36 |
It's kind of like making a selection of a selection.
| | 03:40 |
Well, after you've done that you can
navigate to your Filter Pull down menu.
| | 03:44 |
Choose Other and then Minimum or Maximum.
Now, it's always tricky to try to remember
| | 03:50 |
which option does what.
So, you'll just want to try one.
| | 03:53 |
Drag the slider.
If that isn't the right one, try the
| | 03:56 |
other.
Or if you can memorize it, think of
| | 03:58 |
maximum is the one that maximizes the
selection area.
| | 04:02 |
So, it's going to make the white area bigger.
| | 04:04 |
We'll go ahead and click on Maximum here
for this one.
| | 04:07 |
And here on the mask you can see as I
increase the radius, notice how it's
| | 04:10 |
increasing the size of the mask.
Yet, it isn't doing this everywhere.
| | 04:15 |
If we change the view here, you can see
how it's just affecting this area.
| | 04:19 |
Notice how it's not affecting anything
outside of the selected area.
| | 04:23 |
So, this way I can just drag this up a
little bit here.
| | 04:25 |
And what that will do is it will fix my problem.
| | 04:28 |
Press the space bar key and click and drag around.
| | 04:31 |
You can see how it's fixing all of that
pink fringing that was there in a really
| | 04:34 |
phenomenal way.
And sometimes minimum or maximum can make
| | 04:38 |
all the difference in the world when it
comes to having a mask, which you need to
| | 04:42 |
have some precision with like we do here.
Well, after having made sure that looks
| | 04:47 |
good, you obviously don't need to zoom in
that far.
| | 04:50 |
I just did that because I know it's tricky
to see those small details in these videos
| | 04:54 |
as you're watching them.
Well, after you've dialed that in, simply
| | 04:58 |
click OK in order to apply that.
Now, you can apply other filters to areas
| | 05:03 |
of your mask as well.
Sometimes it's helpful to make a selection
| | 05:06 |
and to blur that out a little bit.
You can do that by applying a Gaussian
| | 05:10 |
blur to an area of the mask.
Again, making a selection and then
| | 05:14 |
modifying the mask can sometimes really
help you to sweeten it up.
| | 05:18 |
Alright, well next we'll choose Select and
then Deselect.
| | 05:22 |
And then now we can go back to our color
adjustments by clicking on this icon here
| | 05:26 |
and I'll go ahead and crank up my color.
I'll make this a little bit brighter and
| | 05:30 |
we can change this to something wild, say
like purple or whatever it is.
| | 05:34 |
I know that Kaylee likes really bright
colors so I'll try something bright and
| | 05:37 |
vivid.
And then I'll zoom out a little bit so we
| | 05:40 |
can see our overall image.
Here's the change that we made.
| | 05:44 |
Here's the before, and then now here is
the after.
| | 05:47 |
Yep, perhaps more importantly than the
before and the after is learning how we
| | 05:51 |
can build that mask, customize it using
the mask controls here with mask edge.
| | 05:56 |
And then if we need to go further, using
the selection tool like the Lasso to
| | 06:00 |
select a part of the mask.
And then to further modify that using that
| | 06:05 |
filter, which I showed you, which was
Filter > Other > Maximum or Minimum.
| | 06:10 |
Keep in mind, maximum allows you to make
the white area bigger.
| | 06:14 |
Minimum on the other hand allows you to
make that area smaller.
| | 06:17 |
So, in this way, you can sort of increase
or decrease the size or the edge of the
| | 06:21 |
mask.
| | 06:22 |
| | Collapse this transcript |
| Using Color Range to build a mask| 00:00 |
In this movie, we'll continue to work with
this photograph of our friend Kaly, here.
| | 00:04 |
And this time, I want to work on changing
the color of the shirt.
| | 00:08 |
Now, the Quick Select tool just wouldn't
work here at all, and it wouldn't work
| | 00:12 |
because we have hair overlapping the shirt.
| | 00:16 |
Quick select works well where you have
really defined or distinct edges.
| | 00:20 |
When you don't have those kind of edges,
you need to look at another technique or
| | 00:23 |
another tool.
What we'll look at here is how we can make
| | 00:27 |
a mask based on a color.
To do that, we'll use a Color Adjustment
| | 00:31 |
layer, we'll create a mask, and we'll
modify that mask using what's called color
| | 00:35 |
range.
So, here go ahead and click on the
| | 00:39 |
Adjustment Layer icon for hue saturation.
Then with the hue slider click and drag it
| | 00:43 |
in order to make a wacky color adjustment
to the photograph.
| | 00:47 |
Now, currently this is affecting the whole image.
| | 00:49 |
It doesn't look very good.
Yet, that's okay.
| | 00:52 |
We'll fix that up.
And we'll fix that up by navigating to the
| | 00:55 |
Mask panel.
Click on the Mask icon and then the button
| | 00:58 |
you're looking for is called Color Range.
Click on that in order to launch Color
| | 01:03 |
Range.
The way that Color Range works is it
| | 01:06 |
allows you to sample a color in your image.
| | 01:08 |
And here you can click around the
photograph and see how it's building a
| | 01:11 |
mask based on the area that you click.
Here, I want to click on the sweatshirt.
| | 01:16 |
Now, currently the selection area is
pretty small.
| | 01:20 |
We can increase the range so that it
selects more area similar to where I
| | 01:24 |
clicked out in farther reach by clicking
and dragging the range slider up.
| | 01:30 |
The fuzziness will sort of soften the
selection and it will make the selection a
| | 01:33 |
little bit less critical.
So here, you can see it softening all of
| | 01:37 |
those edges.
We can also add to this by clicking on the
| | 01:41 |
Plus icon which allows us to click with a
Plus icon and then to add more areas to
| | 01:45 |
our selection.
So here, I'll just go around and make sure
| | 01:49 |
I get to the edges.
You can also click and drag across the
| | 01:52 |
mask that you have here inside of this dialog.
| | 01:55 |
Either way will work.
Press the Space bar key and click and drag
| | 01:58 |
over here so we can focus in on the hair.
Now, this is where things get a little bit
| | 02:02 |
tricky.
What we need to do is to click really
| | 02:05 |
close where we see that blue fringing to
make sure that we're sampling or selecting
| | 02:08 |
all of this so that we're starting to have
a really nice look with this mask.
| | 02:13 |
And so far so good we're getting some good
areas selected there.
| | 02:17 |
want to click over here as well I'm just
using this Plus icon to sample more and
| | 02:21 |
more of that mask.
All right, well, this has given me a
| | 02:25 |
really good selection.
Just a couple more areas that I need to
| | 02:29 |
sample in order to make sure that this is good.
| | 02:32 |
And then I'm going to go ahead and click
OK in order to apply that.
| | 02:35 |
Now, the only downside with what I've done
is that I can see in my mask that I've
| | 02:39 |
also selected some other areas of the photograph.
| | 02:43 |
Here, when we click on the Eye icon to see
the before and after, the sweatshirt looks
| | 02:46 |
good.
But if you look closely you'll notice it's
| | 02:50 |
affecting other areas as well.
And this is where we really need to know
| | 02:54 |
one of those shortcuts, which will show us
the mask.
| | 02:56 |
Do you remember that one from the previous
chapter, if you hold down the Option key
| | 03:00 |
on the Mac and Alt on Windows and then
click on the mask, it will show you the
| | 03:03 |
mask as it appears.
Now hear when we zoom out a little bit,
| | 03:09 |
you can see that this mask, yeah, we have
a good selection on the shirt.
| | 03:13 |
But we also selected the skin and the eyes
and a little bit of this area up here.
| | 03:18 |
Well we can fix up the mask by selecting
our Brush tool.
| | 03:21 |
Next, I want to paint with black.
I want a bigger brush so I'll tap the
| | 03:25 |
right bracket key to make the brush bigger.
| | 03:28 |
And here I'm painting with black at 100%.
I'll use a brush, which has no hardness,
| | 03:33 |
nice soft edged brush.
I'll just start to paint this away.
| | 03:36 |
And by doing that, I can clean up my mask.
In this example, I went a little bit too
| | 03:41 |
far.
Typically, you won't have to do this much
| | 03:44 |
clean up work.
Yet, this really illustrates the point of
| | 03:47 |
how you can fix up this mask.
It did a great job on all of those edges.
| | 03:52 |
It's just that it went a little bit
overboard and selected too much of the
| | 03:54 |
photograph.
As you start to clean up your mask, what
| | 03:58 |
you'll want to do is go back to the
regular view of the image.
| | 04:01 |
So, hold down the Option key on a Mac, Alt
on Windows, and click on the mask.
| | 04:05 |
Then zoom in on your image, and here you
can continue to paint this away.
| | 04:10 |
So, if you see that you have a little bit
of effect where you have painted it in too
| | 04:13 |
far or not far enough, you can just go
ahead and paint over those areas.
| | 04:17 |
And in doing that, we can have a mask that
really looks good, where we have the
| | 04:20 |
purple effect just being applied to those areas.
| | 04:25 |
Looks like I made a little bit of mistake there.
| | 04:27 |
So, I'll go ahead and make sure to paint
with white.
| | 04:30 |
With a smaller brush key, we should need
to paint back in a little bit of our color
| | 04:33 |
effect in this area of the image. Alright.
| | 04:36 |
Well, that's great.
Now, we can click on the Eye icon.
| | 04:39 |
Let's zoom out a little bit so we can see
the whole image.
| | 04:42 |
And as we do that, you can see here's our
before and then now here's our after.
| | 04:47 |
And if you double click the icon for the
Hue Saturation Adjustment, we can also
| | 04:50 |
change this in other ways as well.
What we should see is that this mask holds
| | 04:54 |
up regardless of the color change that
we're applying here.
| | 04:58 |
Because we created that good mask we now
have this extra bit of flexibility.
| | 05:02 |
And in the last two movies, we've been
focusing in on how we change color.
| | 05:07 |
I'm aware that as you start to work on
your images, and as you start to make
| | 05:10 |
selections, you won't only be making
selection in order to change color.
| | 05:16 |
Yet, the techniques that I'm showing you
here are valid and work well, whether
| | 05:19 |
you're changing color or brightness or
other things, too.
| | 05:23 |
So, here let's continue to work with this
file and let's look at how we can change
| | 05:26 |
another characteristic of this image other
than color.
| | 05:30 |
And let's do that in the next movie.
So, go ahead and leave this file open, as
| | 05:34 |
we'll continue to work with it in the next
movie.
| | 05:37 |
| | Collapse this transcript |
| Copying masks from one layer to another| 00:00 |
In the previous movies, we explored how we
could make selections and then change the
| | 00:04 |
color in this photograph in two different ways.
| | 00:07 |
We looked at how we could change the color
of the shirt, and also how we could change
| | 00:10 |
the color of the hat.
In this movie, I want to take a look at
| | 00:15 |
how we can reuse or re-purpose a mask by
copying that mask to a new layer.
| | 00:20 |
For example, after having made these color
changes, let's say that we've decided you
| | 00:23 |
know what, we actually like the original
color better.
| | 00:27 |
But what I do want to do is, I want to
modify the density or the brightness of
| | 00:31 |
the shirt, and I also want to sharpen up
the hat.
| | 00:35 |
Well, let's explore how we can do that
using the masks which we've already
| | 00:37 |
created.
In order to do that, the first thing that
| | 00:40 |
we'll do is create an Adjustment layer.
Here, I'll click on the Adjustment layer
| | 00:44 |
icon for levels.
Because levels is pretty straight forward
| | 00:48 |
to use, you can use this middle slider
here, the midtone slider, in order to
| | 00:51 |
darken, or to brighten the overall image.
I'll just click and drag this to the right
| | 00:56 |
a little bit to darken the overall image.
Now, I only want this darkening effect to
| | 01:00 |
be applied to the shirt.
So, what you can do, because we already
| | 01:04 |
have a really good mask here, we can
re-purpose or reuse that mask.
| | 01:10 |
The way that you can do that, is you can
copy and paste a mask from one layer to
| | 01:13 |
another if you hold down the Option key on
a Mac, Alt on Windows, and then click and
| | 01:17 |
drag.
When you do that, you'll notice that it
| | 01:22 |
will bring along that mask.
It'll ask you, do you want to replace that
| | 01:25 |
layer mask?
There should be a button here which says,
| | 01:28 |
heck yeah, because that is exactly what we
want to do.
| | 01:31 |
We want to take advantage of all of that
hard work which we've already invested,
| | 01:34 |
and here we'll click Yes.
Well, now we have an adjustment which is
| | 01:38 |
only affecting this part of the photograph.
| | 01:41 |
And the great thing about this is that if
ever you create a mask and you realize,
| | 01:44 |
oh, I also want to do something else.
Well, you can do that.
| | 01:48 |
And of course, you can always stack up the effect.
| | 01:51 |
For example, we can have a bit of a color
change as we have here.
| | 01:55 |
And then we can control the overall
brightness of that area too.
| | 01:58 |
So, here we have a lot of flexibility.
To keep things a little bit more simple,
| | 02:02 |
let's turn off the visibility of those two
layers, and let's look at one more
| | 02:05 |
scenario.
Here, I'm going to click into the
| | 02:08 |
Background layer and duplicate or copy
this layer.
| | 02:12 |
We can do that by way of a shortcut.
Do you remember the shortcut to copy or to
| | 02:16 |
jump the contents of one layer to another?
Its Cmd+J on a Mac or Ctrl+J on Windows.
| | 02:22 |
I'm going to go ahead and name this layer Hat.
| | 02:25 |
What I want to do is have one layer where
I only have the hat and nothing else.
| | 02:30 |
To do that, we'll hold down the Option key
on a Mac, Alt on Windows, and click into
| | 02:34 |
our hat mask, which we created earlier.
And now Option or Alt click and drag that
| | 02:39 |
to this new layer here.
Now, in doing that, we can now see that we
| | 02:43 |
have a layer where the hat lives by itself.
| | 02:46 |
And what's great about this is that we can
now selectively sharpen our photograph.
| | 02:51 |
For example, we can click into the image.
So, we're working on the image and not the
| | 02:56 |
mask.
And then we can navigate to our Filter
| | 02:58 |
pull-down menu, choose Sharpen, and then
select Smart Sharpen.
| | 03:02 |
And here in the Smart Sharpen dialog, we
can sharpen the hat.
| | 03:06 |
I'll go ahead and leave this all on the
default settings and just click OK,
| | 03:09 |
because this isn't a movie necessarily
about sharpening.
| | 03:13 |
But you can see that the sharpen effect is
only applied to the hat because of the
| | 03:17 |
mask.
Even though the whole image is there,
| | 03:20 |
well, we're only seeing the effect being
applied to this area of the photograph.
| | 03:25 |
So, when we turn on the underline layer,
we can now have this one layer above it
| | 03:28 |
which has the sharpening effect applied.
In this way, we can start to selectively
| | 03:34 |
modify certain areas of our photograph,
and we've seen two examples right?
| | 03:39 |
We've seen how we can modify the
brightness value using levels or curves,
| | 03:42 |
or we've also seen how we can work with
the filter and apply a filter to a certain
| | 03:46 |
area.
Yep, perhaps more important than the type
| | 03:50 |
of effect that we're applying here is the concept.
| | 03:54 |
And it's the concept that we can copy and
paste a mask from one layer to another.
| | 03:58 |
And we can do that by holding down the
Option key on a Mac, Alt on Windows, and
| | 04:02 |
then clicking and dragging that mask from
one layer to another.
| | 04:07 |
| | Collapse this transcript |
|
|
7. Creating Hand-Painted MasksWorking with Quick Select| 00:00 |
In this chapter we'll focus in on how we
can accomplish precise and professional
| | 00:04 |
results when hand painting selections and masks.
| | 00:08 |
We'll start off by taking a look at how we
can work with quick mask.
| | 00:12 |
And we'll use this photograph here of my
daughter, Annie.
| | 00:14 |
We were on vacation in Costa Rica visiting
some friends.
| | 00:18 |
And she had jumped into the swimming pool
and was swimming towards me.
| | 00:21 |
And I had my Camera in an underwater
housing, and I captured this frame.
| | 00:25 |
And I love this moment, yet one of the
problems with this picture is that her
| | 00:29 |
face is really blue.
So, I want to change the color in this
| | 00:32 |
area, and to do that, we'll start off by
creating a quick mask.
| | 00:36 |
In order to create a quick mask, you can
either click on the Quick Mask icon, which
| | 00:40 |
is right here in the Tools panel or just
press the q key.
| | 00:43 |
Think q for Quick Mask .
Now, what Quick Mask allows you to do is
| | 00:48 |
to paint over an area, and then to turn
that area that you painted over into a
| | 00:51 |
selection.
When you paint with your Brush tool, go
| | 00:54 |
ahead and select that tool, and when you
paint with black, what you'll see is this
| | 00:58 |
red overlay.
This is showing you the area that you can
| | 01:02 |
then select.
In this case, I'll go ahead and paint over
| | 01:05 |
the hair a little bit over here.
Now, when you start to work with the tool,
| | 01:08 |
you want to select a brush, typically
without any hardness, at least for, the
| | 01:11 |
adjustment that we'll be making here.
And then I also am going to increase my
| | 01:16 |
brush size, just so I can work on, this a
little bit more quickly.
| | 01:19 |
And I'll go ahead and just paint across
this area of the face.
| | 01:22 |
And what I'm looking to do is to paint
over the area where I'm really seeing a
| | 01:25 |
little bit of that color shift.
The nice thing about this is that it'll
| | 01:29 |
allow us to create a selection which has
soft edges.
| | 01:33 |
So, right now the photograph looks really
strange I know but stick with me.
| | 01:37 |
All that you need to do next after
painting over the area that you want to
| | 01:40 |
work on is press the q key.
That allows you to exit Quick Mask .
| | 01:46 |
And essentially what we did is we painted
in this area of our selection.
| | 01:50 |
Now keep in mind we painted with black.
And remember when you're working with
| | 01:54 |
masks, black is the color which conceals.
White is the color which reveals.
| | 01:59 |
So actually, right now everything that is
selected is everything except the area
| | 02:03 |
where we painted.
So, what you might need to do is to
| | 02:07 |
navigate to you Select pull-down menu and
choose Inverse and that will inverse the
| | 02:11 |
selection.
Yet before doing that I want to show you
| | 02:15 |
what would happen if we were to just make
an adjustment here with this selection
| | 02:18 |
active.
Next let's go to our Adjustments panel and
| | 02:22 |
click on the Adjustment layer icon for curves.
| | 02:25 |
That will create a curves adjustment, now
if I click and drag up or down, you can
| | 02:28 |
see that I'm just effecting the area
outside of the area where I painted.
| | 02:33 |
Well that's the opposite of what I want.
If ever you accidentally forget to inverse
| | 02:37 |
the mask you can always do it later its
really easy.
| | 02:41 |
Just make sure you've clicked into the
mask icon, go to the Mask panel, and then
| | 02:45 |
click on Invert.
Or you can use a shortcut.
| | 02:49 |
The shortcut is Cmd+I on a Mac or Ctrl+I
on Windows.
| | 02:52 |
That does the exact same thing as pressing
the Invert button.
| | 02:55 |
Well, once you're sure that you're now
working on the right area, in this case
| | 02:58 |
the face, what I want to do is, I want to
change the overall color.
| | 03:02 |
So, here, we'll go to our channels and
I'll start off by working in the red
| | 03:05 |
channel.
If we go to the red channel, we can click
| | 03:08 |
and drag that up.
And what that will do is that will add
| | 03:10 |
more red.
In turn, it will remove some of that cyan
| | 03:13 |
shift that we had there in the photograph.
Next, I'll go blue yellow channel.
| | 03:19 |
If we drag up, the image becomes more blue
in that area.
| | 03:22 |
If we drag down, it becomes more yellow.
Now, we might just need just a little
| | 03:26 |
touch of yellow there, probably not too much.
| | 03:29 |
But here, already, if we click on this,
you can see there's our before, and now
| | 03:32 |
here's our after.
And we were able to accomplish this
| | 03:35 |
adjustment, which really makes a big
difference in this photograph without a
| | 03:39 |
lot of effort because we use Quick Mask .
In a sense, think of Quick Mask as a quick
| | 03:44 |
way just to get started.
Sometimes it's a way to sort of test out
| | 03:48 |
an idea.
Because we can always further customize
| | 03:51 |
the mask by clicking into the mask icon
and then paint on it if we need to.
| | 03:56 |
For example, here we can have our Brush
tool and I have the color white selected
| | 03:59 |
as my foreground color.
And I'll go ahead and paint over the hair.
| | 04:03 |
In doing that, I realize you know what?
It's actually bringing more red into that
| | 04:07 |
area, which doesn't look good.
No big deal.
| | 04:11 |
Press the x key on the keyboard to flip
between black and white or click on this
| | 04:14 |
icon here, which allows you to switch
between those two.
| | 04:17 |
And then just paint with black in order to
paint that away.
| | 04:20 |
So, you can always go ahead and further
customize that as needed.
| | 04:24 |
Let's take a look at this with one more
example so that we can understand how this
| | 04:27 |
works.
Let's say that we want to brighten up the
| | 04:30 |
eyes.
Well again, press the q key to enter Quick
| | 04:33 |
Mask .
Make sure you have your Brush tool.
| | 04:36 |
Typically, you want a brush without any
hardness, with a soft edge.
| | 04:39 |
Here I'll choose a really nice and small
brush size.
| | 04:42 |
And then also, we want to paint with black.
| | 04:45 |
So again, press the q key for Quick Mask .
Select your Brush tool.
| | 04:48 |
Dial in the settings for the brush.
And then choose Black as your foreground
| | 04:52 |
color.
Next, you're going to go ahead and paint
| | 04:54 |
over the area.
And the reason we're painting with black
| | 04:57 |
here is so we can really see, which area
of our photograph will be selected.
| | 05:01 |
Here as your painting, if you accidentally
select too much of the image, press the x
| | 05:05 |
key and then you can paint that away.
And you can paint away the little red
| | 05:10 |
overlay there, so you can have exactly the
area that you want to work on in order to
| | 05:13 |
focus in on that area just by painting
with white or black.
| | 05:19 |
Okay, again I know the photograph looks
really strange, but next what we'll do is
| | 05:23 |
press the q key to exit Quick Mask.
Now, we know that we need to invert the
| | 05:28 |
mask, so this time.
Choose Select and then click on Inverse.
| | 05:33 |
This will allow us to invert that mask so
the only thing selected right now are the
| | 05:37 |
two eyes.
Here, after having made that selection
| | 05:41 |
with Quick Mask, we'll go over to Curves.
When we click on Curves, when we have an
| | 05:45 |
active selection, it creates a mask based
on that selection.
| | 05:49 |
And now I can go ahead and click and drag
this up or down to brighten or darken
| | 05:51 |
those eyes.
I'll just drag my curve up here a little
| | 05:55 |
bit, and then the dark area down.
This will add just a little bit of
| | 05:58 |
contrast and brightness.
You can see here is before and then now,
| | 06:01 |
here is after.
It's a subtle adjustment, but nonetheless,
| | 06:04 |
it helps this photograph out, and it
brings a little bit more life into the
| | 06:07 |
eyes in that area.
Alright, well here you can see the overall
| | 06:11 |
before and then now the after.
And, again, more important than the before
| | 06:15 |
and after is that you now know how you can
use Quick Mask .
| | 06:19 |
It's a great way to hand paint in
selections to quickly get started with
| | 06:23 |
working with masking and selections.
Yet keep in mind that quick mask isn't
| | 06:28 |
something that is permanent, in other
words, after you exit Quick Mask , that
| | 06:32 |
mask is gone.
That's why typically what you'll want to
| | 06:35 |
do is to build some sort of a permanent
mask as we did here.
| | 06:39 |
In this case using Adjustment layers so
that we could then further extend what we
| | 06:43 |
were working on or keep working on that
area and modify it even further.
| | 06:49 |
Alright, well I hope that this movie was
helpful and you know what we have more
| | 06:52 |
ground to cover in regards to hand
painting in selections and masks.
| | 06:57 |
So, let's go ahead to continue to talk
about this topic in the next movie.
| | 07:01 |
| | Collapse this transcript |
| Making gradient and hand-painted masks| 00:00 |
Let's take a look at another example where
a hand painted mask can really help us out
| | 00:04 |
to improve a photograph.
With this image, I want to create two
| | 00:08 |
different adjustments.
One adjustment for the shirt, and another
| | 00:11 |
for the face.
Because what I'm interested in doing here
| | 00:14 |
with this portrait is bring more focus or
attention to the subject.
| | 00:18 |
Because what happens when you look at an
image is the eye is attracted to the
| | 00:22 |
brightest area of the photograph.
And you know, what the brightest area of
| | 00:26 |
this picture, it's the shirt.
So, let's go ahead and fix that.
| | 00:29 |
We'll do that first by clicking on our
Curves Adjustment Layer icon.
| | 00:33 |
Next, you can select the Targeted
Adjustment tool, and then hover over your
| | 00:36 |
image.
When you hover over the image, notice that
| | 00:39 |
it's highlighting or showing a little
circle here on the curve of the tonality
| | 00:42 |
underneath your cursor.
In this case, we just want to work on this
| | 00:46 |
area here.
So, we'll click and drag down.
| | 00:49 |
That allows us to darken this area of the photograph.
| | 00:53 |
Now, currently, this curve adjustment is
darkening that area which in turn is also
| | 00:56 |
affecting the color a little bit.
If we wanted to further modify the color,
| | 01:01 |
we could do so by getting into the
different channels.
| | 01:04 |
We've already seen how we can go into the
red, green, or blue channels and make
| | 01:06 |
changes there.
For now, though, I'm just going to leave
| | 01:10 |
this as is.
Well, currently, this mask is affecting
| | 01:13 |
everything.
I'm not interested in having it affect the
| | 01:16 |
whole image.
So, what I want to do is invert the mask.
| | 01:20 |
Do you remember the shortcut to do that?
It's Cmd+I on a Mac or Ctrl+I on Windows.
| | 01:24 |
Or just go to the Mask panel, and then
click on the button Invert.
| | 01:28 |
Here, you can flip it between black and white.
| | 01:31 |
So, now, this adjustment is doing
absolutely nothing, which is what we want
| | 01:34 |
it to do, because we want to paint it in
to this area.
| | 01:38 |
Now, there are different ways that we can
paint htis in.
| | 01:41 |
We've seen how we can use brushes in the
previous movie.
| | 01:44 |
Yet there’s another tool which can be
helpful, which is the Gradient tool.
| | 01:48 |
When you select the Gradient tool here in
the Options bar, you can see we have a
| | 01:51 |
number of different gradients.
I want one which goes from black to white,
| | 01:56 |
this one here.
And then you can click and drag across
| | 01:59 |
your image.
Just for demo purposes, I’m going to make
| | 02:02 |
a few adjustments here which aren’t any good.
| | 02:05 |
But they'll illustrate a point.
When you click and drag in a short area,
| | 02:08 |
you can see that there's a little transition.
| | 02:11 |
Click and drag over a longer area, you can
see that there's a softer or smoother
| | 02:14 |
transition, so that this adjustment is
just affecting this side of the image.
| | 02:20 |
Well, obviously that isn't what we want.
We want to work on the shirt down here.
| | 02:24 |
Yet what happens when you start to work
with this adjustment is you'll click and
| | 02:27 |
drag, and you won't get it right, right away.
| | 02:29 |
So, you'll need to click and drag again
and again, until you get it just right.
| | 02:33 |
In this case, I'm just clicking and
dragging until I have a nice soft
| | 02:36 |
transition, so that the shirt is a bit
darker, and then it gets back to it's
| | 02:39 |
normal tones up here.
Here's the before, and then now here's the
| | 02:44 |
after.
Again, it's just reducing our focus or the
| | 02:47 |
emphasis on that area of the image.
Well, now, that we've done that, the next
| | 02:52 |
thing that I want to do is brighten up the face.
| | 02:54 |
So, again, we'll create another curves adjustment.
| | 02:57 |
So, let's click on the Curves Adjustment
Layer icon.
| | 03:00 |
And then this time, we'll use the Targeted
Adjustment tool once again.
| | 03:04 |
Position this over the image, and just
click and drag up, again, focusing in on
| | 03:07 |
the face.
Now, as we brighten this up, we also might
| | 03:11 |
want to bring down the darker tones just
to make sure we're not sort of softening
| | 03:15 |
that out too much.
Alright, that looks good.
| | 03:18 |
Now, I don't want this to affect the whole
image, so, we want it invert the mask.
| | 03:23 |
Again, press Cmd+I on a Mac or Ctrl+I on Windows.
| | 03:26 |
Then I want to paint this adjustment in
with my Brush tool.
| | 03:30 |
So, go ahead and select the Brush tool by
pressing the B key, or click on the brush
| | 03:34 |
in the Tools panel.
Now, we want to paint with white,
| | 03:38 |
currently black is my foreground color.
So, I'll hit the X key which will flip
| | 03:42 |
between those two.
Then I want to change my brush size, and
| | 03:45 |
there's a handy way you can change your
brush size right on the image.
| | 03:50 |
If you just right click or Ctrl click, it
will open up your brush size dialog.
| | 03:54 |
So, here I can re-position the slider,
dragging it to the right in order to
| | 03:57 |
increase my brush size until I have a nice
big brush, which will allow me to paint in
| | 04:00 |
this effect in a large area.
Again, I prefer to have brushes without
| | 04:05 |
hardness, especially when you're painting
in light as we're doing here.
| | 04:09 |
And then next, you just need to click off
of this dialog.
| | 04:12 |
So, go ahead and just click on another
dialog in order to close that.
| | 04:16 |
Now, here we have an opacity amount of 100%.
| | 04:18 |
And if we start to paint, that will bring
in this brightening effect at 100%.
| | 04:23 |
If we wanted a little less of the effect,
well, we could decrease the opacity and
| | 04:26 |
then we could paint.
And in this way we could have a little bit
| | 04:29 |
more of a subtle effect in other areas of
the photograph as well.
| | 04:33 |
And here I'm just painting a few brush
strokes in order to change the way that
| | 04:36 |
the focus of this image is, so, we're
brightening up this part of the
| | 04:39 |
photograph.
Now, whenever you work on a mask, it's
| | 04:42 |
almost always a good idea especially when
we're working with light to feather the
| | 04:46 |
edges a bit.
What that will do is it will just sort of
| | 04:49 |
soften your brush strokes even a bit more.
So, again, I like to do that just to make
| | 04:54 |
the adjustments a little bit more smooth.
The look is pretty natural.
| | 04:58 |
It doesn't look like we've dramatically
changed the photograph, which is good.
| | 05:02 |
If ever you notice something that looks
really strange or overdone, it probably
| | 05:05 |
means that you went too far with that setting.
| | 05:08 |
If that's the case, go back to the
adjustment and then modify the slider.
| | 05:12 |
You know, bring it back down to a range
where it looks a little bit more natural.
| | 05:15 |
And sometimes it will look just a little
bit too strange, and you just need to
| | 05:18 |
subtlely nudge that.
The best way to do that is to click on
| | 05:22 |
that point and then use the arrow key.
The down arrow key allows to reduce that
| | 05:26 |
amount, the up arrow key allows you to
bring up that part of the curve.
| | 05:31 |
Alright.
Well, here we have our final product at
| | 05:34 |
least for this stage of the project.
Here, we have the before, and when I click
| | 05:38 |
on these eye icons, you can see then the after.
| | 05:41 |
What's great about this is it allows us to
work on these specific areas of our image,
| | 05:45 |
the shirt, and also the face.
In an addition, what's great about this is
| | 05:49 |
we learned a few handy techniques for
making custom masks.
| | 05:53 |
One technique involved using the Gradient
tool, the other technique involved using
| | 05:58 |
our Brush tool at different opacities, so
that we could brighten up the image in
| | 06:02 |
different areas with different
intensities.
| | 06:07 |
| | Collapse this transcript |
| Creating smoother transitions with a gradient mask| 00:00 |
In this movie we'll build upon what we
talked about in the previous movie.
| | 00:04 |
So, if you haven't seen the previous
movie, go back and check it out.
| | 00:07 |
And here what we'll be looking at, is how
we can work with a gradient in order to
| | 00:10 |
work on a certain area of our photograph
and also how we can hand paint in
| | 00:13 |
adjustments.
It's just that here we're going to get a
| | 00:17 |
bit more advanced.
Let's start off with a gradient
| | 00:20 |
adjustment.
We'll go ahead and click on our adjustment
| | 00:22 |
layer icon for curves.
And what I want to do with the Curves
| | 00:25 |
adjustment here is click and drag this
down to darken the image, and I also
| | 00:27 |
want to work on my white point.
If you click on the white point and bring
| | 00:32 |
that down, that will darken the brightest
whites in your image.
| | 00:36 |
In this case, you can see that it's
reduced the overall contrast, as well.
| | 00:39 |
Here's before, and then now, here's after.
Again, I only want this adjustment to
| | 00:44 |
effect a certain area of the photograph.
So, again we'll select the Gradient tool,
| | 00:48 |
press the G key on your keyboard to do
that, or click on the icon right here.
| | 00:52 |
The gradient that we want to work with is
the same as before, black and white.
| | 00:57 |
You can select the gradient in the options
bar up here as well.
| | 01:00 |
But by default, whatever colors you have
in your foreground and background, that
| | 01:03 |
will then create a gradient based on those
colors, unless you change it in the
| | 01:06 |
options bar.
Now, here I simply want to click and drag
| | 01:10 |
a really small area, so that we can see we
have the lower area of the image.
| | 01:15 |
We darken that up even more to exaggerate
for a moment.
| | 01:18 |
And then the upper area of the image has
the original color or tone.
| | 01:22 |
The reason why I wanted to do this was to
highlight how we can change this
| | 01:25 |
transition area.
If you Option or Alt+click on the mask,
| | 01:29 |
that's Option on a Mac, Alt on Windows,
you can see the mask.
| | 01:34 |
Here it is and here's our little teeny transition.
| | 01:37 |
Well if we click and drag over a larger
area, we can see that we'll have a larger
| | 01:40 |
transition area from black to white.
And in this way, we can control how far
| | 01:45 |
we're creating that little transition area.
| | 01:48 |
Now, if we have a transition area that's
small or one that's big for that matter,
| | 01:52 |
we can smooth that out even more by
increasing the feather.
| | 01:57 |
Here let me exaggerate my feather amount
by really cranking this up.
| | 02:00 |
And you can see how now we have this
smooth, soft transition area.
| | 02:03 |
In this way, this can help us to really
customize that, so that the light fall-off
| | 02:07 |
looks really natural and smooth and soft.
Alright, well let's go ahead and bring the
| | 02:12 |
feather back down.
Let me show you one more thing you can do
| | 02:14 |
with this.
Hold down the Option key on the Mac, Alt
| | 02:17 |
on Windows, and click on the mask.
You can also un-link the adjustment in the
| | 02:22 |
mask.
Click on the link icon to un-link the two
| | 02:25 |
then select the Move tool and with the
mask targeted, you can click and drag and
| | 02:29 |
move that around.
Here I can bring it up or I can pull this
| | 02:33 |
back down.
And this can just help you to sort of
| | 02:36 |
customize exactly where you want that.
Alright well, this adjustment is a bit
| | 02:40 |
over the top so, here let me brighten that
up a little bit more, let me create a
| | 02:43 |
brighter transition area.
I'll grab the Gradient tool and we'll
| | 02:47 |
click and drag over that area in order to
create a nice smooth transition.
| | 02:52 |
And then I'll go ahead and double-click on
the mask and increase the feather amount
| | 02:55 |
just to soften that even more.
Again, it just gives us a little bit of a
| | 03:00 |
natural transition area.
Now, if ever you start to make adjustments
| | 03:03 |
and you realize, you know what?
I like this but it's too intense.
| | 03:08 |
One way that you can change the mask is
with the Density slider.
| | 03:11 |
Let me show you how that works.
Again, let's Option+click the mask on a
| | 03:15 |
Mac or Alt+click the mask on Windows.
With the Density slider, we can click and
| | 03:19 |
drag this to the left and notice that it's
taking what was black and making that
| | 03:23 |
gray.
Remember that black conceals and white
| | 03:27 |
reveals.
So, in this case, what's going to happen,
| | 03:30 |
is more of this adjustment is going to
show up in the upper area of the image.
| | 03:35 |
So, density allows you to change what area
you're limiting in regards to your mask.
| | 03:40 |
Let's look at this in real time.
Option or Alt + click on the mask icon,
| | 03:44 |
and then drag your Density slider down.
Here you can see how more of the image is
| | 03:48 |
affected.
Click and drag that up and now we have
| | 03:50 |
this area which is still limited by this adjustment.
| | 03:53 |
So, density again allows us to specify
which part of our image is affected and to
| | 03:57 |
what intensity to a certain degree.
If we just want to lower the overall
| | 04:02 |
effect, we can use the Opacity slider and
just drag this down so it's not quite so
| | 04:06 |
dark in that area.
Here's the before and then now here's the
| | 04:10 |
after.
All right well, that's the first half of
| | 04:12 |
this project, the next half we're going to
get even more particular.
| | 04:16 |
And we're going to focus in on painting
away shadows in really specific areas.
| | 04:20 |
So, go ahead and leave this file open, as
we'll continue to work on this image in
| | 04:23 |
the next movie.
| | 04:24 |
| | Collapse this transcript |
| Making advanced tone corrections with hand-painted masks| 00:00 |
The next area of this photograph that
we're going to work on is the face.
| | 00:04 |
And here on the face, we're going to focus
on darkening the highlights and
| | 00:07 |
brightening the shadows.
In order to do that, we'll be making two
| | 00:11 |
different Curves Adjustment layers.
And then we'll be hand painting in on the
| | 00:15 |
masks.
Alright, well first let's work on the
| | 00:17 |
shadows.
To do that, we'll click on our Curves
| | 00:19 |
Adjustment Layers icon.
Then grad the targeted adjustment tool.
| | 00:24 |
And position your cursor over the shadows
that we have here underneath the eyes.
| | 00:27 |
Then click and drag up, in order to
brighten that area of the photograph.
| | 00:32 |
Now, obviously this is brightening that
area and the rest of the image as well.
| | 00:36 |
That isn't what we want.
So, here we need to invert the mask.
| | 00:40 |
You probably remember that short cut.
It's Cmd+I on a Mac or Ctrl+I on Windows,
| | 00:44 |
or just go to the Mass panel and click on
the Invert button in order to invert it so
| | 00:48 |
that the mass black.
Once you have a mask which is black, you
| | 00:53 |
want to grab you Brush tool, press the D
key to select the tool or click on the
| | 00:56 |
brush icon.
Then we need to change our brush size.
| | 01:01 |
You can do so by right clicking or Ctrl
clicking on the image.
| | 01:04 |
Here, I want a smaller brush size.
You want a brush size which allows you to
| | 01:07 |
get into the area that you're working on.
So, in this case I'll choose a size which
| | 01:11 |
is nice and small here.
We also want a brush without any hardness.
| | 01:16 |
Then I'll click on another part of the
inner face.
| | 01:19 |
Here we're going to start off with an
opacity of 100% and we want to paint with
| | 01:23 |
white.
Now, this first brush stroke that I'm
| | 01:26 |
going to make here is going to seem to be
a bit over exaggerated.
| | 01:29 |
So, here I'll just go ahead and paint over
this, yet even though it's a bit over done
| | 01:33 |
stick with me because here's what we can do.
| | 01:36 |
Let's Option or Alt click on the mask icon.
| | 01:40 |
In doing that, you can see these two brush
strokes that we have.
| | 01:43 |
Well, to smooth out the brightening
effect, which we have here we'll drag the
| | 01:46 |
Feather slider to the right.
In doing this you can see how this becomes
| | 01:50 |
much softer.
It also will make the overall effect much
| | 01:53 |
more subtle.
So, here Option or Alt click on the mask
| | 01:56 |
icon.
And now when you click on the eye icon you
| | 01:59 |
can see how we have a bit more of a subtle effect.
| | 02:02 |
I'm going to bring this back a little bit
more so that I have a little bit more
| | 02:05 |
definition to it.
And then I'll go ahead and make my brush a
| | 02:09 |
touch bigger by clicking the right bracket
key, and just paint over that area as
| | 02:12 |
well.
Then I want to paint up into this area,
| | 02:15 |
the shadows above the eyes here.
And in doing that, I realize that is a
| | 02:19 |
little bit too strong, so we can lower the opacity.
| | 02:23 |
When you lower the opacity that allows you
to bring in this brightness at a little
| | 02:27 |
bit less intensity.
Here, I am just painting over the eye,
| | 02:30 |
painting over a few of these little shadows.
| | 02:32 |
I'm just looking to brighten up some of
those shadows that we have here in order
| | 02:36 |
to bring a little bit more focus to the
eyes and a little less focus to the
| | 02:39 |
overall shadows there.
Next, I'll bring up my feather amount,
| | 02:44 |
just a touch more in order to soften that.
And then if you've noticed that there's an
| | 02:49 |
area that's too bright, well, just press
the x key, or choose Black as your
| | 02:52 |
foreground color.
And then reduce the opacity.
| | 02:56 |
I like to reduce it way down make the
brush a little bit bigger by pressing the
| | 02:59 |
right bracket key and then you can paint
that back in.
| | 03:04 |
In this way we can have a really natural
look, because we want to make sure that it
| | 03:07 |
still looks natural and normal.
And in this case if we click on the eye
| | 03:11 |
icon you can see there are shadows before.
And now here's the image after.
| | 03:15 |
We can also paint on shadows and other areas.
| | 03:18 |
Here, let me choose White and I'll go
ahead and paint on shadows underneath the
| | 03:21 |
nose, under the lip here, on this side of
the face.
| | 03:24 |
Again, just reducing a little bit of the
shadow, clean a bit more of an even tone
| | 03:27 |
across the photograph.
And we'll just make a few more subtle
| | 03:31 |
adjustment, click on the eye icon.
Here before and then now here after.
| | 03:35 |
And you know a lot of advanced retouching
or advanced work on photographs is done
| | 03:39 |
with this technique here.
Well, now that we've worked on the shadows
| | 03:43 |
let's also darken the highlights because
these are a bit too bright.
| | 03:48 |
To do that we'll click on our Curves
Adjustment Layer icon.
| | 03:51 |
Select the Targeted Adjustment tool and
click on the Highlights and drag down.
| | 03:55 |
This will allow us to darken up those
highlights a bit.
| | 03:58 |
I'm also going to darken my white point as well.
| | 04:01 |
Because I want to bring that down a little
bit more.
| | 04:04 |
Then after having done that, we need to
invert the mask.
| | 04:07 |
Press Cmd+I on a Mac or Ctrl+I on Windows.
Grab the Brush tool.
| | 04:12 |
You'll want to paint with white.
Here we have a nice, big brush.
| | 04:16 |
Currently my opacity is at 20%.
That might be a good starting point.
| | 04:20 |
What you can do is just start to paint
over these areas where you have a little
| | 04:23 |
bit more brightness.
And when you darken areas which are
| | 04:26 |
bright, you're trying to be careful not to
overdo it.
| | 04:29 |
We're not looking to sort of take that
completely away.
| | 04:33 |
We just want to tap that down a bit.
For more intensity, bring the slider up.
| | 04:37 |
And then you can do this in more intense ways.
| | 04:39 |
So, I'll go ahead and paint through these
areas a little bit more and then we can
| | 04:43 |
also click into our curve and we can arken
up those areas even further.
| | 04:48 |
I'm trying to make some pretty subtle
adjustments and so we can see how we're
| | 04:51 |
starting to do that.
Here's before and then now here's after.
| | 04:55 |
Next, let's go the mask.
Increase the feather amount to have smooth
| | 04:59 |
soft edges or transition areas and
sometimes when you are darkening area that
| | 05:03 |
is bright, what you might need to do is to
go back to the curve and modify the color.
| | 05:08 |
And let me illustrate this by exaggerating
for a moment, here I'm going to darken up
| | 05:12 |
this area significantly.
I know that this looks absolutely horrible
| | 05:16 |
but notice how it's effecting the over all color.
| | 05:20 |
Well, if ever you darken up the area of
your photograph and you notice that it
| | 05:23 |
looks a little bit too gray or dark, you
may need to go into one of these channels.
| | 05:28 |
Like the red channel or the blue channel.
And when you go into a channel, say like
| | 05:32 |
the blue channel, you can click and drag
up to make that area more blue.
| | 05:36 |
Or you can click and drag down just to add
a little bit more hue or a little bit more
| | 05:39 |
yellow to it.
Sometimes that can help to get that area
| | 05:43 |
to match up with the skin-tone.
And again, you don't always need to do
| | 05:47 |
that, it's not really that essential here
with this photograph.
| | 05:50 |
Yet nonetheless, we can see how you can
customize that.
| | 05:53 |
Right, well here we have the highlights we
brought down.
| | 05:56 |
Looks like they're a bit too dark for my
liking, so I'll decrease the opacity
| | 05:59 |
slider here.
I just want a real subtle adjustment of
| | 06:02 |
darkening some of those highlights.
And let's look at the overall before and
| | 06:05 |
after of what we've done in this movie.
Here's before, and now here is after.
| | 06:11 |
In looking at the before and after I think
I brightened my shadows a bit too much, so
| | 06:14 |
I'll go down to the Shadows layer and then
decrease the opacity here a little bit as
| | 06:17 |
well.
Again I want a really nice, natural look
| | 06:21 |
on the photograph.
And so you can customize that by using
| | 06:24 |
your opacity sliders.
Now, these steps are a bit more precise
| | 06:29 |
and much more advanced yet they can allow
you to receive really professional
| | 06:33 |
results.
And what's really interesting about these
| | 06:37 |
techniques is that while at first glance
it may seem a bit more difficult or
| | 06:40 |
confusing, if you watch this again, you'll
realize it is a bit more complicated.
| | 06:46 |
Because all that we've done here is we've
built upon this concept of making a curves
| | 06:50 |
adjustment.
And rather having that curves adjustment
| | 06:53 |
affect the entire image, we hand painted
in where we want that adjustment to affect
| | 06:57 |
the photograph.
Then, we looked at how we could soften the
| | 07:01 |
adjustment by increasing the Feather
slider that soften the edges.
| | 07:06 |
We also explored how we could paint with
different opacities in order to paint in
| | 07:10 |
the fact, whether it was to brighten or to
darken at different intensities.
| | 07:15 |
And by using these techniques and
combining all of these different skills
| | 07:19 |
together, it's allowed us to create some
nice results.
| | 07:23 |
Alright, well here let's zoom out on the
photograph so we can see the overall image
| | 07:26 |
and see how it looks all together.
Here it is, our overall before and then
| | 07:31 |
now the after.
| | 07:33 |
| | Collapse this transcript |
| Selective sharpening with a hand-painted mask| 00:00 |
Now, that we know a few more advance
techniques of how we can use masks to
| | 00:04 |
selectivity modify a certain area of our photograph.
| | 00:08 |
What I want to do is wrap up this chapter
with a few practical examples.
| | 00:13 |
We'll start off with this image here, and
what I want to talk about is how we can
| | 00:16 |
selectively sharpen our photographs.
You know, often when we capture images
| | 00:20 |
there are certain areas that we want to
draw the viewer into.
| | 00:24 |
With this photograph of one of my best
friends in the world Martin and his son
| | 00:27 |
Dillon, I want to draw the viewer into
their eyes.
| | 00:31 |
So, what I want to do is sharpen their eyes.
| | 00:33 |
And maybe a little bit of their face.
Also you'll notice that I was using a
| | 00:37 |
shallow depth of field here.
So, that they're in focus and the
| | 00:40 |
background is out of focus.
And so again, I only want to sharpen a
| | 00:43 |
certain part of the photograph.
Well, to do that, let's start off by
| | 00:47 |
copying the Background layer, applying
some sharpening to that layer and then
| | 00:50 |
masking in where we want the sharpening to
be applied to the photograph.
| | 00:55 |
All right?
Well, here click in the Background layer,
| | 00:58 |
then press Cmd+J on a Mac, Ctrl+J on
Windows to copy or to duplicate that
| | 01:02 |
layer.
Double click the layer name, and you can
| | 01:06 |
rename it.
We'll rename this layer Sharpen.
| | 01:10 |
The type of sharpen that typically works
best is Smart Sharpen.
| | 01:13 |
So, here you can access that by going to
your Filter Pull down menu choose Sharpen,
| | 01:17 |
and then click on the option for Smart Sharpen.
| | 01:22 |
This will launch or open up our smart
sharpen dialogue.
| | 01:25 |
Now, if your dialogue appears smaller than
this, you can always change that by
| | 01:28 |
hovering over the edge of the dialogue or
the corner.
| | 01:32 |
And you can click and drag it out.
I like to have this at full screen, so I
| | 01:35 |
can really focus in on a larger area of
the photograph.
| | 01:39 |
Next, we need to dial in our settings.
Typically it's best to work with Lens
| | 01:44 |
blur.
So, leave that default setting as is.
| | 01:47 |
In regards to the radius, right here I can
already tell that it's too high.
| | 01:51 |
I'm going to drop this back to say,
something around one or so.
| | 01:55 |
This radius controls the edges.
So, if you ever find that the edges are
| | 01:59 |
glowing or just look unnatural, we'll go
ahead and drop the radius amount.
| | 02:03 |
Next, we have the Amount slider, we'll
bring this up and what I want to find is a
| | 02:07 |
nice amount here, where the photograph
looks crisp and sharp, and again, I'm
| | 02:10 |
focusing in on the eyes and the important
details in this picture.
| | 02:16 |
Regards to the Noise slider, you know
what, that looks pretty good.
| | 02:18 |
There isn't a lot of noise in this image,
so I'm not too worried about that.
| | 02:22 |
Alright, well, after having dialed in my
settings here, by using these sliders,
| | 02:25 |
we're ready to apply the sharpening.
Yet, before we do, you can click on the
| | 02:30 |
image to see the before.
Let go and you can see the after.
| | 02:34 |
I'll zoom in past 100% so you can see this
a bit better.
| | 02:37 |
Here's the before and then now here's the after.
| | 02:40 |
With your photographs, you don't need to
zoom in that far, yet I just wanted to do
| | 02:43 |
that so you could see the difference a
little bit better.
| | 02:47 |
Alright next, to apply the sharpening
effect, click OK.
| | 02:51 |
Well, after you've done that, what we need
to do is to create a mask.
| | 02:54 |
And, one of the things that we know about
this project is that we want the
| | 02:57 |
sharpening to be applied to a limited area.
| | 03:01 |
So, I know that eventually I'm going to
need to have a mask which is filled with
| | 03:04 |
black, which conceals the sharpening, and
then I'll paint with white to bring it
| | 03:07 |
back.
So here, I want to share with you a great
| | 03:11 |
shortcut, which allows you to create a
mask by default, which is filled with
| | 03:14 |
black.
You know, when you click on the Add Layer
| | 03:18 |
Mask icon, it creates a mask which is
filled with white.
| | 03:21 |
Yet, if you hold down the Option key on a
Mac, Alt on Windows, and then click on
| | 03:24 |
that icon.
Well, it gives you a mask which is filled
| | 03:27 |
with black, which in most scenarios,
that's what you need when it comes to
| | 03:31 |
selectively sharpening your photographs,
or modifying your images in really
| | 03:34 |
specific areas.
Typically, you want that mask filled with
| | 03:39 |
black, so that you can then start right
away to paint with white.
| | 03:43 |
Alright, well, press the B key to select
the Brush tool.
| | 03:46 |
Here, we want to paint with white.
Next, we want to choose our brush size.
| | 03:50 |
Now, if we want to paint over the entire
area, say, of the faces, we might start
| | 03:54 |
with a really large brush size which
allows us to do that.
| | 03:58 |
We also want to have 0% hardness.
Next, what about opacity?
| | 04:03 |
What I like to do, is I like to take my
Opacity slider down.
| | 04:07 |
Here, I'm going to drop it below 50%, I'll
go all the way down to 40.
| | 04:11 |
What this allows you to do is to paint
over your image so that you can sharpen
| | 04:15 |
the whole area, in this case at 40%.
I'll do the same thing with this other
| | 04:19 |
side of the face over here.
And again that's just applying the
| | 04:22 |
sharpening everywhere.
Here let me zoom in a little bit closer so
| | 04:25 |
you can see this.
And if we click on the Eye icon it's
| | 04:29 |
going to be tough to see.
But you should a subtle snap.
| | 04:33 |
So, that the whole face is now a bit sharper.
| | 04:36 |
Then I want to get more precise with the eyes.
| | 04:39 |
So, here I'll crank the opacity up to 100%.
| | 04:43 |
Then I need a smaller brush size.
Press the left bracket key to decrease the
| | 04:47 |
brush size, and then bring in the sharpen
effect at full force.
| | 04:51 |
At full 100 percent intensity here on the eyes.
| | 04:54 |
So, that we can then sharpen those eyes up
because those are so important in a
| | 04:58 |
photograph like this.
So, if we were to look at the mask, it
| | 05:02 |
looks pretty funny here.
I will Option or Alt click on it.
| | 05:05 |
You can see I've sharpen the face at this
intensity a little bit less.
| | 05:09 |
And then I've brought in the full
intensity here on the eyes.
| | 05:13 |
If you Option or Alt click on the mask you
can see the image.
| | 05:16 |
And when we click on the eye icon we
should see the before and after and again
| | 05:20 |
let me zoom in past 100% so you can really
see how this looks.
| | 05:24 |
Here we have the image before and then now
we have the image after.
| | 05:29 |
And in this way we're able to selectively
sharpen the image in two different ways.
| | 05:34 |
We sharpen the face at a certain
intensity, it was about 40%, and then we
| | 05:38 |
sharpen the eyes at 100%, which really
makes those eyes snap.
| | 05:43 |
What you'll want to do is evaluate your
photograph at 100%, here I need to do that
| | 05:46 |
with my image, so I'm just going to look
at it.
| | 05:50 |
Make sure it looks good, here's the before.
| | 05:52 |
Click Again, and now here's the after.
| | 05:54 |
| | Collapse this transcript |
| Removing small blemishes quickly| 00:00 |
In this movie, I want to highlight a
really helpful technique, which will allow
| | 00:03 |
you to reduce blemishes in your photographs.
| | 00:07 |
And this technique is helpful when you're
working on people photographs, or if you
| | 00:10 |
have a landscape picture and you're
working on details that you have in the
| | 00:13 |
sky.
Perhaps you have some dust that was on
| | 00:16 |
your lens.
And you need to remove all of these little
| | 00:19 |
blemishes.
What this technique allows you to do is to
| | 00:22 |
apply a filter on a new layer.
Then, create a mask and hand paint in
| | 00:27 |
where you are actually reducing these blemishes.
| | 00:30 |
We'll be working with this portrait here.
Let's go ahead and zoom in on the image.
| | 00:33 |
And here, we're going to zoom in really close.
| | 00:36 |
And in this case, the subject, Katrina has
near perfect skin.
| | 00:39 |
She doesn't really have any blemishes at all.
| | 00:42 |
But she does have some freckles, and if we
want to reduce or remove these freckles,
| | 00:45 |
we can use this technique.
And what it will do is, it will really
| | 00:49 |
illustrate how this technique works.
You know, sometimes what you'll be doing
| | 00:53 |
is, rather than removing freckles, you may
be reducing acne or small little skin
| | 00:57 |
variations or some problem like that.
And again, you can try this technique out
| | 01:02 |
in those situations as well.
Well let's copy the Background layer.
| | 01:06 |
Press Cmd+J on a Mac, or Ctrl+J on Windows.
| | 01:09 |
And let's rename this new layer Clean Up.
Next, we're going to navigate to our
| | 01:13 |
Filter Pull down menu and the filter that
we're looking for is underneath noise,
| | 01:17 |
it's called dust and scratches.
And here we'll go ahead and click on that
| | 01:22 |
menu item, and it will open up our Dust
and Scratches dialogue.
| | 01:26 |
Now, what this dialogue allows you to do
is it allows you increase the radius so
| | 01:30 |
that eventually the image just becomes
very soft.
| | 01:34 |
Here, this is obviously exaggerated but it
illustrates what's happening is it's
| | 01:38 |
essentially just softening out the
variation or the variance that you have
| | 01:41 |
here in your photograph.
When you bring up the threshold slider, it
| | 01:45 |
allows you to bring back some of the
original details in the photograph.
| | 01:49 |
So, the way that you use this slider is in
this way.
| | 01:51 |
You start off with the low radius and no threshold.
| | 01:55 |
Then you nudge up your radius a little bit
at a time until you see the blemishes that
| | 01:58 |
you're targeting, in this case freckles, disappear.
| | 02:02 |
Here we have that at about 7 or 8.
Then you slowly bring up your threshold,
| | 02:07 |
to bring back some of the original texture
of the file.
| | 02:10 |
If you bring this up to high, well, you'll
bring back all of the blemishes.
| | 02:14 |
So, it's a bit of a give and take here.
You want to find just the right spot,
| | 02:17 |
where all of those blemishes have been
reduced, but where you have nice texture
| | 02:20 |
in the photograph.
Now, here when we click OK in order to
| | 02:24 |
apply this.
With a radius of 8, threshold of 12, we'll
| | 02:27 |
see that this has really wrecked the
entire photograph.
| | 02:31 |
If you click on the Eye icon, you can see
the before and then now the after.
| | 02:36 |
While the skin looks good, the eye, we've
completely lost the sharpness there, the
| | 02:40 |
hair looks horrible.
So, what we need to do is create a ask
| | 02:43 |
that's filled with black.
Do you remember the shortcut to do that?
| | 02:47 |
Hold down the Option key on a Mac, Alt on
Windows and click on the Add Layer Mask
| | 02:50 |
icon.
That creates a mask filled with black
| | 02:54 |
concealing all of the noise reduction.
Well, now that we've done that, we're
| | 02:58 |
ready to grab our Brush tool.
Press the B key to do so.
| | 03:02 |
You want to paint with white.
Here in regards to our brush, make sure
| | 03:06 |
there is no hardness.
You want a relatively small brush size.
| | 03:10 |
So you can start to paint over those areas
and we want to paint in at 100% opacity.
| | 03:15 |
And what I'll do is just start to paint
over the area where we have these
| | 03:17 |
freckles.
And now, again, in this image, this isn't
| | 03:21 |
really a necessary step, but sometimes a
client might ask you to reduce a certain
| | 03:24 |
blemish.
And here, is a technique that you can use
| | 03:28 |
in order to do so.
This works really well with acne and other
| | 03:32 |
skin issues as well so anything where you
have a little bit of skin variation.
| | 03:36 |
In this case, I'm just painting over this
area of the photograph in order to reduce
| | 03:39 |
the small little variations that we have
from the freckles there.
| | 03:44 |
And here, as we click on the eye icon, you
can see as the before.
| | 03:47 |
Let me zoom in closer so you can see that better.
| | 03:49 |
Here's the before.
And now here's the after.
| | 03:52 |
And what this allows us to do is paint in
this noise reduction technique into really
| | 03:56 |
specific areas, and the advantage of this
is that we can then still have the
| | 03:59 |
sharpness in our photograph which we need.
In this case, we need the eye to be sharp.
| | 04:06 |
But we're able to clean up any small
little blemishes that we have.
| | 04:10 |
And again, while I'm showing you this
thechnique on a portrait.
| | 04:14 |
Keep in mind that you can use this on many
different types of photographs.
| | 04:18 |
And this is one of those techniques, which
I find can help you out when you have a
| | 04:21 |
lot of little blemishes throughout your
photograph and you need to quicky remove
| | 04:25 |
those.
Now, sometimes you may be thinking, well,
| | 04:29 |
why not use, say, your spot healing brush
in order to remove these small spots.
| | 04:34 |
Well, in this case, they're just too small
and there are just too many.
| | 04:38 |
So here, by using this technique, it
allows us to work much more quickly, and
| | 04:41 |
it allows us to come up with some really
nice results, which in turn, would be
| | 04:44 |
better than using the spot healing brush.
So not only does this technique sometimes
| | 04:50 |
work faster, sometimes, in certain
situations, it even works better.
| | 04:55 |
| | Collapse this transcript |
|
|
8. Discovering the Power of Blending ModesIntroducing the magic of blend modes| 00:00 |
There are certain techniques and tools in
Photoshop which sometimes can be difficult
| | 00:03 |
and frustrating.
Then there are other tools and techniques
| | 00:07 |
which are exciting and fun and that's
definitely the case with blending modes.
| | 00:12 |
Here in the chapter we're going to focus
in on how we can use Blending modes and in
| | 00:15 |
this first movie I want to give you some
information so that you can really
| | 00:18 |
understand how Blending modes work.
Then in the next movies, we'll put in a
| | 00:23 |
practice all that we've learned.
I want to start off with this demo file
| | 00:26 |
here, and if you turn on the Eye icon the
visibility of the top layer, you'll notice
| | 00:30 |
that we have two distinct images.
And I have this demo file here in order to
| | 00:35 |
illustrate how blending modes work.
Blending modes allow us to combine things
| | 00:40 |
together, but they allow us to do this in
kind of a unique way.
| | 00:44 |
Once you target a layer, what you can do
is access the Blending Mode Pull down menu
| | 00:47 |
by clicking this icon here.
Notice that we have a number of different
| | 00:52 |
blending modes, also notice that they're
grouped together.
| | 00:55 |
Do you see those little dividing lines?
Well, if we click on a certain Blending
| | 00:59 |
mode it will blend these two images
together in a unique way.
| | 01:03 |
This first group here allows us to blend
images together in a way that it creates a
| | 01:06 |
bit of a darkened effect.
Here, if we choose one from the next
| | 01:11 |
group, this group allows us to do the opposite.
| | 01:14 |
Here, you can see the images now much brighter.
| | 01:16 |
Then next, making our way down, we have a
group which allows us to blend together,
| | 01:20 |
but also add a bit of contrast.
And in this way we have this really
| | 01:25 |
distinct or unique look.
Now, Blending modes can be used to create
| | 01:28 |
looks like this or correct exposure or to
brighten eyes.
| | 01:32 |
They can be used for so many different things.
| | 01:34 |
So, because Blending modes are one of
these tools or techniques which really are
| | 01:38 |
fun to use once we understand how they work.
| | 01:41 |
What I want to do is dig a bit deeper so
that you can truly understand how they
| | 01:45 |
work.
So here, I'm going to navigate to my other
| | 01:48 |
tab where I have this document open and I
want to walk through a few slides.
| | 01:53 |
I'll press F a few times to go to Full
Screen mode.
| | 01:55 |
And then here, I'm just going to go
through these slides.
| | 01:57 |
What we've already discovered is that
blending modes allow us to combine two
| | 02:01 |
things together in order to come up with a
different result.
| | 02:05 |
In a way, I kind of think of this as
sandwiching two things together so that we
| | 02:08 |
have something completely or entirely different.
| | 02:12 |
Now in order to work with Blending modes
we've seen that we have this Pull Down
| | 02:15 |
menu here.
And we have these various groups, which
| | 02:19 |
allow us to blend images together in a
different way.
| | 02:23 |
The key to understanding Blending modes is
to understand how these are grouped
| | 02:26 |
together.
So, here I want to make a bit of an
| | 02:29 |
oversimplification so that you can
understand the grouping.
| | 02:33 |
Now, this first group it's all about
darkening, so it's going to blend and
| | 02:36 |
darken.
The second group, well, that ones all
| | 02:39 |
about brightening and lightening or blending.
| | 02:42 |
The third group allows us to blend things
together in a way that we can create a
| | 02:46 |
unique or interesting contrast.
Next, we have a few Blending modes, these
| | 02:51 |
are helpful for comparison or creating
really fascinating color effects.
| | 02:56 |
Last but not least, we have some Blending
modes, which are helpful when we're
| | 02:59 |
working with color.
Alright, well, now that we know a little
| | 03:02 |
bit about what a Blending Mode is and how
we have these different groups of Blending
| | 03:06 |
Modes, let's see this in action.
In order to do that, I'll open up an
| | 03:10 |
image.
And I'll bring back our Blending Modes
| | 03:12 |
pull down menu on the left over there.
Sometimes one of the best ways to
| | 03:17 |
understand Blending modes is to blend a
gray-scale into another image.
| | 03:22 |
Let me pull one option up.
Here, you can see I essentially have these
| | 03:26 |
different strips of brightness: all the
way from pure black, here's middle gray,
| | 03:29 |
and then up to pure white.
The reason why I have this is I want to
| | 03:34 |
illustrate a few different Blending modes.
First, let's look at a Blending mode,
| | 03:38 |
which allows us to darken.
Here you can see we have a bit of a darker
| | 03:42 |
effect, but the whites well, they aren't
even affected.
| | 03:46 |
In contrast, if we select one of our
lighten Blending modes you can see the
| | 03:49 |
exact opposite.
So, in this way, we're starting to see
| | 03:53 |
that these two groups, will they work in
opposite ways?
| | 03:56 |
Now, I don't anticipate or expect that you
really understand this just yet, but what
| | 03:59 |
I do want you to understand is that this
group darkens.
| | 04:03 |
The next group does the opposite, it
lightens or brightens.
| | 04:06 |
The third group, well that allows us to
work on contrast.
| | 04:10 |
So, here the blacks become blacker, the
middle gray nothing happens, and then the
| | 04:14 |
whites become whiter. Alright?
| | 04:17 |
Let's move to another slide.
Here, we have a different grey scale and
| | 04:20 |
again, I just want to walk through the differences.
| | 04:23 |
Here's one of the darkening Blending
modes, then here's one of the lightening,
| | 04:26 |
and then again, here we have one of the
contrast Blending modes.
| | 04:30 |
All right, well, what about some of these
other groups, like comparison or color?
| | 04:34 |
Well, for comparison, you can see that
I've opened up another version of this
| | 04:38 |
image.
Sometimes, when you're compositing, you
| | 04:41 |
can use a Blending mode, which is called difference.
| | 04:44 |
Right now, this difference Blending mode
looks really strange.
| | 04:47 |
Kind of an interesting color though, but
what this will help us to do, is to align
| | 04:51 |
things.
So, if I need to align these two images
| | 04:54 |
notice, that as I'm getting closer I'm
seeing less variation until its completely
| | 04:58 |
gone.
If I press the arrow keys to nudge this
| | 05:01 |
around you can see how I'm seeing
everything but then this Blending mode
| | 05:04 |
helps me to know when its right there its perfect.
| | 05:08 |
After having done that of course, we could
then change it back to its, regular
| | 05:11 |
Blending mode, an then perhaps composite
two images together.
| | 05:14 |
So again, this group is helpful for
effects or for comparison.
| | 05:19 |
Then the next group, here's where we can
work with color.
| | 05:22 |
Currently you can see that I have, a color
rectangle sitting on top of the image.
| | 05:27 |
Now, when you have color, the trick is
that you can't see through it unless you
| | 05:31 |
use a Blending mode.
If we were to use the color Blending mode,
| | 05:35 |
for example, what we would be able to see
is through this red and not only can we
| | 05:39 |
see through it, but we can see the shadow
and the texture detail.
| | 05:44 |
In this way, it can help us to create
really unique or fascinating color
| | 05:48 |
effects.
There's also another color Blending mode,
| | 05:51 |
which is helpful especially when
sharpening your photographs.
| | 05:55 |
It's called luminosity.
It's the very last Blending mode that we
| | 05:58 |
have here.
Here you can see I opened up a slide where
| | 06:00 |
I have red, green and blue and all of
these little artifacts.
| | 06:04 |
Sometimes when you sharpen an image, what
can happen is you can exaggerate or bring
| | 06:08 |
out unwanted color noise.
And so here I have some example of color
| | 06:12 |
noise.
Obviously it's amplified and really huge.
| | 06:16 |
But I've made this huge to illustrate a point.
| | 06:18 |
If I choose the Blending mode of
luminosity, take a look at what happened.
| | 06:23 |
Well, it removed the color altogether, and
rather than showing the color, really
| | 06:27 |
primarily it's showing the brightness
value of those colors.
| | 06:32 |
Now, it won't completely remove color
altogether but sometimes when you're
| | 06:35 |
sharpening your images, what you can do is
sharpen to a new layer and change the
| | 06:38 |
Blending mode to luminosity to make sure
that you aren't sharpening any uunwanted
| | 06:41 |
noise.
Now again here, I'm just trying to
| | 06:45 |
highlight some of the uses of why we might
use these Blending modes.
| | 06:49 |
You know, there are so many different
reasons for using Blending modes.
| | 06:52 |
Yeah, what we need to do is this.
We need to have this working understanding
| | 06:56 |
of how they work.
And again, it all begins with thinking
| | 06:59 |
about how they're grouped together.
Are you with me?
| | 07:02 |
The first group is about darkening.
The second group is about lightening or
| | 07:06 |
brightening.
The third group, well that's about
| | 07:08 |
contrast.
Then we have comparison effect.
| | 07:10 |
And finally some Blending modes, which
help us with blending color.
| | 07:14 |
Alright, well now that we've been
introduced to this whole concept of
| | 07:17 |
Blending modes, what I want to do is put
into practice what we've learned, and have
| | 07:20 |
some fun working on some photographs and
some different techniques that we can use
| | 07:23 |
with these.
So, let's go ahead and start to work with
| | 07:26 |
Blending modes, and let's do that in the
next movie.
| | 07:29 |
I'll see you then.
| | 07:30 |
| | Collapse this transcript |
| Using the Soft Light blending mode to increase visual impact| 00:00 |
In order to begin to develop a practical
understanding of how we can work with
| | 00:03 |
Blending modes, here I want to start with
one of the most common blending modes for
| | 00:07 |
photographers, and that is soft light.
And we'll take a three step approach.
| | 00:13 |
We'll start really simple, and then we'll
build upon what we've learned here.
| | 00:17 |
Well, this is a photograph that looks
really nice yet, I want to add more
| | 00:20 |
contrast and more density.
In order to do that, we'll copy the
| | 00:24 |
Background layer.
Press Cmd+J on the Mac, Ctrl+J on Windows.
| | 00:28 |
And I'll rename this layer, soft light.
Next, in order to apply the blending mode
| | 00:32 |
to this layer, we'll click on the
Pull-down menu.
| | 00:35 |
And we'll go about halfway down until we
find Soft Light.
| | 00:39 |
Here, when we click on Soft Light, we can
see, the photograph looks a lot better.
| | 00:43 |
Here's before, and then now here's after.
And what soft light allows us to do is to
| | 00:48 |
build up contrast and color saturation,
and in this case it works really well.
| | 00:53 |
And so, certain images you may blend the
actual image back into itself in order to
| | 00:57 |
bring out more color or contrast as we've
done here.
| | 01:02 |
In other situations, you may use this
blending mode for a creative effect, to
| | 01:06 |
blend in texture or blend in two images together.
| | 01:09 |
Well, let's take a look at an example like that.
| | 01:12 |
Here, I'll click on the Next tab which is demo.psd.
| | 01:16 |
And this is the file that we saw in the
previous movie.
| | 01:19 |
Here when I turn on the visibility of my
top layer, we can see that we have a
| | 01:22 |
building up here.
Yet before we get to that, let's go ahead
| | 01:25 |
and click into the Background layer and do
the same thing again.
| | 01:28 |
Press Cmd+J on a Mac or Ctrl+J on Windows.
Here, I'll name it SF for soft light, then
| | 01:33 |
I'll click on the Pull-down menu.
And about halfway down, once again choose
| | 01:38 |
Soft Light.
All that I'm doing here again is building
| | 01:41 |
up contrast and color saturation.
And I'm doing that in preparation for
| | 01:46 |
blending another image into this new look,
or this new blended look of what I've
| | 01:49 |
created down below.
Next, let's turn on the visibility of the
| | 01:54 |
top layer, Building.
In order to blend this with the underlying
| | 01:58 |
layers, again, we'll click on our
Pull-down menu, and here we'll choose Soft
| | 02:01 |
Light.
Well, now in doing that we have this
| | 02:05 |
really fascinating effect.
And if we click these layers, you can see
| | 02:08 |
the middle layer, well, that just gave me
more color and more contrast, a different
| | 02:11 |
shade of blue.
And then the top layer of course was the
| | 02:15 |
one that brought in the building, and a
little bit of the clouds as well.
| | 02:20 |
And so, here what we are starting to see
how we can use blending mode sometimes to
| | 02:23 |
boost contract or color.
In other situations, it can help us to
| | 02:28 |
blend multiple images together.
Well, now that we started to see how we
| | 02:32 |
can use Soft Light.
Lets go head an continue to build up on
| | 02:35 |
what we have learned.
Let's do that in the next movie.
| | 02:38 |
| | Collapse this transcript |
| Using multiple blending modes for the best results| 00:00 |
In this movie, I want to take a look at
how we can use multiple blending modes in
| | 00:03 |
order to create a unique or distinct effect.
| | 00:06 |
You know, Photoshop has a way of keeping
you on your toes.
| | 00:09 |
So, a lot of times what will happen is
you'll learn a technique, like how you can
| | 00:12 |
use the Soft Light blending mode and
you'll get excited about blending a couple
| | 00:15 |
of images together, like this portrait and
this picture of these fascinating clouds
| | 00:18 |
that I captured in the desert.
So, we select the clouds layer and we go
| | 00:24 |
to the Pull-down menu, and here we choose
Soft Light and cross our fingers, and it
| | 00:27 |
doesn't look very good.
And it doesn't look very good in this
| | 00:31 |
case, because the way that Soft Light
blending works is, it's a contrast
| | 00:34 |
blending mode.
And the underlying image, well, it has a
| | 00:38 |
lot of darkness to it.
The black background is sort of just
| | 00:41 |
absorbing all of the blending.
So, we can't even really see it very much.
| | 00:46 |
So, what we need to do is to try to find
another blending mode.
| | 00:50 |
And there's a great technique that you can
use in order to scroll through your
| | 00:52 |
blending modes.
You could of course, click around and try
| | 00:55 |
all the various blending modes, or you
could use this really handy shortcut.
| | 01:00 |
Now, you need to make sure that you have
the Move tool selected, and then what you
| | 01:03 |
can do is you can press Shift+Plus or Minus.
| | 01:06 |
Here, I’ll go ahead and press Shift+Plus,
and it will move forward through all of my
| | 01:09 |
blending modes.
Sometimes, if you just simply tap
| | 01:12 |
Shift+Plus, and keep going through your
blending modes, you can make your way
| | 01:15 |
through all of these until you find one
that might work for your photograph.
| | 01:20 |
So far, I haven't found anything yet, but
I'm going to keep looking.
| | 01:23 |
I'm not going to give up until I get to
something that I think will work.
| | 01:27 |
And here you can see, I've gone almost all
the way through the blending modes until I
| | 01:30 |
got to Screen.
And you know what?
| | 01:33 |
Sometimes you wouldn't discover what
blending mode would work unless you use
| | 01:36 |
that shortcut.
It would just take too much time.
| | 01:40 |
So, this is a shortcut I recommend you
write down, put it on a sticky note next
| | 01:42 |
to your computer.
It's really helpful.
| | 01:45 |
Again press the V key, select a layer, and
then press Shift+Plus, or Minus to scroll
| | 01:49 |
through the blending modes.
Well, now that I have kind of this
| | 01:53 |
interesting effect with this cloud
portrait type of a look, I'm going to turn
| | 01:56 |
on the visibility of my top layer, another
photograph of the clouds.
| | 02:01 |
And this time, I'm going to try to use a
blending mode which I know will boost up
| | 02:04 |
the contrast.
because the image is already bright.
| | 02:06 |
So, I'm going to go back to good, old soft light.
| | 02:09 |
Now, in doing that, this top layer I think
really helps this image come together.
| | 02:13 |
It's much more atmospheric, but it also
has some density to it as well.
| | 02:18 |
And so, here, we're seeing two things.
We're learning one, that we have a
| | 02:21 |
shortcut, which we can use to scroll
through blending modes.
| | 02:24 |
And then two, we're starting to see that
we can stack up blending modes.
| | 02:28 |
We can have one layer On Screen, we can
have another layer on a different blending
| | 02:31 |
mode.
And if you ever want more intense version
| | 02:35 |
of a blending mode, well, you can always
duplicate the layer.
| | 02:38 |
Here, I'll click and drag this to the new
layer icon.
| | 02:41 |
And what that will do is it will give me
two layers with this, where I both have
| | 02:44 |
soft light on those.
And here you can see it just built up that
| | 02:48 |
overall effect.
If you effect's too strong, just use your
| | 02:51 |
opacity slider.
So, again, the point here is just to start
| | 02:54 |
to think about how you can combine
multiple blending modes together when you
| | 02:58 |
have multiple layers.
And sometimes, that can help you to come
| | 03:02 |
up with some interesting or creative
effects.
| | 03:05 |
| | Collapse this transcript |
| Improving underexposure| 00:00 |
In this movie, we're going to take a look
at a few examples where we can use
| | 00:03 |
blending modes in order to improve exposure.
| | 00:06 |
And a long the way, I'll share a few tips
and tricks with you that you can use in
| | 00:09 |
order to make your photographs look better.
| | 00:12 |
Now so far we've looked at how we can
blend images together in order to create
| | 00:16 |
contrast or color saturation or to create
a unique effect.
| | 00:20 |
Now we're going to look at how we can
correct exposure.
| | 00:22 |
And what we've seen so far is that we can
copy a layer and apply a blending mode to
| | 00:26 |
it.
Yet we can also apply blending modes to
| | 00:29 |
adjustment layers as well, and will
achieve exactly the same effect.
| | 00:34 |
So, here I'll click on my curves
adjustment layer icon and I'll close the
| | 00:37 |
Properties panel for a moment.
And in this case I want to apply a
| | 00:40 |
blending mode to this layer.
Here I'm going to click on my Blending
| | 00:43 |
Mode pull-down menu.
And I'm going to talk about these
| | 00:46 |
different blending modes that we have.
If you were to learn blending modes, the
| | 00:50 |
ones that you'll want to learn about and
use most frequently are multiply, screen,
| | 00:54 |
soft light, color, and luminosity.
Now, so far we've talked about soft light
| | 00:58 |
so, let's move to a few others.
The next one I want to look at is screen.
| | 01:03 |
You can think of this blending mode as if
you had two projectors and two projectors
| | 01:07 |
had the same image and they're pointed at
the same screen.
| | 01:11 |
In other words it would be double the
brightness of the photograph.
| | 01:15 |
Here with this image, that's exactly what
we need.
| | 01:17 |
When we change the blending mode to
screen, the image becomes even brighter.
| | 01:21 |
Alright, well let's look at another
example where we can use this blending
| | 01:24 |
mode and another to improve a photograph.
Here I'll click on this photograph which I
| | 01:29 |
have open in another tab, it's titled surfer.psd.
| | 01:33 |
The great thing about this photograph is
it's a really fantastic moment action
| | 01:37 |
shot.
Yet, I want to brighten up the exposure in
| | 01:40 |
this area of the picture.
So, here, I’m going to zoom out a little
| | 01:43 |
bit so we can see a bit more of the
photograph and then I’ll click on my
| | 01:46 |
curves adjustment layer icon.
And once again, I’m going to use that
| | 01:50 |
blending mode which we saw in the previous
movie and that one is screen.
| | 01:54 |
And we think of screen as having two
projectors, projecting onto the same
| | 01:57 |
screen, double the brightness value.
Alright great, it brightened up this area
| | 02:02 |
but the background, this wave doesn't look
very good.
| | 02:06 |
So, we need to do some masking.
First I want to invert the mask, you can
| | 02:09 |
invert your mask by pressing Cmd+I on a
Mac or Ctrl+I on Windows.
| | 02:15 |
Then we'll select our Brush tool, press
the B key to choose that.
| | 02:19 |
We'll paint with white.
Now we need to choose our brush size.
| | 02:23 |
Here we can have a pretty large brush,
because we're just going to paint over
| | 02:26 |
this area.
So, I'll just go ahead and click and drag
| | 02:28 |
this up till I have a nice, big brush there.
| | 02:30 |
No hardness on the brush there, nice soft
edge brush.
| | 02:34 |
Next, I'll go ahead and just start to
click over this area, in order to brighten
| | 02:36 |
up this part of the photograph.
Now at this stage of the process it
| | 02:40 |
doesn't look very good.
If we zoom in a little bit, you can see
| | 02:44 |
that sure we're brightening up the image,
but in doing that we also lost a little
| | 02:47 |
bit of contrast.
So, before I fix the contrast, I need to
| | 02:51 |
change my brush size actually, and just
paint in a little bit of brightness up
| | 02:54 |
here in this part of the image, just so
it's consistent.
| | 02:58 |
Okay great.
Well, now what I want to do is bring some
| | 03:00 |
contrast and color saturation to that
area, right?
| | 03:03 |
Because when you brighten things up,
imagine putting two projectors onto one
| | 03:07 |
screen.
You can't see the image as clearly.
| | 03:10 |
You've lost a bit of the density.
Well, what we can do, is we can take
| | 03:14 |
advantage of the layer that we've already created.
| | 03:17 |
And duplicate it, press Cmd+J on a Mac or
Ctrl+J on Windows to do that.
| | 03:22 |
And rather than using the blending mode of
screen, we're going to use Soft Light.
| | 03:26 |
When I click on the Soft Light option, all
of a sudden the image looks phenomenal.
| | 03:31 |
Check this out.
If we look at our before and after.
| | 03:33 |
Here it is, here's before, a little bit
lack luster, and then here's after, with
| | 03:37 |
two simple steps.
And what you can do even further, if you
| | 03:41 |
realize that you know what, it brightened
the image too much?
| | 03:44 |
Well click undo the adjustment layer where
you have the Screen Blending mode and then
| | 03:48 |
just decrease the opacity.
Here we can darken that area up a bit or
| | 03:51 |
if you feel like there's too much contrast
or color saturation, click into the
| | 03:54 |
adjustment layer where you have the
blending mode of Soft Light.
| | 03:58 |
And then lower the opacity.
And in this way we can customize exactly
| | 04:01 |
how we want all of these layers to blend
together, alright?
| | 04:05 |
Well, let's look at our overall before and
after one more time.
| | 04:08 |
Here it is before and then now, the after,
after we created two layers and use two
| | 04:12 |
different blending modes.
That was the blending mode screen and we
| | 04:17 |
masked in the adjustment into the lower
area of the image.
| | 04:21 |
Then we duplicated that layer and changed
the duplicate layer to the blending mode
| | 04:25 |
of Soft Light.
| | 04:26 |
| | Collapse this transcript |
| Stacking blending modes together| 00:00 |
This movie in a way is a bit of a
continuation from the previous movie.
| | 00:04 |
Why I introduced you to the concept of how
you can stack multiple blending modes
| | 00:08 |
together in order to create a unique look.
Well, here we're going to do something
| | 00:14 |
similar, but I also want to highlight a
few differences between a couple of
| | 00:16 |
blending modes that you might want to use.
Now, in the previous movie, I mentioned
| | 00:21 |
how you can duplicate your layers or you
can use Adjustment layers and apply the
| | 00:23 |
blending modes to those layers.
Now, either technique works, there isn't
| | 00:28 |
one which is better than another.
So, here, in this movie, I'm simply going
| | 00:31 |
to copy my Background layer.
So, I'll press Cmd+J in order to copy it.
| | 00:36 |
And this layer I'm going to go ahead and
name screen.
| | 00:38 |
Next, from my Blending Mode Pull-down
menu, I'll choose the Screen Blending
| | 00:42 |
Mode.
This allows me to brighten the image.
| | 00:45 |
And in this case, you can see that it's
bringing out some of the detail.
| | 00:49 |
And what I'm going to do next is bring
that back down or add some more contrast
| | 00:52 |
with it, and also highlight a few blending
modes that you can use to do that.
| | 00:56 |
We'll start off with soft light and look
at a few others.
| | 00:59 |
So, let's copy this layer again.
Press Cmd+J on a Mac, or Ctrl+J on
| | 01:02 |
Windows.
I'm just going to name this layer
| | 01:05 |
Contrast.
Now from the Pull-down menu, we know that
| | 01:08 |
we can access Soft Light, we've talked
about that before.
| | 01:11 |
With this photograph, it creates a pretty
unique look.
| | 01:14 |
Let me zoom in on the photograph so, you
can see that.
| | 01:16 |
Here's before and after, and then the
overall before, and now the overall after.
| | 01:21 |
It just makes this image kind of come alive.
| | 01:23 |
Now, if you want a bit more of a gritty
look, you can use either the Overlay or
| | 01:27 |
the Hard Light blending modes.
These both work to add more contrast.
| | 01:32 |
You can think of Overlay as a blending
mode which works like soft light, but it
| | 01:36 |
just works more intensely.
Here, let me show you overlay.
| | 01:40 |
Notice how it just brought out even more contrast.
| | 01:43 |
Here's the difference again.
Here's soft light, and then here's
| | 01:46 |
overlay.
With certain images like with this
| | 01:48 |
photograph, I think overlay looks pretty
cool, kind of adds a bit of grit or edge
| | 01:52 |
to this photograph.
Another one that you can use is hard
| | 01:56 |
light.
Now, this one will work in a little bit
| | 01:58 |
similar way, but it's also different, it
gives a different characteristic
| | 02:01 |
qualities.
Here you can see it's even grittier, with
| | 02:04 |
this photograph I think it pushed it a bit
too far.
| | 02:08 |
So, I'll go back to the Overlay or Soft
Light blending mode.
| | 02:11 |
Again, you can choose the one that you light.
| | 02:13 |
Yet here I simply want to highlight that
we have these group of blending modes
| | 02:16 |
which work together.
Now, photographers tend to favor soft
| | 02:20 |
light, because that one gives you results
without having any sort of strange or
| | 02:24 |
over-the-top qualities in them.
That being said, there still are valid
| | 02:29 |
situations where you may want to use these
other blending modes as well.
| | 02:33 |
Like in this situation here.
I think overlay is definitely the call.
| | 02:36 |
Well, if we click on the eye icon, we can
see our overall before and now the after.
| | 02:41 |
And also as before, if ever we want to
customize any of these layer adjustments,
| | 02:45 |
click into the layer and then go ahead and
decrease the opacity if you want a bit of
| | 02:48 |
a darker look.
Or click into the Contrast layer here, and
| | 02:53 |
we can decrease that as well if you want a
little bit less contrast as well.
| | 02:57 |
| | Collapse this transcript |
| Create a saturated soft-glow effect| 00:00 |
In the next movies, we'll explore how we
can combine filters and blending modes
| | 00:04 |
together.
We'll also talk about how we can work with
| | 00:07 |
Smart Filters as well.
In this first movie, we'll keep things
| | 00:10 |
simple.
And what we'll do, is we'll copy the
| | 00:12 |
Background layer and apply a Blur effect
to that layer.
| | 00:16 |
Then we'll change its blending mode.
The end result will be an image which will
| | 00:20 |
have this interesting soft glow, some nice
contrast and rich deep color saturation.
| | 00:26 |
Alright.
Well, the first step here is to copy the
| | 00:28 |
Background layer.
You can do that by pressing Cmd+J on a
| | 00:31 |
Mac, or Ctrl+J on Windows, or just click
and drag this layer to the new Layer icon.
| | 00:36 |
Next, rename the layer.
Let's go ahead and name this one Blur,
| | 00:39 |
because we're going to be applying some
Gaussian blur to this layer.
| | 00:43 |
And here we'll navigate to the Filter
Pull-down menu to apply that blur.
| | 00:47 |
Select Blur and then choose Gaussian Blur.
In the Gaussian Blur dialog, we can crank
| | 00:53 |
up our radius in order to blur the image
out so, we can't even recognize it or
| | 00:56 |
bring it back down so, we can see more detail.
| | 01:00 |
What we're looking for here is something
where we can still recognize the
| | 01:03 |
photograph.
It just looks like we really need a new
| | 01:06 |
pair of glasses.
So, again, we want to have the softness of
| | 01:10 |
the images right around there.
But I think for this photograph, 3.6
| | 01:13 |
pixels will probably work pretty well.
Now, the higher you go with that blur, the
| | 01:18 |
more of the glow effect you'll get.
The lower you go, the less glow effect.
| | 01:23 |
So, again, it depends upon the photograph.
With this one, I'll bring it up to right
| | 01:26 |
about there.
Next, click OK in order to apply that Blur
| | 01:30 |
Filter.
Well, right now, the photograph looks
| | 01:33 |
horrible, but that's only because we
haven't changed our blending mode.
| | 01:37 |
Here we'll go ahead and click on the
Normal Pull-down menu, and we're going to
| | 01:40 |
choose the blending mode of Soft Light.
When we do that, we'll see the final
| | 01:45 |
result.
Here, let me zoom in on the picture so we
| | 01:47 |
can see this better.
If I click on the eye icon, you can see
| | 01:50 |
here's the before.
Click again, now here's the after.
| | 01:54 |
You can see that the image has this
interesting, almost atmospheric quality,
| | 01:58 |
has a real subtle glow.
Great contrast, and rich, deep color
| | 02:02 |
saturation.
Now, keep in mind that while I'm showing
| | 02:05 |
you this technique using a photograph,
which is a portrait, you can also use this
| | 02:09 |
technique in automotive photography,
landscape, architecture, you name it.
| | 02:14 |
And what I've discovered is that it can
give you this really unique look.
| | 02:18 |
And as you start to work with this
technique, here are a few tips for you.
| | 02:21 |
Sometimes you'll need to change your radius.
| | 02:24 |
So, you may need to delete the layer, go
back and try again.
| | 02:27 |
In other situations I've discovered, you
may need to change your opacity.
| | 02:31 |
If the image already has a lot of
contrast, when you apply the Soft Light
| | 02:34 |
blending mode, it may push the contrast
over the top.
| | 02:38 |
If that's the case, we'll just change the
opacity by dragging this down.
| | 02:42 |
In this image, I think its fine so, I’ll
leave it at 100.
| | 02:46 |
And then last but not least, experiment
with your blending modes.
| | 02:49 |
Remember how soft light, hard light, and
overlay work in similar ways?
| | 02:53 |
Well, try out these different blending modes.
| | 02:55 |
Here you can see overlay gives us even
more glow.
| | 02:58 |
Here’s before and then here’s after.
Let’s compare that say, to hard light.
| | 03:02 |
It’ll give us a little bit of a different
look, although it's difficult to see the
| | 03:05 |
difference.
Next, we have soft light, which in this
| | 03:08 |
case, I think, keeps the image looking
natural, yet still has a little softness
| | 03:12 |
to it, great color, and also, great
contrast.
| | 03:16 |
| | Collapse this transcript |
| Using Smart Filters to add a film-grain effect| 00:00 |
Alright, hey let's continue our
conversation about how we can work with
| | 00:03 |
filters and blending modes together.
And here what I want to do is extend the
| | 00:08 |
conversation and talk about how we can
work with filters so that we have more
| | 00:11 |
flexibility.
And that is how we can use what are called
| | 00:15 |
Smart Filters.
We'll be talking more about Smart Filters
| | 00:18 |
in one of the chapters later, yet here I
wanted to sneak in a quick look at smart
| | 00:22 |
filters.
Because they really help out when it comes
| | 00:25 |
to the combination of Smart Filters and
blending modes together.
| | 00:29 |
Well, on this image what I want to do is I
want to create a bit more of a nostalgic
| | 00:32 |
look here.
So, I want to add some noise or some film
| | 00:36 |
grain to the photograph.
To do that we'll first convert this layer
| | 00:39 |
to a Smart fFlter layer or a Smart Object layer.
| | 00:42 |
Then we'll add the filter and last but not
least we'll change the blending mode.
| | 00:47 |
Alright, well, let's go ahead and convert
this image to a Smart Object layer.
| | 00:51 |
There are a few different techniques that
you can use to do that.
| | 00:53 |
One technique is to select a layer,
navigate to the filter pull down menu.
| | 00:57 |
And then choose Convert for Smart Filters.
Let's go ahead and select that menu item.
| | 01:02 |
Again Filter > Convert for Smart Filters.
This will tell us that in order for the
| | 01:06 |
filters to be re-editable, it will be
converted into a smart object.
| | 01:11 |
That's what we want to have happen.
So, just click OK.
| | 01:14 |
Alright, well, now this is a Smart Object layer.
| | 01:17 |
Next up, navigate to the Filter Pull-down
menu, choose Noise and then select Add
| | 01:21 |
Noise.
When we select Add Noise, we can control
| | 01:25 |
the overall amount, and what I'm going to
do here is exaggerate the amount in order
| | 01:28 |
to illustrate a really important point.
Here, I have an amount setting at 68%.
| | 01:34 |
The distribution is Gaussian.
Typically that works better than uniform,
| | 01:38 |
although you can make the choice.
And then you almost always want to use
| | 01:42 |
monochromatic rather than having all of
the color noise.
| | 01:44 |
Especially if you want to try to simulate
film grain.
| | 01:47 |
All right.
Well, the noise is off the charts, over
| | 01:50 |
the top.
But I'm going to click OK to illustrate a
| | 01:53 |
few things.
You'll notice that we now have this smart
| | 01:56 |
filter mask.
Underneath it, we have the filter which we
| | 01:59 |
applied, Add Noise.
Well, to the right we have this little
| | 02:02 |
icon here.
If you double-click that icon, it opens up
| | 02:06 |
Blending Options.
Here, we can change our blending mode to
| | 02:09 |
any of our blending modes that we've seen before.
| | 02:12 |
We're just seeing them in a new location.
In this case, I'll choose Soft Light.
| | 02:17 |
Well, now that I've done that, I can see
more of the photograph because what's
| | 02:20 |
happened is, it's blended in this noise
based on contrast.
| | 02:25 |
And it's started to connect these two
things together, so that the image looks
| | 02:28 |
much better.
Well, it still, though, needs a lot of
| | 02:32 |
work, so let's click OK here now that we
have our Soft Light blending.
| | 02:35 |
Well, now that we've changed the blending
mode, what I need to do is go back and
| | 02:39 |
customize how much noise I actually want
in this photograph.
| | 02:43 |
To do that, you double-click the filter
name, Add Noise, and that will relaunch
| | 02:47 |
the filter dialogue.
This is the benefit of working with Smart
| | 02:50 |
Filters, and what the benefit is, is that
you can continually modify or edit that
| | 02:54 |
filter or you can turn it off.
If you apply a filter to a layer, well,
| | 03:00 |
you can't necessarily undo that except by
lowering the opacity or deleting the
| | 03:03 |
layer.
You never have access back to the dialogue
| | 03:07 |
as we do here.
So again, just double click the filter
| | 03:10 |
name and then change the amount.
Here, I'll drop this down, and I'll drop
| | 03:13 |
this down til I see that it looks good.
And the nice thing about this is
| | 03:17 |
previously I had no way to view how much
noise to apply because I hadn't had the
| | 03:21 |
blending mode applied.
Now, we can see this with the blending
| | 03:26 |
mode.
Here I'll hover over the word amount and
| | 03:28 |
just click and drag to the right in order
to increase this with smaller increments
| | 03:31 |
or use the slider if you want to make
bigger changes to that overall look.
| | 03:36 |
All right.
Well, now that we have that dialed in,
| | 03:38 |
click OK.
And then we can see the overall results.
| | 03:42 |
Now, if you want to turn off that
altogether, click on this Eye icon right
| | 03:45 |
here.
You can see there's the before and then
| | 03:48 |
here's the after.
After we added some noise and also changed
| | 03:52 |
the blending mode to Soft Light.
Now, for those of you who are new to
| | 03:56 |
Blending modes, you may want to experiment
even further.
| | 03:59 |
You can do that by double-clicking this
icon, going back to your blending mode
| | 04:03 |
option and try overlay, see how that looks.
| | 04:05 |
Again, it gives us a bit more of a gritty look.
| | 04:08 |
Or we could try hard light, again that
will create something a little bit
| | 04:10 |
different.
Or we could try any of these blending
| | 04:13 |
modes for that matter.
And sometimes what you can discover is
| | 04:16 |
that some of the blending modes can help
you accomplish looks in pretty interesting
| | 04:19 |
ways.
With this photograph, and when it comes to
| | 04:22 |
adding noise, typically what I've found I
would say 90% of the time Soft Light works
| | 04:27 |
best.
Because here we have nice detail but we
| | 04:31 |
have, this overall just interesting
noise,and look and feel in the photograph,
| | 04:35 |
so most cases that work well.
Yet still, its nice to experiment so that
| | 04:39 |
we can see how the other blending modes
work as well.
| | 04:43 |
Alright, well here we'll go ahead and
click OK, and I just want to walk through
| | 04:46 |
our steps one more time so that we make
sure that we really have this.
| | 04:50 |
The first step was to convert the layer to
a smart object.
| | 04:54 |
We did that by navigating to Filter and
choosing Convert for Smart Filters.
| | 04:58 |
The next step was to apply the filter.
That filter that we used was Noise and
| | 05:02 |
then Add Noise.
In that dialog it wasn't very important
| | 05:06 |
the setting there because we knew that we
would need to change that later so just
| | 05:09 |
add some noise.
Next we go to the Smart Filter,
| | 05:13 |
double-click this icon choose the blending
mode of Soft Light.
| | 05:17 |
Now, that we have the Soft Light blending
mode in, then we can customize the amount
| | 05:20 |
of noise.
And that's what we did last, which was to
| | 05:24 |
double-click the Add Noise slider here and
then change our amount so that our image
| | 05:27 |
would look its best.
| | 05:30 |
| | Collapse this transcript |
| Using blending modes to remove white or black| 00:00 |
I am constantly amazed at the different
things that you can do with Blending Modes
| | 00:03 |
in Photoshop.
And here, I want to show you yet another
| | 00:07 |
technique that you can use.
And that is how you can use the Multiply
| | 00:11 |
and the Screen Blending Modes, to get rid
of either black or white.
| | 00:16 |
We'll be working with two different files,
so we can really understand how this
| | 00:19 |
technique works.
We'll start off with this file here.
| | 00:22 |
Here you can see we have two versions of
the lynda.com logo.
| | 00:26 |
Let's click into the layer where we have
the logo which is white in the background
| | 00:29 |
which is black.
As you'll see on this layer, it's named
| | 00:33 |
logo blend with Screen mode.
Now, if we select the screen Blending
| | 00:37 |
Mode, what this allows us to do is to
quickly and easily get rid of the black
| | 00:40 |
background.
And this is pretty fascinating isn't it?
| | 00:44 |
All of a sudden this looks much better.
Now here, if we click and drag and move
| | 00:48 |
this around, it may be difficult to see,
but what you may discover is that you
| | 00:51 |
won't have 100% white.
Keep in mind it is a Blending Bode, so,
| | 00:56 |
while it is removing the blacks, it's also
affecting the whites a little bit as well.
| | 01:00 |
Well what about the other logo?
This one which is black, with the white
| | 01:04 |
background.
Let's click into that layer.
| | 01:06 |
This layer right here.
This layers is titled logo blend with
| | 01:10 |
multiply.
Well, we can use that multiply Blending
| | 01:13 |
Mode in order to get rid of white.
And sometimes this is helpful if you're
| | 01:17 |
creating a composite or in a situation
like this.
| | 01:20 |
Maybe you want to include a logo in this layout.
| | 01:23 |
Here we now have two options of the logo.
I kind of like the white one better so,
| | 01:27 |
I'll turn off the visibility of the black one.
| | 01:30 |
Click on the white logo and then just
click and drag to re-position it over here
| | 01:33 |
in this part of the photograph.
And sometimes this technique can be
| | 01:37 |
helpful when you are trying to get
creative with different layers that you
| | 01:40 |
have.
Let me show you an example of that.
| | 01:43 |
Here I'll click on the tab
multiply_screen.tif, this image has a
| | 01:47 |
solid background color and a then a few
layers here.
| | 01:51 |
The first layer we'll work with is bike.
Let's go ahead and click into that layer.
| | 01:55 |
Now, one of the things that you can do
when you are working with a layer, is that
| | 01:59 |
you can invert it by pressing Cmd+I on a
Mac or Ctrl+I on Windows.
| | 02:03 |
In this way, you can either have a bike
which is black with a white background or
| | 02:07 |
you can have the inverted or the opposite
version of that.
| | 02:11 |
It really doesn't matter.
So, here let's say we want a white bike.
| | 02:14 |
I'll go ahead and select that and then
I'll make my way to my Blending Mode
| | 02:17 |
pull-down menu.
Now, the trick with this of course, is to
| | 02:21 |
try to remember, is it Multiply or is it Screen?
| | 02:25 |
And, what you'll discover is that you'll
often forget, you'll try one of the
| | 02:28 |
options and it just won't work very well.
No big deal, click on the pull-down menu
| | 02:32 |
and try the other. Voila.
| | 02:35 |
There it is.
That looks pretty cool.
| | 02:37 |
Now we have this old sort of vintage bike here.
| | 02:39 |
Alright, let's turn on this Compass Rose
layer this one right here.
| | 02:41 |
What I want to do with this Compass Rose
layer, is I want to have the Compass Rose
| | 02:46 |
show up inside of the spokes so, let's
change our Blending Mode.
| | 02:51 |
Here we'll click on the Blending Mode pull
down menu and again what you want to do is
| | 02:55 |
just try one and then try another.
Although you can keep in mind that the
| | 03:00 |
Multiply Blending Mode, that's about
darkening the image and what that will do
| | 03:03 |
is it will darken the photograph and it
will get rid of white.
| | 03:07 |
The Screen Blending Mode is about
brightening so it does the opposite so,
| | 03:10 |
here I'll go ahead and click and drag and
move this over here in this area.
| | 03:14 |
You know what, it's just kind of lost.
I wish I had the opposite or the inverted
| | 03:18 |
version of this.
Do you remember the shortcut to change it?
| | 03:22 |
Here it is Cmd+I on a Mac, Ctrl+I on
Windows rather than Multiply now we need
| | 03:26 |
to change Screen.
And this way I hope that you are starting
| | 03:30 |
to see how you can use these different
Blending Modes and these shortcuts in
| | 03:33 |
order to create kind of interesting thing
that we have here.
| | 03:37 |
Let's turn on one more layer of visibility
and look at this one more time.
| | 03:40 |
Here we have a fascinating vintage sort of
hot air balloon.
| | 03:44 |
Next we'll change our Blending Mode by
clicking on this pull-down menu, and, once
| | 03:48 |
again, we can simply choose one of these
Blending Modes.
| | 03:51 |
We'll try Screen out and what that does
for us here is it removes the black rather
| | 03:55 |
than the white.
That was the opposite.
| | 03:57 |
So, we'll try Multiply.
In this case, it's a bit too dark so I
| | 04:01 |
need to invert this layer once again press
Cmd+I on a Mac Ctrl+I on Widows.
| | 04:05 |
Then again here I'm just trying to
reiterate all these shortcuts so you
| | 04:08 |
really get it.
Then we'll take our Blending Mode to
| | 04:11 |
Screen so that we now have this hot air
balloon appearing in this way.
| | 04:15 |
Now, it really depends upon what Blending
Mode you're using and what the intensity
| | 04:18 |
of brightness of your background is.
If we had a background that was pure
| | 04:23 |
white, obviously this wouldn't work and we
would have to do the opposite.
| | 04:27 |
So, again I wanted to show you how you can
work with both Blending Modes.
| | 04:31 |
And also how you can invert a layer, if
you need to, in order to create an
| | 04:35 |
interesting layout composite or creative
layer project as you're working in
| | 04:39 |
Photoshop.
| | 04:41 |
| | Collapse this transcript |
| Creating a sepia-toned look with the Color blending mode| 00:00 |
In this movie, I want to highlight how we
can work with the Color blending mode.
| | 00:04 |
In order to do that, we'll create an
Adjustment layer with the solid color in
| | 00:07 |
it.
And then we'll change the Color blending
| | 00:10 |
mode and lower the opacity in order to
create a sepia tone look on this
| | 00:12 |
photograph.
I'm going to zoom on the image a little
| | 00:15 |
bit so we can see this a bit closer.
Then in the Layers panel, let's go ahead
| | 00:20 |
and click on our Adjustment Layer icon and
choose Solid Color.
| | 00:24 |
Now, I'm going for a solid color in order
to illustrate a point.
| | 00:27 |
And that is the point of how we can have a
solid color which we can't see through.
| | 00:30 |
And I'm going for a sepia tone look.
So, I'll choose a color which is a bit
| | 00:34 |
brown, has a little bit of orange or red
in it, and then click OK.
| | 00:39 |
Now in order to see through the color, we
need to change the blending mode or lower
| | 00:42 |
the opacity.
If we lower the opacity, the image won't
| | 00:45 |
look very good because it's now sort of
faded out, it's blocked by the color.
| | 00:50 |
Yet, if we change the blending mode by
clicking on our Blending Mode Pull-down
| | 00:53 |
menu, and choose the blending mode of Color.
| | 00:56 |
What this will allow us to do is to bring
back all of the wonderful detail that's
| | 01:00 |
there.
And again, that blending mode helps in
| | 01:03 |
really huge ways.
Here we can lower the opacity even further
| | 01:06 |
if we want just a little bit more of a
subtle effect.
| | 01:09 |
We can also double click this color chip
here, and we can choose different colors
| | 01:12 |
as well, if we wanted a different look.
In this case, I want to go with the sepia
| | 01:16 |
tone look, because I think it fits this
photograph of Jack O'Neal that I captured.
| | 01:21 |
The man who invented the wet suit.
A really fascinating character.
| | 01:25 |
And so, here, I want to create a bit of a
nostalgic look.
| | 01:27 |
Actually, don't like that color that I
selected there.
| | 01:30 |
So, let me choose a color which has a
little bit more orange in it.
| | 01:34 |
Alright.
That looks good.
| | 01:35 |
Alright.
Well, here we have it.
| | 01:36 |
You can click on the eye icon.
There you can see the before, and here we
| | 01:39 |
can see the after.
And perhaps even more important, we've
| | 01:42 |
discovered how we can start to work with
the Color blending mode.
| | 01:46 |
Keep in mind too, that the Color blending
mode is helpful for situations like this,
| | 01:49 |
where we have black and white images.
It's also really helpful when we have
| | 01:53 |
color photographs, and we're interested in
trying to change or modify certain colors
| | 01:57 |
in our pictures as well.
So, it's applicable in a lot of
| | 02:01 |
situations.
And it's helpful whenever you need to have
| | 02:04 |
color, but you want to be able to see
through the color to the texture and the
| | 02:07 |
detail that you have in your photographs.
| | 02:11 |
| | Collapse this transcript |
| Blending mode shortcuts| 00:00 |
Now that we've seen many of the more
important blending modes and how we can
| | 00:03 |
start to work with those blending modes,
before we wrap up this chapter I wanted to
| | 00:07 |
share with you some shortcuts that you can
use in order to access those blending
| | 00:10 |
modes more quickly.
Now a quick word of caution here, these
| | 00:15 |
shortcuts are for advanced users.
You don't need to know these short cuts,
| | 00:20 |
but they may help you speed up your
workflow, so here goes.
| | 00:23 |
You'll notice that I have a few shortcuts
listed here and they all begin with using
| | 00:27 |
this keyboard combination.
On a Mac you press Shift>Option and then a
| | 00:32 |
letter.
On Windows you press Shift>Alt and then a
| | 00:34 |
letter.
Here you can see I have a layer which is
| | 00:37 |
titled gradient.
If I want to change this layer's blending
| | 00:40 |
mode to multiply.
On a Mac you press Shift+Option+M, on
| | 00:44 |
Windows you press Shift+Alt+M.
In this way you can see it's taken this
| | 00:49 |
blending mode to multiply.
Now each blending mode has a letter
| | 00:52 |
associated with it, I just did a few here
which are really important.
| | 00:57 |
Press Shift Option or Shift Alt and the
letter S to go to screen, the letter o to
| | 01:01 |
go to overlay, f to go to soft light, and
then c to go to color.
| | 01:07 |
In this way you can quickly navigate
between those different blending modes.
| | 01:11 |
Now what I recommend you do is that you
pick one or two that you know you're going
| | 01:14 |
to use pretty frequently.
Perhaps you want to memorize a shortcut
| | 01:18 |
for the soft light blending mode.
Again that's Shift+Option and the letter
| | 01:22 |
F.
Also if ever you forget the blending
| | 01:25 |
modes, well just press shift and option on
a Mac, or shift alt on Windows, and then
| | 01:28 |
just start typing keys on the keyboard.
In doing that you can see that you can
| | 01:33 |
toggle between all of the different
blending modes.
| | 01:36 |
And sometimes you can use this method to
teach yourself or to learn the various
| | 01:39 |
shortcuts for each blending mode.
Now if you prefer to go about accessing
| | 01:44 |
the blending modes by scrolling through
them, you can also do this with this
| | 01:47 |
little shortcut which I've listed below.
You press the v key to select the move
| | 01:53 |
tool, then you press the Shift key and
plus or minus.
| | 01:56 |
Plus moves forward through the blending
modes, and then Shift+Minus moves
| | 02:00 |
backwards through those blending modes.
Again, I just wanted to include this here
| | 02:05 |
for you if you wanted to become a bit more
of an advanced user.
| | 02:09 |
I recommend that you at least write down
these shortcuts so that you have them in
| | 02:12 |
your notes so that you might refer back to
them later as you get better with blending
| | 02:15 |
modes.
Because what I've discovered in my own
| | 02:19 |
workflow is that being able to use these shortcuts.
| | 02:22 |
It speeds up my workflow and what's
important about speed isn't that you're
| | 02:26 |
fast for fast's sake, rather that you're
fast so that you can be really creative
| | 02:29 |
and so that you can create compelling and
interesting photographs.
| | 02:35 |
| | Collapse this transcript |
|
|
9. Color CreativityUsing the Replace Color adjustment| 00:00 |
Photoshop provides us with a whole suite
of tools that we can use in order to
| | 00:03 |
change and modify color.
And working on color in Photoshop is a lot
| | 00:08 |
of fun.
In this first movie, we'll look at an
| | 00:11 |
image adjustment that we can use which is
called Replace Color.
| | 00:14 |
In order to work with Replace Color, let's
copy the Background layer.
| | 00:18 |
To do that, click into the Background
layer and drag it to the new layer icon,
| | 00:22 |
or press Cmd+J on a Mac or Ctrl+J on Windows.
| | 00:26 |
We'll go ahead and name this new layer color.
| | 00:28 |
Next, navigate to the image Pull-down menu.
| | 00:31 |
Here we're going to Adjustments.
Now, we're going to go almost to the
| | 00:35 |
bottom of this menu, all the way down
there to Replace Color.
| | 00:39 |
This will open up our Replace Color dialog.
| | 00:42 |
We'll see a dialog similar to this in
other situations, yet we'll start off with
| | 00:46 |
it here.
You'll notice that we have a few Options.
| | 00:49 |
We have an Eye dropper.
What we can do with this Eye dropper is we
| | 00:52 |
can sample a color, like the sky color in
the background.
| | 00:55 |
It will then build a mask.
Here, it's showing us what its selected.
| | 00:59 |
Its selected this area, the white area
most, and then these areas a little bit
| | 01:02 |
less.
Now, if we go down to our sliders which
| | 01:05 |
allow us to replace a color, we can use
Hue Saturation or Lightness.
| | 01:10 |
Lightness has to do with brightness,
saturation how intense a color is and then
| | 01:14 |
hue allows us to change the color.
So, if I change the color.
| | 01:18 |
Say, if I want a green sky for some
reason, we can see how that change is
| | 01:20 |
starting to come into play.
Well, obviously it isn't very good.
| | 01:25 |
We need to fix it up.
We can do that with the Eye dropper, which
| | 01:27 |
has a plus next to it.
Go ahead and click on that, and then just
| | 01:30 |
click and drag around your photograph.
As you do that, you can click and drag on
| | 01:33 |
all of these little details in order to
select this part of the image.
| | 01:37 |
If you find that you still have a few
rough patches as I do here, you can
| | 01:41 |
increase the fuzziness.
As I increase the fuzziness, it's going to
| | 01:45 |
soften out the selection area, and also
it's going to broaden the reach of that
| | 01:48 |
selection.
So, here with this photograph, we have
| | 01:52 |
pretty consistent and pretty good color
change based on our selection.
| | 01:56 |
Now, we can change this one way or another.
| | 01:58 |
We can change the sky color in a lot of
different ways.
| | 02:01 |
Sometimes what we might want to do is just
perhaps a boost the overall saturation.
| | 02:04 |
Well, we could do that, or of course we
could change the overall color
| | 02:07 |
characteristics.
The great thing about working with
| | 02:10 |
Replaced Color is it allows us to target
specific colors.
| | 02:14 |
Now, let's say with this photograph we
want to have some fun, and we also want to
| | 02:17 |
change the color of the sign.
Well, you can't change two colors at once.
| | 02:22 |
So, here, you have to apply that change,
then go back to the Image Pull-down menu,
| | 02:27 |
choose Adjustments, then relaunch Replace Color.
| | 02:31 |
Click on the menu item Replace Color.
That will relaunch this dialog, and this
| | 02:36 |
time, we want to click on the red of the sign.
| | 02:39 |
Now again, if we don't have enough of the
red, we can add to this by holding down
| | 02:42 |
the Shift key, that temporarily allows you
to access that icon which you can add to.
| | 02:48 |
So, in order to see how that works, let's
change the color here.
| | 02:51 |
And you know what, this looks pretty good
for the most part, except I noticed it
| | 02:54 |
didn't select this part of the sign.
So, I'll hold down the Shift key and I'll
| | 02:58 |
click and drag over those areas.
And I'll just do that on a couple areas
| | 03:01 |
here in order to make sure I have all of
the sign selected.
| | 03:05 |
Rather than a purple sign, how about maybe
a blue sign?
| | 03:09 |
That might be kind of fun, and again, we
can control the saturation as well.
| | 03:13 |
To apply this change, click OK.
Now here, we have a new layer where we
| | 03:18 |
have some pretty fantastic and some pretty
different colors.
| | 03:21 |
Sometimes, you'll use this command in
order to create wacky or interesting
| | 03:25 |
colors like we have here.
Other times, you can use it for more
| | 03:28 |
subtle color effects as well.
Either way, what I recommend you do is
| | 03:32 |
first copy your Background layer, then
apply those adjustments to a new layer so
| | 03:36 |
that if you make a mistake, you can always
go back to the original color and then try
| | 03:40 |
again by creating a new layer.
And by having this extra layer, well, it
| | 03:47 |
just gives us more flexibility when we're
working with that image adjustment which
| | 03:51 |
is called Replace Color.
| | 03:53 |
| | Collapse this transcript |
| Adjusting color with Replace Color, Hue/Saturation, and masking| 00:00 |
All right.
Let's continue to talk about how we can
| | 00:02 |
replace and change color.
And in this movie, we'll take a look at an
| | 00:06 |
example, which is a bit more complicated.
This image will require that we take a few
| | 00:11 |
steps.
We'll start off using Replace Color, and
| | 00:14 |
the next we'll make a selection and finish
the project off using hue saturation in
| | 00:18 |
order to work on another area of the photograph.
| | 00:22 |
We'll be working with this portrait of a
professional musician.
| | 00:25 |
This guy is the drummer for Ben Harper's band.
| | 00:28 |
And you can tell that he really loves what
he does.
| | 00:30 |
He's a phenomenal drummer.
And let's say that the record label has
| | 00:34 |
asked us if we can change the color of the
stripes of his shirt, and also his hat.
| | 00:40 |
In order to match the color palette in the
color design of his album, which is about
| | 00:43 |
to come out.
And they want these stripes and the hat to
| | 00:46 |
be a subtle navy blue.
So we say, OK, no problem, we can do this.
| | 00:51 |
And here's how.
We'll copy the Background layer, click and
| | 00:54 |
drag to the new layer icon, and name this
new layer Color.
| | 00:59 |
Next, navigate to the Image pull down menu
and choose Adjustments and then, you know
| | 01:03 |
where we're going, right?
We're going all the way down to Replace
| | 01:07 |
Color.
First, we'll work on the stripes here.
| | 01:10 |
We can do this by clicking on the stripes
in order to start to build up a selection.
| | 01:16 |
Now, we need to add to the selection
obviously, so hold down the Shift key and
| | 01:19 |
click and drag across the stripes.
Now, as you're dragging across this area,
| | 01:23 |
if you notice that you're selecting more
colors than you want to select, what you
| | 01:27 |
can do is work with what's called
localized color clusters.
| | 01:32 |
Now, when you turn this on, what it will
do is it will limit your selection to the
| | 01:35 |
area where you're clicking so that you
won't select, say, the color of the hat.
| | 01:40 |
Because I need to work on the hat in a
different way than the stripes because
| | 01:43 |
they're a different shade of green.
Well, next, we can increase our fuzziness
| | 01:48 |
by cranking this slider up a little bit
then hold down the Shift key and just
| | 01:51 |
click and drag across the stripes.
As you start to work to make these
| | 01:55 |
selections, what you'll want to do
eventually, of course, is check your
| | 01:58 |
progress.
One way you can do that is by dragging the
| | 02:02 |
Hue slider around.
Here, I'll drag this to the right to see
| | 02:05 |
how this is starting to look, and it's
starting to look pretty good.
| | 02:08 |
We'll desaturate this by dragging our
Saturation slider to the left a little
| | 02:11 |
bit.
I want to try and create a nice navy blue
| | 02:14 |
color.
Then hold this Shift key, and click and
| | 02:17 |
drag over the stripes and select any color
that you think you might have missed.
| | 02:21 |
Now, if you feel like you went too far and
you selected other colors outside of the
| | 02:25 |
blue just use this eyedropper here.
Its the eye dropper with the minus sign.
| | 02:30 |
In this way you can go ahead and sample a
way different color so that you make sure
| | 02:34 |
that you aren't choosing other colors.
You can increase the fuzziness slider to
| | 02:39 |
increase the overall range of that
selection and in this way that can broaden
| | 02:42 |
or soften.
Here, though you just want to be careful
| | 02:45 |
that you aren't selecting other things
like the face or the background, so we
| | 02:48 |
want to decrease that so we make sure that
those items aren't selected.
| | 02:53 |
Well, here we have our first color change.
We worked on the color that we have here
| | 02:57 |
with the stripes.
Let's apply that change by clicking OK.
| | 03:01 |
Here we can see the before and then now
the after.
| | 03:05 |
Well, next I want to work on the hat.
We could of course go back to our replace
| | 03:09 |
color command, but rather than doing that
I want to make a selection because this
| | 03:13 |
hat has a pretty good and defined edge.
So, let's use quick select to make a
| | 03:18 |
selection.
Press the Quick Select tool, or press the
| | 03:21 |
W key on the keyboard, and then change
your brush size, here my brush is too big.
| | 03:26 |
So, I'll press the left bracket key to
make my brush smaller.
| | 03:29 |
Then I'll go ahead and click and paint
over the hat in order to build up this
| | 03:32 |
selection.
Here we'll see if we can't get a decent
| | 03:36 |
selection of the hat.
If you select too much hold down the
| | 03:39 |
Option key on Mac, Alt on Windows, and
paint away the area that you've selected.
| | 03:44 |
You just want to make sure that you have
all of the hat there.
| | 03:47 |
Whenever you use quick select, you know
that you also need to refine the edge of
| | 03:51 |
the selection.
So, let's click on the Refine Edge button.
| | 03:55 |
And you'll find that up here in the
Options bar.
| | 03:58 |
Go here and click on Refine Edge, and what
that will do is, it will allow us to view
| | 04:01 |
this particular selection here that we have.
| | 04:05 |
We can toggle through the views in
different ways.
| | 04:08 |
If you press the F key you can see that
you can select or view this in different
| | 04:11 |
ways.
What I want to do is see the hat on white.
| | 04:15 |
By pressing the F key you toggle through
the different views of your selection
| | 04:18 |
until you get to a view which helps you to
see the edges.
| | 04:22 |
Here, I can see the edges and they don't
look very good.
| | 04:25 |
No big deal.
Click on Smart Radius, and crank that up.
| | 04:29 |
That will really clean up those edges.
Then we need to add more contrast there to
| | 04:32 |
define the edge.
And of course we'll want to smooth these
| | 04:35 |
out just a little bit, maybe add just a
touch of feather, because we're working
| | 04:38 |
with color.
We want to have nice, soft transitions
| | 04:41 |
around those edges.
Well, now that we have refined our edge
| | 04:45 |
selections, click OK.
When we click OK, that will bring us back
| | 04:50 |
to the image and the selection that we
have here.
| | 04:53 |
Well, now to change the color in this
area, I want to use hue saturation.
| | 04:58 |
Here, we'll click on the Hue Saturation
icon, which will create a Hue Saturation
| | 05:01 |
Adjustment layer with a mask based on the
selection which we just created.
| | 05:06 |
Now, one way that you can use hue
saturation is to click on the Colorize
| | 05:10 |
option.
This is a great option when it comes to
| | 05:13 |
changing color when you want a really
consistent color all across that area.
| | 05:18 |
In this case, it defaulted to this navy
blue, which actually was pretty good.
| | 05:22 |
So, I'll go ahead and try to find a nice
blue there again.
| | 05:25 |
Then we can change the Saturation slider.
I'm going to decrease the saturation and
| | 05:29 |
then darken this up using the lightness slider.
| | 05:32 |
We can create a bit more of a navy blue
that way and just dial this in until we
| | 05:35 |
have a nice color look for that.
And here I don't need to get too exact but
| | 05:40 |
I do want it to look good.
That's the thing with all these sliders,
| | 05:44 |
right?
You can keep tweaking them until you get
| | 05:46 |
it just right.
Well, I like the look of that.
| | 05:49 |
Let's take a look at how we've done.
Here's our overall before, and then now
| | 05:53 |
here's our after.
And here, with this image, I just wanted
| | 05:57 |
to illustrate a bit of work flow.
How we can start off using replace color,
| | 06:02 |
but then we can also integrate into our
workflow other techniques and skills that
| | 06:06 |
we have in regards to making selections.
Or making color changes, like we did here
| | 06:12 |
using hue saturation and, also replace
color.
| | 06:15 |
| | Collapse this transcript |
| Becoming an expert with the Hue/Saturation controls| 00:00 |
At this stage in our journey into working
with creative color, I find it's helpful
| | 00:04 |
to take a few minutes to dig into working
with the Hue Saturation controls.
| | 00:09 |
Because these controls are some of the
most common and most powerful controls
| | 00:12 |
that we have, when it comes to changing
and modifying color in Photoshop.
| | 00:17 |
We'll be working with this demo file which
has two layers.
| | 00:19 |
Go ahead and turn on the visibility of
both layers and then click on the
| | 00:22 |
Hue/Saturation icon in order to create a
Hue/Saturation adjustment.
| | 00:27 |
Then, position your cursor over the edge
of this little dialog and make it bigger.
| | 00:32 |
In this way, we can start to focus in on
the controls and really understand what's
| | 00:35 |
happening here.
Now, let's start off with some basics.
| | 00:38 |
We'll talk about how we can change color.
And then we'll get a bit deeper, so that
| | 00:42 |
we can really understand how these
controls work.
| | 00:45 |
Alright, well first, a bit of a review.
Here you can see we have three sliders
| | 00:50 |
Hue, Saturation, and Lightness.
As I drag the Hue slider, it allows me to
| | 00:53 |
remap the colors.
You can understand this, if you look at
| | 00:57 |
the color strips below.
The top color strip here, that's the
| | 01:01 |
original color.
The underline or the bottom color strip is
| | 01:04 |
the new color.
So, whatever was blue, that's now green.
| | 01:08 |
And whatever was red, well that's now blue.
| | 01:11 |
And as we drag the Hue slider around, we
can see how it's shifting all of the
| | 01:14 |
colors in the photograph.
Saturation, that's easy right?
| | 01:18 |
Increase or decrease the saturation.
Lightness same thing that's easy to
| | 01:22 |
understand.
Either darken or brighten the photograph.
| | 01:25 |
Alright well, lets reset this dialog and
lets take a look at Colorize.
| | 01:29 |
Well when you turn on Colorize, what
you'll notice is that it remaps all of the
| | 01:32 |
colors in your photograph to one color.
Here if we increase the Saturation slider
| | 01:37 |
so we can see that red a little bit
better, you can see it's taking whatever
| | 01:40 |
color we had in our image and it's making
it now a red.
| | 01:44 |
Or, we can change that color as well by
using the slider.
| | 01:48 |
And Colorize it's really helpful obviously
when you want to change the color in your
| | 01:51 |
image to one color.
When you want to sort of color tint the
| | 01:54 |
entire photograph.
Alright, well let's go ahead and reset our
| | 01:58 |
sliders and take a look at how we can get
more specific.
| | 02:01 |
Now, if we have two colors like this layer
here, where we have blue and red.
| | 02:05 |
And we just want to change one color, we
have two options.
| | 02:10 |
We can either click on the pull-down menu
and choose the color from this pull-down
| | 02:13 |
menu option or perhaps an even better way,
is to click on the Target Adjustment tool.
| | 02:18 |
And then click on the image.
In doing that, you can see it took me to
| | 02:22 |
the reds and it also built a selection.
We'll talk more about how Hue Saturation
| | 02:27 |
selects color in a minute, but you can see
here that selecting an area on this color
| | 02:31 |
strip.
Well, as I make a change to this, you can
| | 02:34 |
see that the change is only happening in
this area, it isn't happening in the blues
| | 02:38 |
over here or in the greens over here.
Again it's eliminating or isolating the
| | 02:43 |
change of the color.
Let's say that we want to change this to a
| | 02:47 |
green. Great.
| | 02:48 |
Well, what about changing the blue?
Just select this tool here, and then go
| | 02:52 |
ahead and click on the blue.
Notice, it took me to the blues channel
| | 02:56 |
and built a selection down below, and in
this case, we can then change that here.
| | 03:00 |
So, as you can see, this tool gives us
really specific and precise control.
| | 03:05 |
Yet, we need to understand how this tool
works and how these selection works in
| | 03:08 |
order to really harness the power of what
we can do here.
| | 03:12 |
So, let's go ahead and reset this
dialogue, and let's turn off the Eye icon
| | 03:15 |
on this Colors Layer.
Here we have something which is a bit more
| | 03:19 |
realistic, we have a gradient, we have
reds, oranges, yellows and greens.
| | 03:25 |
And what I want to do, is I want to focus
in on the yellows, so in this case we use
| | 03:28 |
the Targeted Adjustment tool and we click
on the yellows.
| | 03:33 |
It brought us to the yellow channel and
here we have a selection.
| | 03:36 |
In order to create something that we can
actually see, I'm going to desaturate the
| | 03:39 |
yellow so that we can that we've now
removed the color, the yellows from this
| | 03:43 |
area.
If you focus in on the selection area
| | 03:47 |
here, we can understand this better this way.
| | 03:50 |
Notice that there are two white solid lines.
| | 03:54 |
Well, those lines signify where this color
is selected in full intensity.
| | 03:58 |
I mean, this is completely 100%.
Then we have these smaller sliders.
| | 04:03 |
Well, these smaller sliders they kind of
like to make friends with other colors.
| | 04:07 |
These are the transition sliders.
So, how is this going to transition from
| | 04:11 |
full intensity off to less and less and
less intensity?
| | 04:16 |
If we click and drag this to the right,
what we're saying is, hey, let's have this
| | 04:19 |
color change kind of make friends with
some of those surrounding colors.
| | 04:24 |
Here you can see it's reaching into these
reds over here.
| | 04:27 |
In this case, because we're desaturating,
it's removing some of those.
| | 04:31 |
Now let's say that rather than just
reaching kind of in a friendly way, we
| | 04:34 |
want something kind of big and bold to happen.
| | 04:38 |
Well, in order to make that change, we use
this little icon here.
| | 04:41 |
As we click and drag this to the right,
notice how it's almost like it's marching
| | 04:45 |
forward and it's taking over all of those
colors until they are all removed.
| | 04:51 |
The distance between these two sliders
will determine the transition.
| | 04:55 |
And you can see how we can have a hard
transition or a really soft transition.
| | 04:59 |
Well, now that we know a little bit more
about how Hue Saturation works, what we
| | 05:03 |
can do is we can start to apply this
knowledge to working on color in our
| | 05:06 |
images.
So, let's go ahead and continue to work
| | 05:11 |
with Hue Saturation and let's do that in
the next movie.
| | 05:14 |
| | Collapse this transcript |
| Removing targeted colors with Hue/Saturation| 00:00 |
In this movie, we'll look at two examples,
and we'll build upon what we talked about
| | 00:03 |
in the previous movie.
And that is how we can use the Hue
| | 00:07 |
Saturation adjustment controls in order to
select specific colors, and then to modify
| | 00:11 |
those colors either by changing or
removing the color in those areas.
| | 00:18 |
Right.
Well, let's start off with this photograph
| | 00:20 |
that I captured here of some old balloons.
And what I want to do is remove all of the
| | 00:24 |
color except for the color that we have in
the two blue balloons.
| | 00:27 |
To do that, we'll go ahead and click on
our Hue Saturation adjustment Layer icon.
| | 00:32 |
And we're going to do this so that we can
further understand how we can select and
| | 00:36 |
modify color.
Let's click on the Targeted Adjustment
| | 00:39 |
tool.
Let's start off with this red, kind of
| | 00:41 |
orangish balloon down here.
In clicking on that, it takes us to the
| | 00:45 |
red channel.
It builds a selection.
| | 00:48 |
The two lines in the middle, that shows us
the colours which are absolutely going to
| | 00:51 |
be affected by my adjustment.
These outer icons are showing me the
| | 00:55 |
transition.
Well, here if I remove the color from that
| | 00:59 |
area, we can see that yeah, it did a good
job removing the color here.
| | 01:02 |
But it also removed a little bit of the
orange balloon.
| | 01:06 |
Now, if I want to add to this selection, I
can do so, either by using these sliders
| | 01:10 |
or by using our icons.
If you click on the icon of the eye
| | 01:14 |
dropper with the plus sign, I can click on
this and you can see how it's scooting
| | 01:17 |
that over to the right.
Notice that as I click in order to add
| | 01:21 |
more of this color, it made this selection bigger.
| | 01:25 |
Now, we can also just do this manually.
Notice there's a yellow balloon in the
| | 01:28 |
background.
Well, here I'm really close to the
| | 01:30 |
yellows.
I'll just click and drag this to the right
| | 01:32 |
in order to remove the yellow from the photograph.
| | 01:35 |
We can do the same thing in the other
direction as well.
| | 01:38 |
Here we can either do this softly by using
this slider here to subtly remove the
| | 01:42 |
color, or to make more bold changes, click
and drag the solid line.
| | 01:47 |
In doing this you can see that we can
start to remove a lot of the color from
| | 01:49 |
this photograph.
Next, we have the blue and the green.
| | 01:53 |
If we want the green out, we'll just click
and drag this slider off to the right.
| | 01:57 |
And we can also use these transition
sliders as well, if we want a little bit
| | 02:00 |
of a softer color transition.
Well, now that we've removed a lot of
| | 02:03 |
these colors that we have here, let me
just go ahead and drag this further over
| | 02:06 |
to the right so that we just have the blue remaining.
| | 02:10 |
We can then make changes.
Well, currently we've desaturated.
| | 02:14 |
And sometimes when you use this technique,
what you might do is use the desaturation
| | 02:18 |
slider just so, you can really see which
colors you've selected.
| | 02:23 |
And then, you might bring up that saturation.
| | 02:25 |
So, I'll bring that back.
And let's say that rather than
| | 02:27 |
desaturating these, I just want to boost
their color.
| | 02:30 |
Well, I can do so now.
Or maybe we just want to change their
| | 02:32 |
color.
Well, we can change just those colors
| | 02:35 |
here, because we've built that selection
using the targeted adjustment tool.
| | 02:39 |
And in this way, we can get really precise
with our color adjustments.
| | 02:44 |
Alright.
Well, now that we've seen this example,
| | 02:45 |
let's go ahead and take a look at another,
and we'll do that in the next movie.
| | 02:49 |
| | Collapse this transcript |
| Making complicated color changes easy with Hue/Saturation| 00:00 |
In one of the previous movies in this
course, we worked on this photograph of my
| | 00:03 |
daughter, Annie, swimming in Costa Rica.
And in that movie, we removed a color cast
| | 00:07 |
from a certain area in the image.
Well, the next stage of our work flow with
| | 00:11 |
this photograph is going to be to change
color using Hue Saturation.
| | 00:16 |
In particular, we'll change the color of
the swim shirt that she is wearing.
| | 00:19 |
So, let's go ahead and click on the
Adjustment Layer icon for Hue Saturation.
| | 00:23 |
Next, I'll press the Spacebar key, and
click and drag just to re-position the
| | 00:26 |
photograph so, I can view the details that
I'm going to work on.
| | 00:30 |
And that is, the details that we have here
in the shirt.
| | 00:33 |
We'll be working with the Targeted
Adjustment tool.
| | 00:35 |
So, go ahead and click on that tool, and
then sample or click on the color you
| | 00:38 |
want to work on.
Here, in the Hue Saturation Adjustment
| | 00:43 |
dialog, it shows us the selected colors.
The solid lines, those are showing us the
| | 00:48 |
colors that are selected at full
intensity, 100% selection there.
| | 00:52 |
And then we have the transition area, out
to these other icons here.
| | 00:56 |
Now, let’s say that the client has decided
that they really want this shirt to be
| | 00:59 |
either, maybe purple or red.
Well, here we can click and drag our
| | 01:03 |
sliders until we find a color that might work.
| | 01:06 |
In this case, as I drag the sliders, one
of the things that I'm noticing is that
| | 01:09 |
the selection isn't perfect.
Sometimes you'll be able to see this
| | 01:13 |
better when you desaturate the selected area.
| | 01:16 |
Notice that there are some sort of shadow
areas down here which aren't selected as
| | 01:19 |
well.
So, what you want to do is you want to
| | 01:22 |
find the color that you want to work on of
course, right?
| | 01:24 |
Let's say they've decided that they want,
I don't know, purple.
| | 01:27 |
Next, you can use the eye dropper, which
has a plus icon next to it.
| | 01:30 |
Then just go ahead and click across the photograph.
| | 01:33 |
In doing that, that will extend the
selected area.
| | 01:36 |
We can also extend this by using these
icons here.
| | 01:39 |
As we click and drag these off to the
left, you can see that we can have a
| | 01:42 |
little bit of a bigger selection.
We can do the same thing on the right as
| | 01:46 |
well.
Now, as you move these sliders, what you
| | 01:48 |
want to do is watch the image.
If ever you notice that there's a problem.
| | 01:52 |
For example, here we can see there's color
showing up on her face that doesn't look
| | 01:55 |
very good.
We'll just drag the slider back to the
| | 01:58 |
left, create a little bit of a transition
there, so, you have a nice soft edge in
| | 02:01 |
regards to that color that you've selected.
| | 02:05 |
Well, here we could choose that color
purple, or let's say the client wants the
| | 02:08 |
color red, we could choose that color as well.
| | 02:11 |
Because we took the time to build up a
good selection, we now have this
| | 02:15 |
flexibility.
And this Hue Saturation adjustment allows
| | 02:19 |
us to sample colors in pretty complicated ways.
| | 02:22 |
When you think about changing the color in
the shirt, well, it would be impossible to
| | 02:26 |
make a selection with the Selection tool.
Also, there are different brightness
| | 02:30 |
values of the red.
We have reds that are more saturated or
| | 02:33 |
are less, based on how bright or how dark
they are.
| | 02:37 |
Yet understanding how hue saturation works
allows us to make this change relatively
| | 02:41 |
easily.
Alright, well here it is, our before and
| | 02:44 |
then now, our after.
| | 02:46 |
| | Collapse this transcript |
| Introducing how to change color with Selective Color| 00:00 |
In this movie, we'll take a look at a few
examples of how we can use selective color
| | 00:04 |
in order to modify and change the colors
in our photographs.
| | 00:08 |
We'll start off with this photograph here,
which is a picture of a hand painted sign.
| | 00:13 |
I love hand painted signs because that's
what my grandfather did for a living.
| | 00:17 |
And with this image, I want to bring out
the reds and also change the yellows a
| | 00:20 |
little bit.
In order to do that, we'll use selective
| | 00:24 |
color.
Yet, before we start off with selective
| | 00:26 |
color, I find it's helpful to brush up on
color theory a little bit so that we can
| | 00:30 |
understand best how to work with the
selective color controls.
| | 00:35 |
To brush up on our color theory, let's
turn on this Color layer and then click on
| | 00:39 |
the icon for Selective Color.
You'll find in the bottom row in the
| | 00:43 |
Adjustments panel. Alright.
| | 00:45 |
Well, here in the Selective Color
controls, you can see, we can target
| | 00:49 |
specific colors.
Click on the pull-down menu.
| | 00:52 |
And we can work on the yellows, the
greens, the cyans.
| | 00:55 |
And as we select the color to work on, we
then have controls.
| | 00:59 |
Each of these controls allow us to modify
certain colors.
| | 01:03 |
Notice that the first slider is called
cyan, the next one magenta, then, yellow
| | 01:07 |
and black.
Well, if you know a thing or two about
| | 01:10 |
color theory, you may know that colors
have complimentary colors.
| | 01:14 |
Let's focus our attention on this little
color wheel.
| | 01:17 |
Well, the complimentary color to cyan.
Well, that's red.
| | 01:21 |
Therefore, this Cyan slider, what it
actually allows us to do is to increase
| | 01:24 |
the cyan if we drag it to the right or to
decrease the cyan if we drag it to the
| | 01:28 |
left, which, in turn is adding red.
So this slider allows us to work with cyan
| | 01:35 |
here or red over here.
What about magenta?
| | 01:39 |
Here we can add more magenta or we can add
more green.
| | 01:41 |
The Yellow slider, well, that slider
allows us to work with our yellows and our
| | 01:45 |
blues.
Now, even if you don't know very much
| | 01:48 |
about color theory, all that you need to
know is that each slider allows us to
| | 01:51 |
modify colors In a different way.
And what we can do is we can sort of mix
| | 01:56 |
these sliders together in order to come up
with some interesting and unique color
| | 02:00 |
looks in our photographs. Alright.
| | 02:03 |
Well, let's turn off this layer here, so
we can work on our image.
| | 02:06 |
As I mentioned, what I want to do is
change the characteristics of the reds.
| | 02:10 |
So, here, I'll go to the reds by clicking
on the Red channel.
| | 02:13 |
Next, I'll modify the color.
Now, if we drag to the right, that's
| | 02:17 |
going to add more cyan.
In turn, it's going to, in a sense, remove
| | 02:20 |
the red.
It gives a bit more of a gritty look.
| | 02:23 |
Well, that isn't what I want.
I want bright vibrant red.
| | 02:26 |
So I'll drag this to the left, and here we
can see it sort of lit up those reds so
| | 02:29 |
they're more saturated, a little bit more vibrant.
| | 02:33 |
Next, we have magenta.
If we drag this to the left, what that's
| | 02:36 |
going to do is make the image a bit more orange.
| | 02:39 |
Drag it to the right and it's going to
bring out more of the red.
| | 02:42 |
Now, each color will respond differently
to the way that we work with these
| | 02:45 |
sliders.
So what you may need to do is just drag
| | 02:48 |
them and then see how it looks.
In this case, with the Yellow slider, I
| | 02:52 |
don't want to drag it to the left, I do
want to drag it to the right.
| | 02:55 |
Now, we're talking, now we have this
beautiful bright red.
| | 02:59 |
Alright.
What about the Black slider?
| | 03:00 |
Drag to the left and you can lighten the
reds, drag to the right and you can darken
| | 03:04 |
those.
Underneath, we have to options for
| | 03:07 |
relative and absolute.
In most situations, relative will work
| | 03:11 |
better because it will take the color
where it is and relative to that spot it
| | 03:14 |
will make a change.
Absolute makes more bold or dynamic
| | 03:18 |
changes.
So with most photographs, I find that
| | 03:21 |
relative typically works better, whereas,
absolute may be a bit over the top.
| | 03:26 |
Well, what about working on the yellows?
Here, we can click on this pull-down menu
| | 03:30 |
and then choose yellows.
In this case, let's jump straight to the
| | 03:34 |
Yellow slider.
Here, we can either remove some of the
| | 03:36 |
yellow or we can bring that up.
Now you won't always just use one slider.
| | 03:41 |
Typically, you'll work on other sliders.
And here you can see how we can swing the
| | 03:44 |
Yellow, I should say.
Here, I'll drag this to the left because I
| | 03:47 |
want a little bit of a brighter yellow there.
| | 03:49 |
Here's before and after.
The Cyan slider isn't going to do very
| | 03:52 |
much for our yellows.
Yet, it does sort of tint it just a touch,
| | 03:55 |
so you may modify a little bit, but you'll
discover that certain sliders won't affect
| | 03:59 |
certain colors.
And you'll just need to drag those.
| | 04:02 |
Again, one way and then the other.
What about brightening these up?
| | 04:06 |
Well, we can do that or we can darken
those down a little bit with the slider
| | 04:09 |
here.
All right.
| | 04:10 |
Well, let's look at our results.
Here they are.
| | 04:12 |
The before and then now the after.
So as you can see, selective color allows
| | 04:17 |
you to really target those colors and make
changes in unique ways.
| | 04:22 |
All right.
Well, now that we've seen this example and
| | 04:24 |
also talked a little bit about how
selective color works.
| | 04:27 |
Let's go ahead and and take a look at a
few more examples, and let's do that in
| | 04:30 |
the next movie.
| | 04:32 |
| | Collapse this transcript |
| Using Selective Color to enhance and change colors| 00:00 |
Now that we know a little bit about
selective color, I'm going to put
| | 00:03 |
selective color through its paces and work
on a few different examples.
| | 00:07 |
We'll start with one which the results
will be a bit more subtle, and then we'll
| | 00:10 |
have a few others where we'll make some
more dramatic adjustments to color.
| | 00:15 |
With this photograph, what I first want to
do is work on the reds that we have here
| | 00:18 |
in the truck.
To do that, click on the Adjustment Layer
| | 00:22 |
icon for selective color.
And then in from the pull-down menu,
| | 00:26 |
choose Reds.
Now with the Reds we know that we can use
| | 00:29 |
the Cyan slider in order to remove red by
dragging this to the right or you can
| | 00:33 |
increase that by dragging it to the left.
Next, another great way to work with Reds
| | 00:39 |
is to increase Magenta and Yellow.
Here, I'll go ahead and bring up my
| | 00:42 |
Magenta and my Yellow a little bit as
well, so I can just sort of just mix these
| | 00:45 |
together to have a bit brighter red there.
Here it is before and then, now, after.
| | 00:51 |
Just brings a little bit better focus into
that area of the image.
| | 00:55 |
We can also darken that red if we want too
or brighten it up as well.
| | 00:58 |
This way we can customize the way that the
area the image looks.
| | 01:02 |
Well, next one of the things I'm noticing,
as I click on my Eye icon, the truck looks
| | 01:06 |
better but its also affected the sand down here.
| | 01:11 |
If you look closely, you'll see a bit of a
color shift.
| | 01:14 |
What we might need to do is to mask this
color adjustment into a certain area.
| | 01:19 |
We'll take a look at how we can do that in
a moment.
| | 01:21 |
Yet, next, I want to work on the sky.
The sky is a little bit dull.
| | 01:25 |
A lot of times this happens when we have
sky, and it just appears a little bit too
| | 01:29 |
light blue.
Well, to change that we can go into our
| | 01:33 |
Cyans and our Blues.
Here, I'll go ahead and choose the Cyans
| | 01:36 |
to start off, and the Yellow slider, it
allows to increase the yellow or remove
| | 01:40 |
yellow, in sense, add more blue.
We also want to add a little bit of Cyan
| | 01:45 |
there, and then modify the Magenta.
This controls the overall color, so we can
| | 01:49 |
have a sky which is a bit more purple, or
a bit more cyan.
| | 01:52 |
Again, just modify that until it looks good.
| | 01:55 |
Then I'll darken this up a little bit, and
go back to my sliders to make sure that
| | 01:59 |
that color looks nice.
Then, here, we'll click on the Blues and
| | 02:03 |
do something similar.
We'll increase the Cyans a little bit
| | 02:06 |
there, the density of that area, make
those a little bit more blue.
| | 02:10 |
And if they are getting too purple, you
compensate with Magenta slider.
| | 02:14 |
So bring this to the right that becomes
purple, bring this to left and it becomes
| | 02:17 |
little bit more cyan.
So just want to find exact type of color
| | 02:21 |
that you want there.
And then, click on the Eye icon, you can
| | 02:24 |
see here's before, now here's after.
It's a pretty subtle adjustment but,
| | 02:28 |
nonetheless, it's improved this photograph
and added some more vivid colors to the
| | 02:32 |
image.
So, again, here's the before, then here's
| | 02:35 |
after.
Now, if ever you need to mask away the
| | 02:38 |
color effect from a certain area, just
click into the mask, grab your Brush tool,
| | 02:42 |
and here, we'll paint with black.
I want to choose a brush which is
| | 02:48 |
relatively big.
No hardness at all there.
| | 02:51 |
100% Opacity.
And I'll just start to paint this effect
| | 02:54 |
away from this area.
In this way, I'm just going to limit that
| | 02:58 |
colored look to the image to the upper
area, and also to the truck.
| | 03:03 |
So here, you can see, we have a mask which
we've added.
| | 03:06 |
So, now, we've worked with selective color
and masking together, in order to add a
| | 03:09 |
little snap or punch to this photograph. Alright.
| | 03:12 |
Well, let's take a look at another example.
| | 03:14 |
Here, I'll open up another photograph.
This is a picture that we have of an old
| | 03:19 |
neon sign.
And let's say that we need to brighten up
| | 03:22 |
the yellow of this neon tube here.
And also change this turquoise color to
| | 03:26 |
something which is a bit closer to blue.
Well to do that, we'll click on the
| | 03:31 |
Selective Color Adjustment layer icon.
Next, let's start off with the yellows.
| | 03:36 |
Now, it's tricky when working with
selective color, as it, your gut will say,
| | 03:39 |
well, just go with the Yellow slider.
And you'll drag the yellow slider up and
| | 03:43 |
down, and here, it really doesn't even do
that much at all.
| | 03:47 |
Yet, if you work with the other sliders as
well, and say add more Magenta, all of a
| | 03:51 |
sudden I can make this green, or red, and
so we can really change this.
| | 03:57 |
And again, it's using the sliders together.
| | 03:59 |
Sometimes, you'll modify a slider like
this and say, well, it's green, that's not
| | 04:03 |
what I want.
I want yellow.
| | 04:06 |
Well, don't give up, experiment.
Imagine you're a kid mixing paint
| | 04:09 |
together.
Well, what else could you mix in here?
| | 04:12 |
We'll add a little bit more red and now we
have this neon yellow, which is just sort
| | 04:16 |
of snapping or popping.
It's coming to life in a new way.
| | 04:20 |
Now, if ever you start to make adjustments
and you feel like you're sort of losing
| | 04:24 |
the texture in the image, you can always
bring that back by taking your blending
| | 04:27 |
mode to color.
Actually, let me demo this by going to
| | 04:32 |
another channel.
Here, I'm going to go to the blues.
| | 04:34 |
And in the Blues, I'm going to make some
bad adjustments.
| | 04:37 |
I'm going to darken, I'm going to bring up
my Yellows, my Magenta, my Cyan.
| | 04:41 |
I'll do the same thing in my Cyans.
Again, just over the top for a moment.
| | 04:46 |
Well, here you can see that it's really
changing the overall kind of brightness
| | 04:49 |
and texture that we have in the photograph.
| | 04:52 |
If that happens, take this Blendy Mode to
Color, you can do that by clicking on the
| | 04:56 |
Layer Blendy Mode pull-down menu, and then
choose Color.
| | 05:01 |
Now, you can see we have a color change.
Yet, it's not as dramatic in regards to
| | 05:05 |
losing detail in the photograph.
So, if ever you're finding that you're
| | 05:09 |
losing detail, you may need to go to that
Color Blending Mode to try to bring some
| | 05:12 |
of it back.
That's especially helpful, say, if you're
| | 05:16 |
working with Reds, and if the Reds are
over-saturated, you just have loss of
| | 05:19 |
texture or detail.
All right.
| | 05:21 |
Well, here, let's go back and make a few
more adjustments to the Cyans and the
| | 05:25 |
blues.
I'll bring these sliders back down.
| | 05:28 |
I just wanted to crank all of those up to
sort of illustrate how we could work with
| | 05:32 |
that Color Blending Mode. Alright.
| | 05:34 |
Well, here, the Cyans are going to be the
channel which is the money channel, right?
| | 05:39 |
Because this will allow us to really
control the color that we have.
| | 05:42 |
And if we want to make these more blue,
we'll remove some yellow or add some blue
| | 05:45 |
there.
We'll bring up our magenta slider.
| | 05:49 |
The cyan will allow us to control a little
bit of the characteristic of what type of
| | 05:52 |
blue we have.
And here, we have this image, which almost
| | 05:56 |
has this almost like a watercolor look or
a hand tinted hand-painted type of look.
| | 06:01 |
After seeing the blue I realized my
yellow's too strong.
| | 06:04 |
We'll just go back to the yellows and then
here you can modify these sliders, right?
| | 06:08 |
We can customize how far we go with each
of these sliders and change the brightness
| | 06:11 |
or darkness of that, in order to bring
that to an area which looks a little bit
| | 06:15 |
better. Alright.
| | 06:18 |
Again, just another example of using the
sliders in order to create vivid or
| | 06:21 |
interesting color.
Let's look at one more example.
| | 06:25 |
In this next example I want to show you,
let's say that the client or let's say
| | 06:28 |
that you have decided that you just
want to change the color.
| | 06:31 |
You want the ocean and sky to be purple,
and you want the boat to be yellow.
| | 06:37 |
Well, in order to make those changes with
selective color, we'll click on the
| | 06:39 |
Selective Color Adjustment Layer icon.
And then we'll go to probably the most
| | 06:44 |
dominant color in the image, the Cyans and
the Blues.
| | 06:47 |
So start with your bigger color first.
And what we know is that we can change the
| | 06:51 |
color characteristics and we can change
this by using a slider, in this case,
| | 06:55 |
removing cyan and then using another
slider and pushing that together.
| | 07:00 |
And here, because we pushed these two to
their extremes, we now have this purple
| | 07:04 |
tint in the photograph.
Of course, you never want to give up with
| | 07:08 |
just using one or two sliders, always use
them all together in order to come up with
| | 07:11 |
exact color that you want in your photograph.
| | 07:15 |
Okay.
Well, now we have this change of color for
| | 07:18 |
the sea and the sky, what about the boat?
Go to the Reds.
| | 07:22 |
Here in the Red channel what we want to do
is sort of flip the way that these reds
| | 07:25 |
are working.
So, in the Magenta channel, we can make
| | 07:29 |
some pretty strong adjustments.
So here we'll work with Magentas.
| | 07:34 |
We also can use the Cyan channel to
control color as well.
| | 07:37 |
And, then, the Yellow channel, right?
That's going to help us bring in some
| | 07:40 |
yellow.
Really, it's a combination of all the
| | 07:43 |
sliders together, which allow us to create
this really dramatic, kind of hand-painted
| | 07:47 |
type of look in our photograph.
And one of the reasons why I wanted to
| | 07:51 |
walk through some of the examples was to
get you thinking about how you can use
| | 07:54 |
these sliders.
I also wanted to help you realize that you
| | 07:58 |
don't need to be intimidated by selective color.
| | 08:02 |
Often people open up selective color and
they think, omigosh, all these sliders,
| | 08:05 |
color theory.
I don't know how this works.
| | 08:08 |
Well, don't worry.
All that you need to do is swing the
| | 08:11 |
sliders together to mix them.
And let go of your technical, kind of
| | 08:14 |
fear-of-color-theory, and think of it as
mixing paint as a little kid.
| | 08:19 |
And sometimes, when you mix certain colors
together, you all of a sudden come up with
| | 08:22 |
something interesting.
And the more that you use selective color,
| | 08:26 |
the more useful it will become.
And here I've shown you a few examples
| | 08:30 |
where you can modify or change colors.
And in these examples, we've just been
| | 08:34 |
having some fun.
Yet, keep in mind, you can also use
| | 08:37 |
selective color to make corrections.
I've had a few images, where I've used
| | 08:42 |
selective color, and it has just saved the
day, because it allowed me to get into
| | 08:45 |
that color area, and make really subtle
tweaks, so that the final image looked
| | 08:49 |
that much better.
All right?
| | 08:52 |
Well, either way, I hope you enjoyed this
tour of how you can start to use selective
| | 08:56 |
color in order to change and modify the
colors in your photographs.
| | 09:01 |
| | Collapse this transcript |
| Using Color Balance to create vivid color| 00:00 |
One of the most intuitive and sometimes
one of the most fun color adjustment tools
| | 00:04 |
that you can use is Color Balance, so
let's take a look at how we can use Color
| | 00:07 |
Balance on a view images in order to
change or modify the colors in our
| | 00:10 |
photographs.
Here we have a family portrait down at a
| | 00:15 |
beach.
And what I want to do, is warm this image
| | 00:17 |
up.
To do that, we'll juse Color Balance.
| | 00:20 |
You can click on the Color Balance icon
rigth here, you can find it in the
| | 00:23 |
adjustments panel.
And on this first image, we'll keep things
| | 00:27 |
pretty simple.
All that I want to do is drag my slider to
| | 00:30 |
the right in order to increase the reds.
I also want to increase the yellows.
| | 00:35 |
The reason why I said this is intuitive is
because it's color coded.
| | 00:39 |
So here we can see as we drag this towards
that color the image takes on more of that
| | 00:43 |
color characteristic.
If we want a little bit more magenta we
| | 00:46 |
can add a touch more of that as well.
So far here, we have our before.
| | 00:51 |
And then now our after.
Much nicer color in the photograph.
| | 00:55 |
Yet we can also dig deeper into these controls.
| | 00:58 |
Here we can work on the shadows.
If we click Shadows, this allows us to
| | 01:02 |
make color adjustments in the darker areas
of the photograph.
| | 01:06 |
Again we can cool those off or warm those up.
| | 01:09 |
And as you make these adjustments, often
what you can do is you can go through and
| | 01:12 |
you can stack up the adjustments so that
you can focus on the shadows differently
| | 01:16 |
than the midtones or the highlights.
Here in the shadows I might just bring up
| | 01:21 |
my reds a little bit and bring down the
magentas and yellows a touch as well.
| | 01:25 |
Let's compare that say to the midtones.
Well the mid tones we have completely
| | 01:29 |
different amounts.
And the same thing could be said for going
| | 01:32 |
to the highlights.
And by working on these different areas,
| | 01:36 |
we can start to really fine tune exactly
how we want these colors to appear.
| | 01:41 |
And we can use these sliders enhance
color, like we're doing here, or to create
| | 01:44 |
really vivid and surreal colors.
You can make really strong adjustments by
| | 01:49 |
dragging these sliders really far, to
either side of the spectrum.
| | 01:53 |
Or.
You can just make little teeny adjustments
| | 01:56 |
as well.
With this photograph, I think it's better
| | 01:58 |
to make a bit more subtle, so that here's
our before, and then click on the ii can
| | 02:02 |
again and we can see here's the after.
It just looks more warm, and inviting.
| | 02:09 |
Alright, well let's take a look at making
more vivid colors using color balance.
| | 02:13 |
To do that I'll open up a photograph of a sunrise.
| | 02:16 |
The color in this image is a little bit lackluster.
| | 02:18 |
So let's boost the color by opening up
color balance.
| | 02:23 |
Here we'll start off in the shadows, the
darker tones.
| | 02:26 |
There are lot of those in this photograph.
We can change the characteristic of the
| | 02:30 |
image by making the darker tones much more
blue and cyan.
| | 02:33 |
If you don't like the mix of the blue and
the cyan together, we'll just add a little
| | 02:37 |
bit of magenta, in this case you can see I
can make it more of a true blue color.
| | 02:42 |
So, we could have these deep dark blues,
then we could go to highlights.
| | 02:47 |
And in the highlights we could warm
everything up.
| | 02:49 |
Add more yellows, and reds, and maybe even
some magenta.
| | 02:53 |
And here, all of a sudden, we have a
completely different look.
| | 02:57 |
Here's before.
And then now here's after.
| | 02:59 |
Well, with this look, while it's
different, I don't necessarily like it, so
| | 03:03 |
I'll reset it.
Click on the reset icon.
| | 03:06 |
What else could we do with this image?
Well, here one of the things that we could
| | 03:10 |
do is we could increase our overall color
say, by bringing up our reds and our
| | 03:13 |
magentas and our yellows.
And let's say that actually what we want
| | 03:17 |
is a sunset which has these bright, vivid
colors and has a bit more brightness to
| | 03:21 |
it.
So here, my midtones, I brought up my
| | 03:24 |
reds, brought down the magentas and ended
up bringing up the blues a little bit as
| | 03:28 |
well.
Next, I'll go into the shadows.
| | 03:31 |
In the shadows, again, I want more red in
that area, and then I'll also just bring
| | 03:35 |
out the magenta and the yellow characteristics.
| | 03:39 |
Here I'm looking to try and create really
vivid, dynamic look to this photograph.
| | 03:43 |
Last, but not least, we'll travel to the highlights.
| | 03:46 |
And here in the highlights, we can control
the colors that we have and the brighter
| | 03:49 |
tones in the image.
Sometimes it's fun to just slide these
| | 03:52 |
colors around and see what the photograph
might look like.
| | 03:56 |
Alright, there you have it, another way
that we could modify the color in this
| | 03:59 |
image, which was completely different than before.
| | 04:02 |
Here's our before, and then now here's our
after.
| | 04:05 |
| | Collapse this transcript |
| Combining Color Balance and Curves to create dramatic color| 00:00 |
When it comes to creative color in
Photoshop, there isn't necessarily one
| | 00:04 |
adjustment or one technique which is best.
And you know, sometimes it's a combination
| | 00:09 |
of techniques which can allow you to come
up with the most interesting results.
| | 00:14 |
So here in this movie let's take a look at
how we can stack up adjustments in order
| | 00:17 |
to come up with a dramatic color effect
for this photograph.
| | 00:21 |
This is a photograph that I captured in
Austin, Texas.
| | 00:24 |
The sun was setting and all of these bats
were leaving their little homes to fly off
| | 00:28 |
into the sky to catch bugs and it was a
surreal experience.
| | 00:32 |
And so what I want to do is create really
bright, vivid colors here, and I want the
| | 00:36 |
colors to be red and yellow and golden.
So let's take a look at how we can create
| | 00:42 |
an effect like that.
We're start off by clicking on our
| | 00:45 |
adjustment layer icon for vibrance and saturation.
| | 00:48 |
If you drag the vibrance slider to the
right, what it will allow you to do is to
| | 00:51 |
increase color variety, and also a bit of saturation.
| | 00:55 |
Let's go and apply that adjustment and
then click on the eye icon.
| | 00:58 |
Here's before, and then here's after.
It just deepened my blues and also
| | 01:02 |
brightened up some of the yellows and the oranges.
| | 01:05 |
Next, I want to change the color entirely.
Here, we'll use color mounts.
| | 01:09 |
With color mounts I'll start off in the shadows.
| | 01:12 |
And in the Shadows, I'll bring up my reds
a little bit, also bring in some magenta
| | 01:15 |
and maybe a little bit of yellow there.
Next, we'll go to the Midtones.
| | 01:20 |
In the Midtones, we're going to bring up
our reds.
| | 01:22 |
This will change the color characteristics
quite a bit.
| | 01:25 |
We'll also bring in some nice yellows
there, maybe even a touch of magenta.
| | 01:29 |
Alright.
Well here, I'm getting closer to the color
| | 01:31 |
palette that I want, this really rich kind
of reds and yellows.
| | 01:36 |
Next let's go to our highlights.
When we go to the highlights we can really
| | 01:40 |
brighten up the image by bringing up some
more reds and yellows.
| | 01:44 |
In doing that its almost like the sunset
is just sort of turning on so again just.
| | 01:48 |
Exaggerate this here a little bit here so
we have this really vivid color.
| | 01:51 |
Here's before, and then now here's after.
Well so far, I like the direction of this,
| | 01:56 |
but I want to bring in some more contrast
and some more color saturation.
| | 02:01 |
Well, to do that, we'll use curves.
Go ahead and click on the curves
| | 02:04 |
adjustment layer icon and start off in the
composite RGB curve and just create a
| | 02:08 |
default s curve.
Brighten up the whites there a little bit,
| | 02:12 |
and then click and drag down to darken the shadows.
| | 02:16 |
And so again this little s curve with this
color project kind of makes all the
| | 02:20 |
difference in the world, right?
Here's the before and then the after.
| | 02:25 |
Yet that being said without the vibrance
layer, well we wouldn't have all of that
| | 02:28 |
variety or that little bit of difference
that we have there.
| | 02:32 |
And of course color bounds do quite a bit
for us as well.
| | 02:35 |
The great thing about working with curves
in color is you can also get into the
| | 02:38 |
different channels.
Like you can go into the red channel and
| | 02:41 |
boost the reds even further.
Here if we want to bring out a little more
| | 02:45 |
red we could do that.
Go to the green, magenta channel, drag
| | 02:48 |
this down to add a little bit of magenta.
Go to the blue, yellow channel, and then
| | 02:53 |
click and drag down as well, to add a
little bit more yellow.
| | 02:56 |
And again, we're just finessing the
overall color look in this picture.
| | 03:00 |
Yet the point here is to really illustrate
this idea that sometimes it's about
| | 03:04 |
stacking up these different adjustments.
You know often it's easy to get excited,
| | 03:09 |
say about color balance, so we use color
balance and we come up with color like
| | 03:12 |
this and we think it's great.
Yet, we're only barely scratching the
| | 03:16 |
surface.
Because by combining color balance with
| | 03:19 |
our vibrance adjustment, it will allow us
just to have a little bit more variety in
| | 03:22 |
the photograph.
And then by finishing it off by making an
| | 03:27 |
advanced adjustment using curves, using
that S curve and then getting into those
| | 03:31 |
channels and dragging up and down on the
curve would allow us to accomplish
| | 03:34 |
something completely different.
Now of course, these type of techniques
| | 03:40 |
are much more advanced because we're using
multiple adjustments and multiple layers.
| | 03:46 |
Yet as you dig into working with color in
creative ways in Photoshop, I recommend
| | 03:49 |
that you start blending together all of
your skills.
| | 03:53 |
Use your skills and knowledge of curves,
combine that with what you now know of
| | 03:57 |
color balance.
And some of the other color adjustment
| | 03:59 |
tools.
And often by combining all of these
| | 04:02 |
techniques together, or multiple
techniques together, it can help you come
| | 04:05 |
up with interesting results, as we were
able to do so with this photograph here.
| | 04:10 |
| | Collapse this transcript |
|
|
10. Master the Art of Burning and DodgingIntroducing the Dodge and Burn tools| 00:00 |
Since the beginning of photography,
photographers have known, that when
| | 00:04 |
someone views a photograph, they're
attracted to areas of focus.
| | 00:08 |
Their also drawn into areas of brightness.
Therefore, since the early days of
| | 00:13 |
photography people have burned and dodged
or brighten and darken their pictures.
| | 00:17 |
In order to an essence direct how someone
views the photograph.
| | 00:21 |
And burning and dodging really is an art
and a craft.
| | 00:25 |
And so in this movie, I want to introduce
you to the Burn and Dodge tools that we
| | 00:28 |
have in Photoshop.
We'll be working on this photograph of my
| | 00:31 |
daughter Annie here with her brand new puppy.
| | 00:33 |
Yet, before we get to the photograph, I
want to show you how these tools work on
| | 00:36 |
two demo layers, so that you actually
understand how they work.
| | 00:41 |
And then we'll apply what we've learned to
the photograph.
| | 00:43 |
Alright, well, let's turn on the Demo
layer, gray right here.
| | 00:46 |
Click into that layer and then I want you
to navigate to Tools panel.
| | 00:50 |
And let's first select the Dodge tool.
Now, these tools are named after
| | 00:53 |
traditional dark room techniques, so it
may be tricky to remember what tool does
| | 00:57 |
what.
But here it is, the Dodge tool allows you
| | 01:00 |
to brighten.
The Burn tool, it allows you to darken.
| | 01:04 |
Lets select the Dodge tool first.
Now, when you select the tool, you have
| | 01:07 |
some options up top here in the Options bar.
| | 01:10 |
You can choose a brush size, a brush hardness.
| | 01:12 |
You can target a different range of tones.
We'll talk more about this in just a
| | 01:17 |
minute but this allows us to focus our
adjustment on certain tones.
| | 01:21 |
We can also dial in our exposure.
If we have a brighter exposure, well, then
| | 01:25 |
this will work more intensely, if we have
a lower exposure, it will be more subtle.
| | 01:31 |
Let's start up with the exposure all the
way up to 100%, because this is just a
| | 01:34 |
demo.
Here, if I click back and forth in order
| | 01:37 |
to paint over this are of this gray layer,
we can see that I can brighten that area
| | 01:40 |
up pretty quickly.
Now, if I decrease the exposure, way down
| | 01:45 |
to 10% or so, what will happen is as I
click back and forth the same way we can
| | 01:48 |
see that it's just barely brightening that up.
| | 01:53 |
When you have a lower exposure setting, it
allows you to work in more subtle ways.
| | 01:58 |
So, exposure with this tool is really important.
| | 02:01 |
You can change that quickly by tapping a
number on the keyboard.
| | 02:04 |
Press 5 to go to 50%.
9 to go to 90%.
| | 02:08 |
Or you can press two numbers, like 44, and
it will go to 44%.
| | 02:12 |
In this way you can quickly modify that
exposure as you're working.
| | 02:15 |
I should also point out when you're using
this tool, often you'll want to use a
| | 02:18 |
brush without any hardness, so that you
can subtlety brighten up or darken any
| | 02:21 |
area of the photograph.
All right.
| | 02:24 |
Next, let's take a look at the other tool
which is the Burn tool.
| | 02:27 |
When we select that we have the same exact options.
| | 02:30 |
And here, I'll go ahead and click and
paint back and forth.
| | 02:33 |
We can darken the photograph in this way.
All right.
| | 02:36 |
Well, I know that this isn't very
exciting, looking at this on a few demo
| | 02:39 |
layers.
But stick with me.
| | 02:41 |
It'll get good in just a moment.
All right, well let's turn off the
| | 02:44 |
visibility of this layer.
Let's go up to the top layer, which is
| | 02:47 |
called Tone.
Click on the visibility of that layer.
| | 02:51 |
Now what I want to highlight here is, that
with either of these tools selected, Dodge
| | 02:55 |
or Burn, we have the ability to work on
certain tones.
| | 02:59 |
If you click on this Pull down menu, you
notice you have Shadows, Midtones, and
| | 03:02 |
Highlights.
Now, I've created a layer with three
| | 03:05 |
tones, to sort of simulate our Darker
tones, our Midtones and our Highlights.
| | 03:10 |
And if we select on of these, let's say
Shadows, and then crank up the exposure to
| | 03:13 |
exaggerate and click and paint across the image.
| | 03:17 |
And here, I'll paint a couple of times you
can see that it's primarily working on
| | 03:20 |
these darker tones.
If I change this to Midtones and then
| | 03:24 |
again paint across the image, you can see
that it's going to have a more pronounced
| | 03:27 |
effect on these middle tones here.
And then, if we move to Highlight and
| | 03:31 |
click and paint across the image, you can
see that it isn't touching those darker
| | 03:34 |
tones at all, but really its favoring this
side or this tonal region in the
| | 03:37 |
photograph.
Now, this is a bit of an
| | 03:41 |
oversimplification, yet it does highlight
how you can use either of these tools in
| | 03:44 |
order to target certain areas of your
image in order to brighten or darken
| | 03:47 |
those.
So again, just to highlight this, we can
| | 03:51 |
do the same thing by clicking and holding
on the Burn tool and selecting the Dodge
| | 03:54 |
tool.
And if you work on our Shadows and click
| | 03:57 |
and paying across that you can see I can
brighten up the shadows without
| | 04:00 |
brightening up the highlights.
Why would that be helpful, well, might be
| | 04:04 |
helpful if you have that highlighted its
already bright enough, but you have a
| | 04:07 |
shadow nearby, which is too dark.
This will allow you to just work on the
| | 04:12 |
shadow.
Alright, well, enough with our demo
| | 04:14 |
layers.
Let's get to the photograph.
| | 04:17 |
Here, we'll click into the Background
layer and copy it.
| | 04:19 |
Press Cmd+J on a Mac, Ctrl+J on Windows.
We'll go ahead and name this layer Burn
| | 04:24 |
and Dodge.
Next step, I want to brighten up the puppy
| | 04:28 |
right here.
So, let's click on our tool, and let's
| | 04:30 |
choose the Dodge tool.
Then from the Options bar we want to
| | 04:34 |
choose a brush without any hardness.
And here, I want a nice big brush.
| | 04:39 |
I'll try one that's about 200 pixels or
maybe even larger.
| | 04:42 |
Next, for the exposure setting, typically
you want a relatively low exposure so that
| | 04:47 |
you can subtly brighten up this area.
Remember, the beauty of light is that it
| | 04:52 |
moves in really smooth and fluid ways and
so you don't want to have all of a sudden
| | 04:55 |
a harsh brightening effect.
But you want something subtle.
| | 05:00 |
Our range for this area, going to be Midtones.
| | 05:03 |
So, here with this brush I'll go ahead and
just click over the puppy a little bit
| | 05:05 |
here.
And also Anaka’s hands.
| | 05:08 |
Little bit on our shirt there, just to
brighten up that area.
| | 05:11 |
And let’s take a look at the before and after.
| | 05:13 |
Here’s before then now here’s after.
A few simple adjustments, which help us to
| | 05:18 |
sort of redirect to also view the puppy.
Now, we could click on Anaka here too, and
| | 05:23 |
brighten her face up a little bit.
And again, now we have two areas to focus,
| | 05:27 |
before and then after.
What about darkening?
| | 05:31 |
It works exactly the same way.
Here, we'll select our Burn tool.
| | 05:35 |
With the burn tool we want to work on mid
tones, because in this case I'm just
| | 05:39 |
going to work on these tones in the
background, drop this exposure down to 50%
| | 05:42 |
or less, make the brush bigger.
To do that we can go into our Brush pull
| | 05:48 |
down menu right here and then I will just
start to paint over this background a
| | 05:51 |
little bit, just kind of darken up a few
of these areas.
| | 05:55 |
And by darkening up your edges, what you
can do is you can keep the viewer focused
| | 05:59 |
in on the subject, because remember the
eyes goes to areas of brightness.
| | 06:04 |
If you have an area of brightness right on
the edge of your photograph, sometimes the
| | 06:08 |
eye can be attracted towards that, and
they can be pulled away from the subject.
| | 06:13 |
Here, the adjustments that I made are
subtle, yet they help out the photograph.
| | 06:18 |
Let's take a look.
Here, it is before and now here's the
| | 06:20 |
after.
And perhaps more important than these
| | 06:23 |
adjustments here are that we now know how
we can work with these tools.
| | 06:27 |
And before I wrap up our conversation
about using these burn and dodge tools, I
| | 06:30 |
want to share with you one more helpful shortcut.
| | 06:34 |
Stick with me because this shortcut is
really worth it.
| | 06:37 |
Well, currently you can see that I have
the tool selected, which is the Burn tool.
| | 06:41 |
This allows me to darken the photograph.
So, let's say that I'm darkening part of
| | 06:45 |
the image right here, and then I decide,
you know what, actually, I also want to
| | 06:47 |
brighten something up.
I want to use the other tool.
| | 06:50 |
Well, you can access the other tool with
the settings which you previously used, by
| | 06:54 |
holding down the Option key on a MAC, Alt
on Windows.
| | 06:59 |
Now, when I click and paint I can brighten
this area up, and you can see that I'm
| | 07:02 |
brightening up the jacket here in this
part of the photograph.
| | 07:06 |
In other words, whenever you have one tool
selected, and then if you press Option or
| | 07:10 |
Alt, it will toggle to the other tool.
And which ever you have selected, again,
| | 07:14 |
it just allows you to go back and forth
between these two.
| | 07:17 |
And this is a great shortcut, because the
reality of burning and dodging is it's
| | 07:20 |
something that you do together.
You darken a little bit here.
| | 07:25 |
You brighten another area here.
And this helps you to build the overall
| | 07:28 |
visual interest in the photograph.
Alright, well that wraps up our
| | 07:32 |
conversation about working with the Burn
and Dodge tools.
| | 07:36 |
Yet, we're going to continue to talk about
burning and dodging, and we'll do so in
| | 07:39 |
the next movie.
| | 07:40 |
| | Collapse this transcript |
| Improving a black-and-white landscape photograph| 00:00 |
In the next few movies I want to highlight
a technique that I use on almost every
| | 00:04 |
photograph that I work on in Photoshop.
And this is a technique which allows us to
| | 00:08 |
do some burning and dodging on a separate layer.
| | 00:12 |
What we'll do here is create a new layer,
change the blending mode to soft light and
| | 00:15 |
then paint with a dark or bright tone in
order to darken or brighten different
| | 00:19 |
parts of our photograph.
With this image what I want to do is
| | 00:23 |
darken the sky and brighten up the path.
So first let's create a new layer.
| | 00:27 |
Here we'll go ahead and click on the New
Layer icon, and I'm going to name this new
| | 00:31 |
layer Path.
Next what I'm going to do is grab the
| | 00:34 |
Brush Tool, press the B key to select your
Brush Tool.
| | 00:37 |
Up here in the Options bar, you want to
choose a brush withoug any hardness.
| | 00:42 |
And you want to choose a brush size which
is appropriate for the task.
| | 00:45 |
Here you can see for the path, this brush
size might actually work.
| | 00:49 |
Although, I'm going to increase it a
little bit more, and then we'll decrease
| | 00:52 |
it as we go.
Next, when it comes to brightening, and
| | 00:55 |
darkening, I always like to start with a
little bit of a lower opacity.
| | 00:59 |
So here I'll bring our opacity slider down.
| | 01:02 |
I'll try about 30 or 40% or so.
Now, if you want to darken, you'll paint
| | 01:06 |
with a darker tone or with black.
Or if you want to brighten, choose a
| | 01:10 |
brighter color or tone.
In this case, I'll choose white.
| | 01:13 |
Now, before we start painting what we'll
need to do is change our blending mode.
| | 01:18 |
Yet, I'm not going to do that yet so that
you can kind of see the difference.
| | 01:22 |
Here, I'll go ahead and paint over this path.
| | 01:24 |
Now right now this looks a little bit
murky at best.
| | 01:28 |
Yet when we change the blending mode right
here to softlight what that allows us to
| | 01:32 |
do is to brighten up this path in a really
nice clean way.
| | 01:37 |
Take a look at how I'm building up the
brightening effect in this part of the
| | 01:39 |
photograph.
Now if I want to work on the smaller part
| | 01:42 |
of the road I'll tap the left bracket key
to make my brush smaller.
| | 01:46 |
Now go ahead and just paint along the road
here, and I’m going to make my brush
| | 01:49 |
smaller and smaller, getting way back down
there to the road, because I want to draw
| | 01:52 |
the viewer in to this area of the photograph.
| | 01:56 |
And here I’ll just paint some more lines.
And all that we’re doing is just painting
| | 02:00 |
with white in this case, which allows us
to brighten up this part of the picture.
| | 02:04 |
Take a look.
With a few brush strokes, here’s before,
| | 02:07 |
and then now here's after.
And the great thing about doing this on a
| | 02:11 |
separate layer is, it doesn't take up a
lot of file size, we can always undo this,
| | 02:15 |
erase it, lower the opacity, whatever.
Alright, well, let's do another burn and
| | 02:20 |
dodge adjustment.
This time, let's work with a few
| | 02:23 |
shortcuts, and let's work on the sky.
Whenever you're burning and dodging with
| | 02:28 |
this technique, what I like to do is
create a new layer by pressing Shift>Cmd>N
| | 02:32 |
on a Mac, or Shift>Ctrl>N on Windows.
Here I'll name this new layer sky.
| | 02:38 |
And I like using this technique because it
allows to choose a soft light blend mode
| | 02:41 |
right here.
Now some people prefer to have this soft
| | 02:45 |
light layer filled with this neutral 50
percent gray.
| | 02:49 |
Yet that step isn't necessary unless
you're going to use the burn and dodge
| | 02:52 |
tools.
In my case I'm not, so here I'm going to
| | 02:55 |
use a brush and just paint with white or black.
| | 02:59 |
So I'll leave that option turned off and
then click okay in order to create that
| | 03:02 |
layer.
Now, this layer already has the soft light
| | 03:05 |
blending mode turned on. Awesome.
| | 03:07 |
Next up, choose your brush tool.
We want to paint with black, and we need a
| | 03:11 |
really big brush.
So, I'm here I'll press the right bracket
| | 03:15 |
key, I'm going to make my brush really
big, and I'm going to zoom out as well.
| | 03:18 |
Press command minus on a mac or control
minus on windows to zoom out.
| | 03:23 |
And then just paint over this area.
And with a big brush you can work quickly
| | 03:27 |
across this part of the photograph.
And I wanted to zoom out so that I had
| | 03:31 |
really fluid brush strokes across the sky.
I want to make sure you're not stopping
| | 03:35 |
halfway through your photograph and
creating a divet of darkness in one
| | 03:38 |
certain area, all right.
Well, let's zoom back in and see how we're
| | 03:41 |
doing.
Here is our before and here is our after.
| | 03:44 |
Well I actually like what I did to the sky
but I made a mistake down here on the
| | 03:47 |
mountains.
I darkened those up as well.
| | 03:51 |
So, no big deal I'll go ahead and choose
my erasure tool which you can find in the
| | 03:54 |
tools panel.
I'll make the brush a little bit bigger by
| | 03:57 |
pressing the right racket key and I'll
just paint over this right here.
| | 04:01 |
And then this way, I can kind of paint
that away.
| | 04:03 |
If we paint away too much, no big deal.
Just go back to the Brush tool, paint with
| | 04:08 |
black again.
This time I'll use a little bit of a
| | 04:10 |
smaller brush.
I think my brush was a bit too big.
| | 04:13 |
That's why I had that overlap onto those
mountains there.
| | 04:16 |
This will give me the ability to be a bit
more precise.
| | 04:19 |
I'm just going to paint over A few little
areas in order to create some visual
| | 04:23 |
interest.
Next I'll move over on this side of the
| | 04:26 |
photograph.
I want to darken up my edges here.
| | 04:29 |
I'm going to lower the opacity down to 10%.
| | 04:31 |
Sometimes it's nice to work with a really
low opacity as you start to build some
| | 04:35 |
transition areas.
Because you know you don't want even
| | 04:39 |
amount of darkness everywhere.
That's what makes photographs interesting
| | 04:43 |
is how things are bright or dark in
different areas.
| | 04:46 |
Again, with a few simple brush strokes
we've improved this image in huge ways.
| | 04:52 |
Let's take a look.
Here's the sky and some of the outer edges
| | 04:54 |
before, and then here's after.
And then here's our overall before and
| | 04:58 |
then now here's our after.
| | 05:01 |
| | Collapse this transcript |
| Brightening and darkening a color photograph| 00:00 |
Now that we know how we can work on a
black and white image and burn or dodge
| | 00:03 |
using the technique where we create a new
layer and change that layer of blending
| | 00:06 |
mode to soft light and then paint with
dark or bright tones.
| | 00:11 |
Next what I want to do is take a look at
how we can use this technique when working
| | 00:14 |
with color photographs.
We'll start off with a simple example here
| | 00:18 |
and then we'll dig a bit deeper in the
next few movies.
| | 00:22 |
With this image, what I want to do is
darken the edges of the photograph to
| | 00:25 |
really draw the viewer into the subject.
This is a photograph of a world famous
| | 00:30 |
surfer.
And so I want to darken all of these
| | 00:32 |
brighter areas again so the focus is a bit
more on the subject here.
| | 00:36 |
Well to do that, let's create a new layer.
To create a new layer, let's use that
| | 00:39 |
shortcut which we learned.
Press Shift + Cmd + N on the Mac or Shift
| | 00:43 |
+ Ctrl + N on windows.
This allows us to create a new layer, and
| | 00:47 |
to name the layer we'll go ahead and name
this new layer darken.
| | 00:51 |
Next we'll change the layer Blending Mode
to soft light and then go ahead and click
| | 00:55 |
OK.
So then step one is to create a new layer
| | 00:58 |
change that layer Blending Mode to soft light.
| | 01:01 |
The next step is to select the Brush tool,
you can press the B key to select that
| | 01:04 |
tool or just click on the Brush tool icon.
Then you want to choose a dark tone, in
| | 01:09 |
this case black as our foreground color.
So go ahead and make that selection.
| | 01:14 |
Next we want to control our opacity.
We can change opacity by tapping a number
| | 01:18 |
on the keyboard.
I'm going to tap the number three to take
| | 01:21 |
the opacity to 30 percent.
All right, what about the brush?
| | 01:25 |
Well if you Right Click or Ctrl + Click
over the image when you have the brush
| | 01:29 |
tool selected, it opens up the brush dial up.
| | 01:32 |
Here we can choose our brush size.
We're going to start off with a relatively
| | 01:36 |
big brush without any hardness.
Then just click Off of the image in order
| | 01:40 |
to close that dialogue.
Next I want to just start to paint over a
| | 01:43 |
few areas, making some pretty big broad
brush strokes here.
| | 01:47 |
May need to zoom out a little bit, so I'll
do that.
| | 01:50 |
Press Cmd + Minus on a Mac or Ctrl + Minus
on Windows.
| | 01:53 |
And often it's fun to kind of start with a
big brush just to sort of see how you can
| | 01:57 |
begin to darken up certain areas.
You, of course, need to be careful not to
| | 02:02 |
get into those smaller areas too closely,
but here with this photograph, because
| | 02:05 |
we're really just working on the
background, and darkening that, we want to
| | 02:09 |
bring more focus or tension to the subject.
| | 02:13 |
We can use a really big brush like this,
all right?
| | 02:16 |
So far so good.
Again, just sort of clicking and tapping
| | 02:19 |
around the background.
Let's take a look at how we've done so
| | 02:22 |
far.
If we click on the I icon over here, what
| | 02:24 |
we'll see is this is our before.
And then click again, you can see the
| | 02:29 |
after.
And again all that this is doing is sort
| | 02:31 |
of taking that background down a little bit.
| | 02:34 |
And in creating a bit more drama or visual
interest in this photograph.
| | 02:38 |
And how far you take this, of course, is
completely up to you.
| | 02:41 |
Burning and dodging is one of those
techniques which is really subjective.
| | 02:46 |
And so, as you start to work with this,
what I recommend you do is experiment with
| | 02:49 |
how much you want to darken something up.
Also, experiment with your overall
| | 02:53 |
opacity.
here you can lower your opacity, in order
| | 02:56 |
to scale this back a little bit.
Here is the before, and after.
| | 03:00 |
In this case it is a bit more of a subtle look.
| | 03:02 |
When it comes to burning and dodging or
darkening and brightening, this is
| | 03:05 |
entirely subjective, and what you want to
make sure that you do, is that you use
| | 03:08 |
this technique in order to clarify or
further your vision for the photograph.
| | 03:14 |
You know, my vision for this image is to
really focus in on the subject.
| | 03:17 |
Because here we have this top-notch surfer
standing on these train tracks.
| | 03:20 |
And again I just want to darken those
images to draw a little bit more focus on
| | 03:23 |
him and also create just a touch more drama.
| | 03:27 |
Here we have it, our overall before.
And then now our after.
| | 03:31 |
All right, well now that we've seen how
this works on a one-color photograph, what
| | 03:34 |
I want to do next is build upon what we've
learned here, and dig quite a bit deeper.
| | 03:39 |
And we'll do that in the next movie.
| | 03:41 |
| | Collapse this transcript |
| Dodging and reducing shadows in a portrait| 00:00 |
Let's continue to talk about how we can
Burn and Dodge our photographs.
| | 00:04 |
And here, let's build upon what we have
already discussed.
| | 00:07 |
How we can create a new layer and change
that layer Blending Mode to Soft Light and
| | 00:10 |
then paint in order to brighten or darken
our photograph.
| | 00:14 |
Well, in this movie, I want to really
focus in on working with a color image.
| | 00:18 |
And I want to share with you a few
techniques which are especially helpful
| | 00:21 |
when you have a color photograph.
For this project, we'll be creating three
| | 00:25 |
different layers in order to work on it.
Now, this is a picture that I captured in
| | 00:29 |
one of my other lynda.com training courses.
| | 00:31 |
And this is how the image appeared right
out of the camera.
| | 00:34 |
Yet, what I want to do is modify it a
little bit.
| | 00:37 |
I'm interested in darkening the background
and then brightening up this area of the
| | 00:40 |
picture.
So, to do that, we'll create three
| | 00:43 |
different layers.
Let's create the first layer by pressing
| | 00:46 |
Shift+Cmd+N on a Mac or Shift+Ctrl+N on Windows.
| | 00:49 |
And I'll name this new layer background,
because this is going to be the layer
| | 00:52 |
which'll allow me to darken the background.
| | 00:56 |
Here we'll change our Blending Mode to
Soft Light, then click OK.
| | 01:00 |
Now, when we start to work with color
images, we can Burn or Dodge with black or
| | 01:03 |
white.
Yet we can also Burn or Dodge with a color
| | 01:06 |
that we have in the photograph.
Let me show you what I mean.
| | 01:10 |
Here select your Brush tool, next rather
than using black or white here what I want
| | 01:14 |
you to do is to position your cursor over
an area, where you can sample a good
| | 01:18 |
color.
Like I want to sample the color of the
| | 01:22 |
shadow up here.
To do that, hold down the Option key on a
| | 01:25 |
Mac, Alt on Windows and then click.
Notice that, that allowed you to
| | 01:29 |
temporarily select the Eyedropper tool and
then sample this color.
| | 01:33 |
If we click on the color chip now, we can
see that we sampled a nice, dark brown.
| | 01:37 |
We can even darken that up a little bit
more if we want to.
| | 01:40 |
Now of course you could always select
black, yet what I find is when you select
| | 01:43 |
black or white, it can change the color of
the image a little bit.
| | 01:48 |
So, sometimes it's nice to Burn or Dodge
with a dark color or with a bright color.
| | 01:53 |
In this case, obviously because I want to
darken the background, I'll use a nice
| | 01:56 |
dark brown which sort of matches the color
palette that we have here.
| | 02:00 |
Next click OK.
Then of course we want to lower our
| | 02:03 |
opacity so, go ahead and decrease the opacity.
| | 02:06 |
I'll bring this down to about 30% or so,
then I want to increase my brush size.
| | 02:11 |
Here I'll press the right bracket key to
do so.
| | 02:13 |
Then I'm just going to start to paint.
And in painting over this area because I
| | 02:16 |
have the soft light blending mode turned
on, it's allowing me to darken this up.
| | 02:21 |
I'll just go ahead and paint over on this
side as well.
| | 02:24 |
We can even get away with painting up some
other areas too.
| | 02:27 |
Make the brush a little bit smaller, as we
get closer to the subject.
| | 02:30 |
So, I want to make sure that I don't
darken up the subject at all.
| | 02:33 |
And again, just clicking and painting over
all this.
| | 02:36 |
It's always kind of difficult to talk and
to do this at the same time, because I'm
| | 02:39 |
trying to focus on the task at hand as
well as explain what's happening.
| | 02:44 |
But I think you get the gist of how we're
doing this.
| | 02:46 |
Again, just painting across this area.
If we click on this, you can see here is
| | 02:50 |
the before and then now here is the after.
One of the problems with my brush strokes
| | 02:54 |
is that they are a little bit choppy.
We can smooth that out by navigating to
| | 02:59 |
the Filter pull-down menu, then you choose
Blur then select Gaussian Blur.
| | 03:04 |
Whenever you're painting brush strokes
with a mouse like I'm doing here, this can
| | 03:08 |
really help out to sort of smooth those out.
| | 03:11 |
So, I'll just increase the radius a bit,
which in turn will make all of my brush
| | 03:15 |
strokes much softer.
Next click OK in order to apply that.
| | 03:20 |
Well, I want to work on the background
even a bit more.
| | 03:22 |
This time though, I'm going to use black
to create a bit of a darker look and also,
| | 03:25 |
that will help me to sort of remove a
little bit of the color.
| | 03:29 |
So, press Shift+Cmd+N on a Mac or
Shift+Ctrl+N on Windows.
| | 03:34 |
We'll name this, Background-2.
Here we'll use a Soft Light Blending Mode,
| | 03:39 |
click OK.
This time, we're going to paint with
| | 03:42 |
black.
And let's lower the opacity even further.
| | 03:45 |
I'll go down to about 15%.
Make the brush bigger by pressing the
| | 03:48 |
right bracket key and I'm just going to
click and paint over this.
| | 03:52 |
And darken up some of these areas.
What I'm trying to do here is build a
| | 03:57 |
little drama into this, so the focus is
really this beautiful bride here, all
| | 04:01 |
dressed up for the big day.
So, just painting with big, huge
| | 04:05 |
brushstrokes, a nice soft-edge brush, make
sure there isn't any streaking or overly
| | 04:10 |
enhanced brush areas.
Here we can see this adjustment, here's
| | 04:14 |
before and after.
And really, it's these adjustments stacked
| | 04:17 |
up together, which allow us to come up
with this result.
| | 04:21 |
Now, whenever you're working with color,
let's say that like with this color here,
| | 04:24 |
and you realize, you know what?
I actually don't like the Hue of that
| | 04:28 |
color.
It's a little bit too red for me.
| | 04:31 |
What you can do is something fascinating.
You target the layer, so target this
| | 04:36 |
middle layer titled background then press
Cmd+ U on a Mac or Ctrl+U on Windows.
| | 04:42 |
Next, you can change the Hue, let me
exaggerate this for a moment.
| | 04:45 |
I'm going to over saturate it, notice how
there's a lot of red in that?
| | 04:48 |
You can change this Hue, or change it to a
different color using Hue Saturation here.
| | 04:54 |
And this can help us to match the color
more effectively.
| | 04:56 |
Now, you wont want to over saturate that
color if anything, you may want to
| | 04:59 |
desaturate it a little bit or just shift
the color.
| | 05:03 |
In my case, I want to make the color a bit
more yellow, so I know if I bring the
| | 05:06 |
slider to the right there a little bit,
that will help me do that.
| | 05:10 |
Alright again, just a subtle adjustment
but it helps out when it comes to burning
| | 05:14 |
and dodging with color photographs.
Already our photograph is looking a lot
| | 05:18 |
more interesting.
Here's the before, and then now here's the
| | 05:22 |
after.
Also, as you make these adjustments if you
| | 05:25 |
feel like, you know what, I went a little
bit too far on this layer, just lower the
| | 05:27 |
opacity, just knock that back a little bit.
| | 05:30 |
And here we can click into these various
layers and take this back, in order to
| | 05:33 |
have an image with a little bit less drama.
| | 05:35 |
With this photograph, I think I like it a
little bit darker there, so I'll increase
| | 05:39 |
this.
It's important to know that you can use
| | 05:42 |
those sliders.
Alright, well now that we've done all of
| | 05:45 |
this, this last thing I want to do is
brighten up this area.
| | 05:48 |
To do that, lets create one more layer.
You know how to do this already.
| | 05:52 |
It's Shift+Cmd+N on a Mac, Shift+Ctrl+N on
windows, change the blending mode to Soft
| | 05:56 |
Light then we'll go ahead and name this
one Face.
| | 05:59 |
Because more or less, we'll be working on
that area of the photograph.
| | 06:03 |
Next, click OK.
Now here, what I want to do is sample a
| | 06:06 |
really bright skin tone.
So, hold down the Option key on a Mac, Alt
| | 06:10 |
on Windows with your Brush tool selected
and go ahead and click on on the skin.
| | 06:15 |
Then, click on your color chip, that's the
foreground color chip there, and what you
| | 06:18 |
want to do is just brighten this up a
little bit more.
| | 06:21 |
And then click OK.
Here we'll go ahead and just start to
| | 06:24 |
paint over this area of the image.
And in doing this, we're just going to
| | 06:27 |
brighten up this part of the photograph.
And brightening it up with a little bit of
| | 06:32 |
a color shift in there, in order to create
this kind of nice, soft sort of pastel
| | 06:35 |
light glow.
We can also paint in other areas of the
| | 06:39 |
picture too if we wanted to brighten up
other parts of our photograph.
| | 06:42 |
Here's the before, and now here's the after.
| | 06:45 |
In this case, we also might need to change
the color.
| | 06:49 |
You can do that by pressing what's that shortcut?
| | 06:51 |
Do you remember it for Hue Saturation?
Pressing Cmd+U on a Mac, Ctrl+U on
| | 06:55 |
Windows.
Here we can desaturate that if we want to
| | 06:59 |
remove some of the color or we could also
shift this.
| | 07:02 |
Again we could change the color Hue there
or color tint to that and then click OK.
| | 07:06 |
And then the brightening effect that I
have here for this photograph, I think
| | 07:10 |
it's nice but it's a little bit too soft
or too pastely for my taste.
| | 07:14 |
So, I'll just scale this one back a little bit.
| | 07:17 |
This is a layer that I needed to do that.
I just want a little kind of, bright snap
| | 07:20 |
of color in that area.
Alright, well that looks pretty good.
| | 07:24 |
Yet more importantly than how it looks is
the technique.
| | 07:28 |
And this is the technique.
You create a new layer, change that
| | 07:31 |
Blending Mode to Soft Light and then paint
with a bright or dark tone.
| | 07:36 |
And that can be black or white or it can
be a tone that has a little bit of color
| | 07:39 |
in it.
With this image it helped us to create
| | 07:42 |
this particular look.
Here's our before and then now here's our
| | 07:46 |
after.
And what I like to do at the end of
| | 07:49 |
creating this or the end of my burning and
dodging, is I like to organize my layers.
| | 07:54 |
So, you click in the top layer, hold down
the Shift key, click in the bottom layer
| | 07:58 |
for our burning and dodging then press
Cmd+G on a Mac or Ctrl+G on Windows.
| | 08:03 |
We'll go ahead and name this Burn and Dodge.
| | 08:06 |
The advantage of grouping this together
is, it helps you to sort of see the image
| | 08:09 |
in a finished state.
Here I can see the before, now I can see
| | 08:13 |
the after.
I might decide that I'll just scale this
| | 08:16 |
back a little bit, have a little bit less
intensity of the overall effect.
| | 08:21 |
Again, you can dial this in so that it
works well with your own vision.
| | 08:25 |
Most importantly, you want to use this
technique in order to clarify your vision
| | 08:28 |
and your voice for your photographs.
Keep in mind, the art and craft of burning
| | 08:33 |
and dodging, it's all about directing how
the viewer experiences your photograph.
| | 08:40 |
| | Collapse this transcript |
| Burning and dodging with the Brush| 00:00 |
So far, we've been talking about how we
can burn or dodge or darken or brighten
| | 00:03 |
different areas of our photograph and we
focused in on working on larger areas of
| | 00:07 |
the picture.
Here, I want to shift our attention to
| | 00:11 |
something smaller and more specific.
In particular, let's look at how we can
| | 00:15 |
work with these techniques in order to
brighten shadows.
| | 00:18 |
I want to brighten up the shadows that we
have here underneath the eyes, and also
| | 00:21 |
underneath the lips.
In order to do this, we'll create two
| | 00:25 |
different layers.
Let's start off by creating the first
| | 00:28 |
layer by using the new layer shortcut,
which is Shift+Cmd+N on a Mac or
| | 00:31 |
Shift+Ctrl+N on Windows.
We'll name this new layer shadows-1 and
| | 00:35 |
we'll change the blending mode to soft light.
| | 00:40 |
Here, go ahead and click okay.
Step one again.
| | 00:42 |
Create a new layer.
Blending mode to soft light.
| | 00:45 |
Step two, press the B key to choose your
brush tool.
| | 00:49 |
Then in the options bar, we want to use a
brush without any hardness.
| | 00:52 |
We want a nice small brush.
This one's actually a little bit too big,
| | 00:55 |
so I'm going to decrease the size there a
little bit.
| | 00:58 |
I'm going to have a nice small brush so
that we can just work on these shadows
| | 01:01 |
here.
Now for opacity I often like to start with
| | 01:04 |
a really low capacity, so I'm going to
bring this way down, I'm going to take it
| | 01:08 |
down maybe to about 10 or 15%.
Next what about the color?
| | 01:13 |
Whenever you're working with skin tone it
can be helpful to sample a color.
| | 01:16 |
So here hold down the option key on a Mac,
alt on Windows, and then sample on one of
| | 01:20 |
the brighter skin tones.
Click on your color chip, you can even
| | 01:25 |
brighten this up a little bit more if you
wanted to.
| | 01:28 |
Next click Okay.
Well, now we've done that we'll go ahead
| | 01:31 |
and just start to paint over this area of
the image.
| | 01:34 |
Here I'm just going to paint back and
forth little tiny brush strokes want to be
| | 01:37 |
careful to just suddenly take way those shadows.
| | 01:41 |
Make the brush a little bit smaller, work
on some of that more intense shadow area.
| | 01:46 |
When you're new to this technique and I
again it's really helpful to have a really
| | 01:49 |
tiny brush, really low opacity.
As you get a little bit more comfortable
| | 01:54 |
we'll crank up that opacity so that you
can see how you can start to brighten up
| | 01:57 |
these areas.
Another thing that will invariably happen
| | 02:01 |
when you're using this technique is you'll
be asking yourself, am I even making a
| | 02:04 |
difference?
I mean, do these adjustments even matter?
| | 02:07 |
Am I making a difference in the world with
what I'm doing with these adjustments?
| | 02:11 |
And, you know what, they do.
Eventually what we'll want to do is take a
| | 02:13 |
look.
Here, when we click on the eye icon, we
| | 02:15 |
can see here's the before and then now
here's the after.
| | 02:18 |
Now, the improvements so far are really subtle.
| | 02:21 |
We'll need to take those shadows out even
further, yet again, you want to think
| | 02:24 |
about taking them out in stages.
Again, it's just clicking and painting
| | 02:28 |
over those areas, change your brush size,
work on some of the smaller shadows, and
| | 02:32 |
move around the image.
If you've ever done woodwork, or if you've
| | 02:36 |
ever sanded wood, you know that you can't
sand it all at once.
| | 02:40 |
Rather, you have to go through the process of.
| | 02:42 |
Little by little sanding away all of the
problem areas, and that's exactly what
| | 02:45 |
we're doing here.
So again, we'll just go ahead and work on
| | 02:49 |
those areas.
If we discover that the color or the skin
| | 02:52 |
tone doesn't match up, well we can fix that.
| | 02:55 |
Do you remember how we can apply a hue
saturation adjustment to a layer?
| | 02:58 |
You press Cmd+U on a Mac or Ctrl+U on Windows.
| | 03:02 |
Here we can click and drag this in order
to choose different colors.
| | 03:05 |
And what you want to do is look for a
color which really matches the overall
| | 03:08 |
skin tone.
In this case, I'm going to add a little
| | 03:12 |
big of a hue shift and also, a bit of a
de-saturation so that this blends in.
| | 03:17 |
Again, I'm going to try to find just the
right color there so that it looks really
| | 03:19 |
natural.
I think that looks good, and then click
| | 03:22 |
Okay.
Now here we have the before And then now
| | 03:25 |
we have the after. Okay.
| | 03:27 |
Well that's step one.
Well, step two is going to be to create
| | 03:30 |
another adjustment layer just like this
and here, we're going to continue the
| | 03:33 |
process. Yeah.
| | 03:35 |
Before we actually finish up this layer,
I'm noticing that my brush strokes are a
| | 03:39 |
little bit rough.
So here, I want to illustrate something.
| | 03:42 |
I'm going to create a new layer then I'll
go ahead and paint with black and, again,
| | 03:46 |
this is just an illustration.
I'll go ahead and paint a black line over
| | 03:50 |
the top of the image, and I'll make this
really harsh and strong.
| | 03:54 |
What you can do is navigate your filter
and choose Blur and then Gaussian Blur and
| | 03:58 |
when you increase this Gaussian Blur
slider notice how it's just softened that
| | 04:01 |
brush stroke until almost it disappeared
and in this way we can really customize
| | 04:05 |
how soft you want that edge of the brush
to be So here I'll go ahead and click
| | 04:09 |
Cancel.
And I'm going to delete this layer and I
| | 04:14 |
want to apply some Gaussian Blur to my
brushstrokes on my shadows one layer.
| | 04:19 |
Navigate to the filter, choose Blur, then
Gaussian Blur.
| | 04:23 |
What you want to do is just keep an eye on
the area that you've worked on.
| | 04:27 |
In this case it's probably just going to
be a pixel or two just to soften those
| | 04:30 |
edges up a little bit.
You can also click into your preview and
| | 04:33 |
move it around and evaluate your preview
there as well.
| | 04:37 |
Alright, well here I'll click Okay in
order to apply that.
| | 04:39 |
I think that looks pretty good.
Let's create a new layer.
| | 04:42 |
Press Shift+Cmd+N on a Mac, Shift+Ctrl+N
on Windows.
| | 04:46 |
We'll name this new layer shadows-2,
blending mode this time is going to soft
| | 04:50 |
light.
Click Okay.
| | 04:52 |
Now because we have a little bit of color
work already there, I'm just going to
| | 04:55 |
paint with white.
And sometimes white or black will work
| | 04:58 |
well.
Rather than 100% opacity I'll take this
| | 05:01 |
down to about 20 or 30% and then we'll go
ahead and just paint over these shadow
| | 05:04 |
areas.
And again as you paint over them you want
| | 05:08 |
to make sure your image still looks natural.
| | 05:12 |
What's amazing about this technique, too,
is that by working with shadows in this
| | 05:15 |
way, it'll help you to start to see
shadows differently.
| | 05:19 |
Sometimes, after you look at the results,
you say, I can't even believe the way that
| | 05:22 |
this image looked before I actually
started to work on it, and I can't believe
| | 05:25 |
I didn't really notice those shadows that much.
| | 05:29 |
And so again its one of those techniques
which can help you to see little areas
| | 05:33 |
that you might want to work on now that
you know this way to work on them, well
| | 05:36 |
again I am making just little progress
here I have a few areas were I am not
| | 05:39 |
liking my brush strokes like over here its
almost like I went a bit too far, so I
| | 05:43 |
will grab the eraser tool and I will make
my brush much smaller And I'll lower the
| | 05:46 |
opacity because we can erase at low
opacity as well.
| | 05:54 |
I'm just going to erase away what I've
done there.
| | 05:56 |
And then I'll grab my brush tool, a little
bit bigger brush.
| | 06:00 |
And you know what the problem is there.
The problem's my opacity is too high.
| | 06:04 |
So I'll drop my opacity down.
And again we all encounter issues like
| | 06:07 |
that as we work on these parts, these shadows.
| | 06:10 |
They're delicate little areas.
Alirght, well let's look.
| | 06:13 |
Here's before and then now here's after.
And so again I think so far, so good.
| | 06:17 |
That's looking alright.
Couple of little fix up areas I need to do
| | 06:20 |
so I'll use the Eraser tool in that area there.
| | 06:23 |
Then we'll go to our Filter pull-down
menu, choose Blur and then Gaussian Blur.
| | 06:29 |
I kind of like to think of Gaussian Blur
is the poor man's Walkham tablet.
| | 06:32 |
You know, Walkham tablet allows you to
paint with pressure sensitivity.
| | 06:35 |
And if you don't have that, like right now
I'm using a mouse, well, you can use
| | 06:38 |
Gaussian blur to create softer edges, and
this could help out especially when you're
| | 06:42 |
trying to paint in light as we're doing here.
| | 06:46 |
Well, here I'll lower the opacity on this
layer a little bit more.
| | 06:49 |
I feel like that was just a bit too
bright, and then we can see the overall
| | 06:52 |
results.
Here's the original image, and again,
| | 06:55 |
often we think, gosh, I can't believe I
didn't notice those shadows more clearly.
| | 07:00 |
Then here with step 1, and then step 2.
And then the overall before and after
| | 07:04 |
where we've really worked on those shadow
areas of the photograph and improved this
| | 07:07 |
overall portrait.
And as you make these improvements keep in
| | 07:11 |
mind what you want to do is maintain the
person's character and personality.
| | 07:15 |
You always want to be careful not to go
too far.
| | 07:18 |
I find that I tend to do that.
That's why lowering this opacity here in
| | 07:21 |
this layer can really help out.
It can sort of lessen the overall effect
| | 07:25 |
so it looks a little bit more realistic
and natural, yet you still benefit from
| | 07:29 |
this.
Alright, well there you have it, a great
| | 07:32 |
technique that allows you to work on shadows.
| | 07:34 |
And all that this technique involves is
creating a new layer.
| | 07:37 |
Changing the blending mode to soft light,
and then, a lot of patience and painting
| | 07:41 |
all of those brush strokes slowly, in
order to improve your photograph, using
| | 07:44 |
this technique.
| | 07:46 |
| | Collapse this transcript |
| Burning and dodging with gradient tools| 00:00 |
In this movie I want to share with you a
burning and dodging technique which is
| | 00:03 |
especially helpful when you want to work
on a larger area of your photogarph.
| | 00:08 |
Like with this image I want to darken the sky.
| | 00:10 |
In order to do that we'll take three snaps.
| | 00:13 |
We'll create an adjustment layer which
will fill the entire image with black.
| | 00:17 |
We'll change that layer blending mode to
soft light And then we'll use a gradient
| | 00:21 |
mask in order to gradiate how this
adjustment will affect our image.
| | 00:25 |
Let me show you how this works.
Here, click on the adjustment layer icon,
| | 00:28 |
and then choose solid color.
The color that we're interested in is this
| | 00:32 |
deep black way down here, so go ahead and
click on that, then click OK.
| | 00:38 |
Obviously this black layer is covering up
everything, yet when we change our
| | 00:41 |
blending mode by clicking on the Blending
Mode pull down menu, what we'll see is
| | 00:45 |
what we'll simply apply a darkening effect.
| | 00:49 |
Here is the before and then here's the after.
| | 00:51 |
The next stop is to select the Gradient tool.
| | 00:54 |
Actually, before you do that make sure
that you have black and white as your
| | 00:57 |
foreground and background colors.
Here we'll choose white as our foreground
| | 01:01 |
Black as our background.
Then select the Gradient tool by pressing
| | 01:05 |
the G key or selecting the tool.
And if you have white as your foreground,
| | 01:10 |
black as your background, it will give you
a gradient which goes from white to black.
| | 01:14 |
Next up, click into the mask.
Now, what we want to do is we want to
| | 01:19 |
conceal this adjustment in this lower area.
| | 01:22 |
We could of course use a brush and paint
over that area yet when you have a large
| | 01:26 |
area like sky in this photograph the
gradient tool works incredibly well.
| | 01:31 |
What you'll want to do is click and drag
and when you click and drag across your
| | 01:34 |
image what you'll discover is that it will
allow you to limit where this adjustment
| | 01:38 |
is being applied.
You can click and drag a little bit longer
| | 01:42 |
in order to extend it more, or click and
drag shorter in order to bring it up.
| | 01:46 |
And where you stop that drag, that will
then stop the transition or stop that
| | 01:49 |
effect in that area.
Here I'll just go ahead and click and drag
| | 01:52 |
through the image.
We can then see the before and now the
| | 01:55 |
after.
And it looks a lot better.
| | 01:58 |
Now we can further customize this by
clicking into the mask.
| | 02:02 |
Grab your brush tool, and then paint with
white or black.
| | 02:05 |
Here, I'm going to choose black, because I
notice it also darkened the car, which I
| | 02:08 |
don't really like.
So I'll bring my opacity up a little bit,
| | 02:12 |
press the Left Bracket key to make my
brush smaller.
| | 02:16 |
I'm just going to paint away the darkening
effect in this area.
| | 02:19 |
Because typically in your photographs you
won't have an exact gradient throughout
| | 02:23 |
the entire image.
So you may need to fix this up a little
| | 02:25 |
bit as well.
Or if you want to remove this from the
| | 02:28 |
mountains you could just paint over those too.
| | 02:31 |
You can also paint in this effect into the
other areas.
| | 02:34 |
Here let's choose white.
Remember white reveals.
| | 02:38 |
If I paint on my mask with white, it will
reveal the darkening effect.
| | 02:42 |
Rather than 60% opacity, I want to reveal
it way down to 10%.
| | 02:48 |
Make the brush bigger, press the Right
Bracket key to do, so I'm just going to
| | 02:50 |
darken up these rocks a little bit here in
the foreground.
| | 02:54 |
And here in this way we're kind of
combining a couple of different techniques
| | 02:57 |
together.
We're crating a gradient and then we're
| | 03:00 |
hand painting on our mask in order to
darken certain areas.
| | 03:03 |
Here you can see the before and then now
you can see the after.
| | 03:07 |
And in this case, we used this particular
adjustment layer which allowed us to
| | 03:11 |
darken the image.
You know you could create other adjustment
| | 03:14 |
layers as well.
This could, of course, be a curves
| | 03:17 |
adjustment layer or a levels adjustment layer.
| | 03:19 |
And then we could use a gradient mask in
the same exact way.
| | 03:22 |
So it isn't necessarily particular to this
type of adjustment layer.
| | 03:26 |
Yet the technique of using the gradient
adjustment on the mask.
| | 03:30 |
Well, that's where this technique really
comes alive, especially when you have to
| | 03:34 |
work on a larger area in your photograph.
| | 03:37 |
| | Collapse this transcript |
|
|
11. Creating an HDR ImageSelecting the files and launching HDR Pro| 00:00 |
In this chapter, we are going to take a
look at how we can use HDR Pro in order to
| | 00:04 |
create HDR images.
In order to work with HDR Pro, we need to
| | 00:08 |
first select photographs in Adobe Bridge.
Here, we select in these photographs that
| | 00:12 |
are all raw files, typically works better
to work with raw files because you have
| | 00:16 |
more data in these files that you can take
advantage of.
| | 00:20 |
If I click through these photographs here,
you'll notice that these were all captured
| | 00:23 |
at different exposures.
Now we can combine these exposures
| | 00:26 |
together in order to create an HDR kind of
surreal look in our photograph, and that's
| | 00:30 |
what I want to do here.
With this image, I want to create an image
| | 00:34 |
that really pops or snaps, and also I
want to modify that further using some
| | 00:37 |
adjustment layers in Photoshop.
Well, first, go ahead and click on the
| | 00:42 |
first photograph that you want to use,
then hold down the shift key and click on
| | 00:45 |
the last image.
Next, navigate to the tools pull-down
| | 00:49 |
menu, here choose Photoshop, and then
select merge to HDR Pro.
| | 00:54 |
When you click on this menu item, it will
send these items to Photoshop.
| | 00:59 |
It will then put them all together and
open them up in HDR Pro.
| | 01:03 |
Here, let's go ahead and wait for
Photoshop to do its thing.
| | 01:05 |
It will open all these files up and then
send these over to HDR Pro.
| | 01:10 |
Now that we have this image open in HDR
Pro, you can see that we have the preview
| | 01:14 |
here.
Underneath, we have the images that we're
| | 01:17 |
working with.
We can include images, or choose not to
| | 01:20 |
include photographs by clicking on the
little checkbox here.
| | 01:24 |
With this photograph, I want to include
all of these, in order to take full
| | 01:27 |
advantage of all of the data and
information we have captured in those
| | 01:29 |
photographs.
Next we have some menu items on the right.
| | 01:34 |
The first one is remove ghosts.
When you turn this on, it allows you to
| | 01:38 |
remove ghosting which happens, say if your
photographing a tree, and if the leaves
| | 01:41 |
move a little bit.
With this photograph, because I have
| | 01:46 |
longer exposures, you may see some
ghosting or just some long exposure,
| | 01:49 |
kind of of light trails in this area.
When I turn this on it removes those, or
| | 01:54 |
gets rid of those details.
So this is helpful especially when you
| | 01:57 |
have movement in the photograph.
Next we have our Edge Glow, Toning Detail,
| | 02:01 |
and Advanced controls.
Now, Edge Glow and Detail are the sliders
| | 02:06 |
which allow us to create those HDR
characteristics the most.
| | 02:10 |
Those are the characteristics that you
think of when you think of HDR.
| | 02:13 |
In other words we have a lot of vivid detail.
| | 02:16 |
The edges are glowing.
It kind of has a surreal look.
| | 02:19 |
Now you create HDR images that are really
subtle or that are completely over the top
| | 02:23 |
and for the most part you'll be using
these sliders here.
| | 02:28 |
So go and increase the Strength slider
with a low radius amount we can see that
| | 02:30 |
the image is starting to snap a little bit.
| | 02:33 |
So here's that before has a little bit
less detail.
| | 02:36 |
Here's the after.
Yet really to get the HDR look, we're
| | 02:39 |
going to want to work with the Detail slider.
| | 02:43 |
Here, let me exaggerate this.
I'm going to click and drag this way up.
| | 02:46 |
In doing that, all of a sudden the image
just sort of snaps or pops to life.
| | 02:51 |
Well now that we have a high detail
amount, when we change our Strength
| | 02:54 |
slider, this change will be more
significant or more noticeable.
| | 02:59 |
Again, that's because we have that higher
detail amount.
| | 03:02 |
Same thing with radius.
Radius has to do with how far that edge
| | 03:05 |
will actually glow.
With a low radius, you'll notice that this
| | 03:09 |
is really tight around the edges.
As we drag this up, we'll see that the
| | 03:13 |
edges will glow even more.
And so you can fine tune this as you
| | 03:17 |
simply drag this to the left to have less
of an edge glow.
| | 03:20 |
And then drag to the right to have a
little bit larger.
| | 03:22 |
The strength of course is the overall
intensity of that edge glow as well.
| | 03:27 |
Next we have gamma and exposure.
Let's start off with exposure because
| | 03:31 |
that's straightforward.
Drag to the right to brighten up.
| | 03:34 |
Drag to the left to darken.
And here, I want to brighten the image up
| | 03:37 |
because I want to have a really nice sort of.
| | 03:39 |
Snappy look in this photograph.
Gamma, if we drag down, it allows me
| | 03:42 |
darken certain areas or brighten those
areas of the picture.
| | 03:46 |
In this case, we want to darken this
overall gamma and that has a nice contrast
| | 03:49 |
or nice look to it.
What about our advance controls?
| | 03:54 |
Shadows allows us to bring up detail in
our shadows or darken our shadows.
| | 03:58 |
Drag to the left to darken those.
Notice the trees here.
| | 04:01 |
Or drag to the right.
Now we have more details on those shadow
| | 04:04 |
areas.
What you'll want to do with all of these
| | 04:07 |
sliders is just customize them so it looks
good to your eye.
| | 04:10 |
Here I'll darken my shadows up a little bit.
| | 04:13 |
Highlights works the same way.
Click and drag to the left to darken the
| | 04:15 |
highlights.
Notice that these areas are darker or drag
| | 04:18 |
to the right in order to brighten those up.
| | 04:22 |
With this image I think it looks nice to
have highlights which look a little bit
| | 04:24 |
brighter.
Then we have Vibrant.
| | 04:26 |
Drag this to the right and we increase
color variety and color saturation.
| | 04:32 |
And Saturation, well that speaks for itself.
| | 04:34 |
We can have more or less color.
Now with this photograph one of the things
| | 04:38 |
that I mentioned is that I want to have a
nice, bright image.
| | 04:41 |
So here we have great, vivid details.
It isn't too over the top.
| | 04:45 |
I'm just going to modify my sliders here
in order to scale this back even a little
| | 04:49 |
bit more, because I'm looking for a
photograph which isn't just screaming HDR,
| | 04:53 |
rather is a bit more subtle, but still has
some of those nice, vivid HDR qualities.
| | 05:00 |
Alright.
Well, after you've customized your sliders
| | 05:02 |
so that your photograph looks the way you
want it to appear, one of the last things
| | 05:06 |
that you might want to do is click on the
curve tab.
| | 05:09 |
Here we can work with a curve in the same
way that we can work with a curve in
| | 05:12 |
photoshop.
You can click and drag down to darken up
| | 05:15 |
the shadow area, and then and drag up in
order to brighten up the highlights.
| | 05:19 |
And in this case we have an S-curve, which
is a curve we might create in Photoshop.
| | 05:23 |
Or we can brighten up our shadows or work
with our highlights.
| | 05:27 |
And again here we can really just
customize this so that this photograph
| | 05:29 |
will look good to our eye.
And yet one of the reasons why I keep
| | 05:33 |
emphesizing that is in HDR there isn't
necessarily a right or a wrong look.
| | 05:39 |
Rather it's simply a creative way to
modify Multiple exposures, and to bring
| | 05:43 |
all of those exposures together in order
to create a unique and dynamic look in
| | 05:46 |
your photograph. Alright.
| | 05:50 |
Well, now that we've customized all of
these settings, and I like the look of
| | 05:53 |
this photograph, we'll go ahead and click OK.
| | 05:56 |
This will then render out all of those
settings, send those back to Photoshop, so
| | 06:00 |
that we have this wonderful, visual look
in our photo.
| | 06:04 |
Well, next what I want to do is customize
this further using a few Photoshop
| | 06:07 |
Adjustment layers.
So go ahead and keep this file open
| | 06:10 |
because we'll continue to work on it in
the next movie.
| | 06:14 |
| | Collapse this transcript |
| Finishing the image with Photoshop| 00:00 |
In the previews movie, we used HDR Pro in
order to combine four exposures together
| | 00:04 |
to create this image.
In this movie, we'll continue our
| | 00:08 |
Photoshop workflow.
And you know, HDR Pro is a really
| | 00:11 |
powerful.
And what you'll discover is that it's a
| | 00:14 |
tool that you'll integrate into your workflow.
| | 00:17 |
For example, after having finished with
HDR Pro, what we need to do next is to
| | 00:21 |
clean up a few small details.
Then, I also want to create a few
| | 00:25 |
adjustment layers in order to change the
overall color characteristics that we have
| | 00:28 |
in this photograph.
Well here I'll zoom in on the image a
| | 00:32 |
little bit.
And then press the Spacebar key and click
| | 00:35 |
and pan around.
In doing that, I notice that there are
| | 00:38 |
some little blemishes in the background.
We can clean those up really easily by
| | 00:42 |
clicking on the New Layer icon and naming
the new layer Clean up.
| | 00:47 |
Next, let's select the Spot Healing brush.
You'll find that in the Tools panel right
| | 00:52 |
here.
When you work with the healing tools, what
| | 00:55 |
you often will want to do is select the
tool, and then make sure you turn on
| | 00:57 |
Sample All Layers or Retouch to all layers.
| | 01:01 |
This will allow us to do our cleanup work
on a separate layer.
| | 01:04 |
The advantage of doing that, is it just
give you extra flexibility.
| | 01:08 |
Here with this tool, we'll just click and
paint or click and drag over these little
| | 01:10 |
teeny blemishes that we have in the background.
| | 01:13 |
Press the Spacebar key in order to move around.
| | 01:16 |
Now, these blemishes may be difficult for
you to see, but I can see them on my
| | 01:19 |
monitor.
And again, they’re just small, little
| | 01:21 |
variations that we have because we have a
longer exposure and because we’re bringing
| | 01:25 |
out all of these details.
Using HGR Pro, sometimes you have to do a
| | 01:29 |
little bit of clean-up work. Alright.
| | 01:32 |
Well, after we’ve done that, we’ll go
ahead and zoom out so we can see the whole
| | 01:34 |
image.
Next, I want to change the Color
| | 01:37 |
characteristics.
I like the way the photograph looks, but
| | 01:40 |
it feels a bit too yellow for me.
Remember in the beginning of this project,
| | 01:44 |
I said I wanted to create an image which
has nice kind of snap to it.
| | 01:48 |
Also, has these really vivid or
interesting sort of colors to it.
| | 01:51 |
I want it to be a little bit surreal.
So to change the colors, I'll start off by
| | 01:55 |
creating an adjustment layer.
Let's use Color Balance.
| | 01:59 |
Color Balance allows us to change color
characteristics incredibly easily.
| | 02:03 |
So add a little bit of blue and also a
little bit of cyan, and so we can see we
| | 02:06 |
already have this before and after.
We can also get into our highlights, and
| | 02:11 |
by changing the highlights, we can cool
those off a little bit as well.
| | 02:15 |
And so again I'm just creating a little
bit more of this cool tone look, here we
| | 02:19 |
have before, the image is a bit too yellow
for my liking.
| | 02:23 |
Now here is after, we have this cooler or
bluer image.
| | 02:28 |
Well, after having created this layer,
next thing I want to do is duplicate the
| | 02:31 |
layer, and change the layer blending mode
to soft light.
| | 02:35 |
Here, if we click and drag this layer to
the new layer icon we now have two
| | 02:39 |
versions of the same exact adjustment.
And this is a trick which works on all
| | 02:44 |
sorts of images.
And that is to make one color adjustment,
| | 02:47 |
and to make that adjustment say with Color
Balance, Hue Saturation or Curves or
| | 02:50 |
whatever.
Then, to duplicate the layer and to change
| | 02:54 |
the duplicate version of the layer To Soft Light.
| | 02:58 |
What this will do is it will bring in that
color but also add some contrast.
| | 03:03 |
So now all of the sudden we have these
incredibly vivid colors in this really
| | 03:06 |
interesting contrast.
And what's great about having these two
| | 03:10 |
layers is that we can further customize this.
| | 03:13 |
Think of the top layer as your Contrast layer.
| | 03:16 |
Think of the underlying layer as your
Color layer.
| | 03:19 |
If you want a little bit less color, we'll
just decrease the Opacity of that.
| | 03:23 |
If you want a little bit less contrast,
we'll then just take the Opacity down to
| | 03:26 |
decrease some of the contrast.
And in this way, you can really further
| | 03:30 |
customize how you want your image to appear.
| | 03:32 |
And again, keep in mind that these type of
adjustments are completely subjective.
| | 03:38 |
You can really do whatever you want to do
in Photoshop, yet what I wanted to
| | 03:41 |
highlight here is how you can start off in
HDR Pro.
| | 03:45 |
And then, take your image even further by
continuing to work on your photograph in
| | 03:49 |
Photoshop.
And the reason why this is important is
| | 03:52 |
because you can get really excited with
the results in HDR Pro and think, you know
| | 03:55 |
what, I'm done.
That's it.
| | 03:58 |
Yet don't neglect these other steps
because often they can help you to change
| | 04:01 |
the overall characteristics of the
photograph in order to create a different
| | 04:04 |
or distinct or unique look in your image.
| | 04:08 |
| | Collapse this transcript |
|
|
12. Applying a Creative Look with HDR ToningCreating an HDR effect with HDR Toning| 00:00 |
In the next few movies, we'll take a look
at how we can look at HDR toning.
| | 00:04 |
HDR toning allows us to access HDR
controls, but rather than combining
| | 00:08 |
multiple images together, we can apply
these settings to a single image.
| | 00:14 |
Here let's look at how we can work on this
photograph that I captured of Kelly
| | 00:18 |
Slater, an 11-time world champion surfer,
and here he is balancing a surfboard on
| | 00:21 |
one finger.
And this is a surfboard that he used in
| | 00:25 |
order to win one of his recent world titles.
| | 00:28 |
Well with this image, what I want to do is
add a bit of grit or detail or glow, a
| | 00:32 |
little bit of that HDR snap to this photograph.
| | 00:36 |
So in order to do that, we'll use HDR toning.
| | 00:39 |
The best way to work with HDR toning is to
first, duplicate your image.
| | 00:44 |
And then, to apply the effect.
And then to bring that duplicate copy of
| | 00:47 |
the image back to the original.
Let me show you what I mean.
| | 00:50 |
Here, we'll start off with a photograph
and then navigate to image and then select
| | 00:54 |
'duplicate'.
What this will do is it will allow us to
| | 00:57 |
create a duplicate copy of the document.
The reason why you want to do this is
| | 01:02 |
because when you use HDR toning.
It requires that you flatten your image
| | 01:07 |
and then when you apply the effect you'll
have no way to really modify it or undo it
| | 01:11 |
or customize it.
So what I like to do is to first duplicate
| | 01:15 |
the image then navigate to the Image
pull-down menu, choose Adjustments, and
| | 01:19 |
then go all the way down to HDR toning.
Go ahead and click on that Menu item.
| | 01:25 |
And that will launch our HDR toning controls.
| | 01:28 |
Now these controls will actually look a
little bit familiar.
| | 01:31 |
Because here, we have edge glow, toning
detail, and advanced.
| | 01:35 |
And we can use these controls in similar ways.
| | 01:37 |
We can also access a toning curve and
histogram if we want to as well.
| | 01:41 |
Alright, well at this image, what I
mentioned is that.
| | 01:44 |
I want to give it a little bit of snap, or
grid, or just some of that visual interest
| | 01:47 |
that HDR can give to a photograph.
So here, I'll start off by increasing the
| | 01:52 |
detail slider.
Now, already, that gives the image really
| | 01:56 |
interesting contrast.
One of the things I like about HDR toning
| | 01:59 |
is, you have a Preview checkbox.
Here's before, and then here's after.
| | 02:03 |
Let me zoom in a bit closer so you can see
some more details on this photograph.
| | 02:07 |
Again here we have that before and then after.
| | 02:10 |
Next we have Radius and Strength.
Here if we take this Radius down we'll
| | 02:14 |
have a little bit less edge glow.
Strength, well that's intensity of this
| | 02:19 |
effect so you can dial that to exactly
where you want it.
| | 02:23 |
Again I'm going for something which is a
bit more subtle yet still has a bit of
| | 02:26 |
that pop to it.
Here's before and then here's after.
| | 02:30 |
You know in regards to the gamma and the
exposure, this image looks okay.
| | 02:35 |
I don't think I really need to modify
these much.
| | 02:37 |
Yet what I do want to illustrate here is
that as you modify them and as you work on
| | 02:41 |
an image, in this case a JPEG, you'll
notice that the photograph falls apart
| | 02:44 |
easier.
We lose exposure here.
| | 02:48 |
We can't use this slider as dramatically
as we could when we were combining
| | 02:52 |
multiple images together using HDR pro.
So you just need to be careful with that.
| | 02:57 |
The same thing can be said of the other
sliders as well, for example let's go to
| | 03:00 |
our shadows.
If we drag this to the right we can
| | 03:03 |
recover shadow detail But look at how it
recovered this shadow detail.
| | 03:08 |
Let me zoom in.
You can see that the image just completely
| | 03:10 |
fell apart where I was brightening up the shadows.
| | 03:13 |
That's because there isn't a lot of
information there.
| | 03:16 |
So as you use these sliders, say if you
want to recover the detail in the shadows,
| | 03:19 |
well, just use them delicately and make
subtle adjustments because you won't have
| | 03:23 |
enough information in the file to swing
those sliders quite as dramatically.
| | 03:29 |
Alright, well, with this image I kind of
like the look.
| | 03:31 |
Here it is, our before, and now our after.
I'm just going to increase the detail
| | 03:35 |
there a little bit more and then click OK.
That will then apply the HDR toning effect
| | 03:40 |
to this layer.
Now, again, the only downside of this is
| | 03:44 |
we can't do anything in regards to
changing the opacity or just modifying the
| | 03:47 |
way that this looks.
Yet, if we drag this tab out so that we
| | 03:51 |
have these two images side by side, you
can see that we have the original
| | 03:55 |
photograph and then the photograph with
the HDR tone effect applied.
| | 04:02 |
Well, we can combine these two by using
the Move tool.
| | 04:04 |
Select the move tool, hold down the shift
key, and simply click and drag this image
| | 04:08 |
onto the other.
Let go.
| | 04:11 |
That will then bring that file over here.
Now, we have two layers.
| | 04:15 |
Let's name the top layer HDR, and then
let's turn on the visibility on and off.
| | 04:21 |
So we can see there's the before.
Now, here's the after.
| | 04:24 |
And the great thing about having these two
layers is then we can customize this
| | 04:27 |
further.
We can mask in the effect into certain
| | 04:31 |
areas if we only wanted it in a part of
the image.
| | 04:34 |
Or if the effect is too strong, we can
lower the opacity.
| | 04:38 |
But the great thing about having multiple
layers is it just gives you that extra bit
| | 04:41 |
of flexibility to dial it in exactly how
you want it.
| | 04:46 |
Again, remember my vision for this photograph?
| | 04:48 |
It was to have a subtle effect but just a
little bit of that snap or that pop that
| | 04:51 |
HDR can give you.
Well, here if we look at the before, we
| | 04:56 |
can see this image looks nice but now it
looks a little bit too soft This other
| | 04:59 |
image, it kind of feels a bit stronger, it
sort of fits this world class athlete look
| | 05:03 |
a little bit better.
And if you don't like overexaggerated HDR,
| | 05:09 |
well here you have the flexibility to
bring this back even further, maybe a 30%.
| | 05:15 |
That's just going to add nice detail,
little bit more contrast, so again, you
| | 05:19 |
can customize this.
Until you have the exact look that fits
| | 05:23 |
your vision for your photograph.
| | 05:25 |
| | Collapse this transcript |
| Achieving a high-contrast, edgy portrait look| 00:00 |
Another interesting way to work with HDR
toning is with black and white images and
| | 00:05 |
changing the blending mode of the HDR
toning layer.
| | 00:09 |
Let's take a look at how we can do that
with this photograph here.
| | 00:13 |
We'll navigate to the Image pull-down menu
first and then duplicate this image
| | 00:16 |
because it's always a good idea to
duplicate the file when working with HDR
| | 00:19 |
toning because it gives you more
flexibility later.
| | 00:24 |
So go ahead and duplicate that document,
click OK to do that then work on the
| | 00:28 |
duplicate version of your image and
navigate the Image pull down menu, choose
| | 00:32 |
Adjustments and then HDR Toning.
This will launch our HDR Toning dialog.
| | 00:39 |
Now, what I want to do with this image and
what you often want to do with black and
| | 00:42 |
white is just go over the top.
Here I'm going to bring out more detail.
| | 00:48 |
And I'm also going to have my radius a
little bit smaller.
| | 00:50 |
A little bit more strength there.
And again, I'm going to go for a look
| | 00:54 |
which just looks like it's completely overdone.
| | 00:57 |
Yet what I tend to find as well is that
often if you know you're going to do some
| | 01:00 |
blending, you may want to decrease the
exposure a little bit.
| | 01:04 |
You don't necessarily need quite as much contrast.
| | 01:07 |
So rather than having a lot of contrast,
increase the gamma there as well, to sort
| | 01:11 |
of have an image which is a bit more even. Alright?
| | 01:15 |
Well next, after having brought up a ton
of detail, we have a really high amount of
| | 01:19 |
our edge glow here, what we're going to do
is to blend this back into the other
| | 01:23 |
photograph.
Right now, you may be thinking, Chris, you
| | 01:28 |
are crazy, there's no way that this is
going to look any good.
| | 01:31 |
Yet, just stick with me.
So here we'll go ahead and click OK.
| | 01:34 |
We have, over the top HDR toning on a
black and white image.
| | 01:39 |
Then, we'll click and drag this tab out,
and if you have two documents next to each
| | 01:42 |
other you can use the Move tool, hold down
the Shift key and click and drag, and then
| | 01:46 |
let go.
When you hold down the Shift key, it
| | 01:50 |
ensures that that image comes back into
the exact same registration point, so it's
| | 01:53 |
completely aligned.
Next I'll press F to go to full screen and
| | 01:58 |
I'll zoom in a little bit on the image.
Now here, when we click on the Eye icon we
| | 02:02 |
can see the before and then now the after.
Now again, keep in mind what we did here.
| | 02:07 |
Is we created an HDR toned image.
Which has a little bit less contrast, and
| | 02:12 |
just crazy amounts of edge glow and detail.
| | 02:15 |
What we did that so we can then take
advantage of that as we blend that back
| | 02:18 |
in.
And we are going to blend this back in
| | 02:21 |
using one of three blending modes.
Overlay, Soft light or Hard light.
| | 02:26 |
Let's start off with soft light because
that's a blending mode which is kind of
| | 02:29 |
the middle of the two.
It will give us mid range results.
| | 02:33 |
Here you can see we have the before, and
now here we have the after.
| | 02:36 |
Let me zoom in even closer on these two guys.
| | 02:39 |
And again you can see the before and then
the after.
| | 02:42 |
It's bringing out all of these nice little
details here.
| | 02:44 |
It has a nice sort of snap or edge to it.
If we compare this say to hard light what
| | 02:49 |
we'll discover is that we're getting even
more of these smaller little details here.
| | 02:54 |
Often, what you'll do is you'll use these
blending modes and take your opacity down
| | 02:58 |
and then just bring them up until you have
a little bit of that extra punch.
| | 03:02 |
Now this works with portraits, landscapes,
automotive, architecture, food
| | 03:05 |
photography, you name it.
Whatever you're doing, you can use these
| | 03:09 |
techniques.
Alright, well let's crank the opacity back
| | 03:12 |
up and let's just compare these three options.
| | 03:14 |
Here's Hard Light.
Lots of little details are visible.
| | 03:17 |
Soft Light, a little bit less.
Then we have Overlay which is going to
| | 03:21 |
give us stronger contrast.
The whites are a bit whiter.
| | 03:25 |
The blacks are a bit blacker.
Take a look at the difference between the
| | 03:28 |
two.
And so again it's just a little bit
| | 03:30 |
different intensity.
And if ever you apply this effect and you
| | 03:33 |
realize, you know what?
Well, this just kind of brought the
| | 03:37 |
contrast of the image a little bit too
far, well, you can always reduce contrast.
| | 03:42 |
Just click on your Curves Adjustment layer icon.
| | 03:44 |
And then in this curve, bring up the
blacks and bring down the whites.
| | 03:48 |
And the further that you do that, here
I'll exaggerate a little bit more, the
| | 03:51 |
more that you can remove the contrast.
Notice how I'm removing contrast with this
| | 03:56 |
layer.
Well now that I have a layer which removes
| | 03:59 |
contrast, I may need to reduce the opacity
of that.
| | 04:02 |
And then just subtly remove a little bit
of that contrast, so I can still take
| | 04:05 |
advantage of all of that pop or that snap
that I have here with this layer.
| | 04:10 |
So, here's the before, and now here's the after.
| | 04:14 |
Alright, well I've shown you a lot of techniques.
| | 04:16 |
Lemme review a few.
First of all, you're going to apply the
| | 04:19 |
HDR toned effect.
Bring it over into the image use a normal
| | 04:22 |
blending mode.
Then you want to experiment, and you
| | 04:25 |
want to experiment with one of three
blending modes.
| | 04:28 |
Overlay, think of that as high contrast.
Soft light, a little bit less, typically
| | 04:33 |
works best.
Then we have hard light which is going to
| | 04:36 |
bring out all of these teeny little details.
| | 04:39 |
Then with whatever blending mode we've
chosen, often you'll need to change your
| | 04:43 |
opacity.
I find very rarely does it work well at
| | 04:47 |
100%.
So just drag this around until you like
| | 04:49 |
the look of your photograph.
Then last but not least if you find that
| | 04:53 |
it's brought in too much contrast.
Create a new curves adjustment by clicking
| | 04:57 |
on the Curves Adjustment Layer icon.
Bring up the black point.
| | 05:01 |
That will bring in more detail into those blacks.
| | 05:03 |
Bring down the white point, that will
remove some of the contrast.
| | 05:08 |
Then, take a look at the before and after.
Sort of click through your layers and see
| | 05:12 |
how all of these layers are stacking up.
And if you need to, further modify the
| | 05:16 |
opacity of each adjustment.
Here, we can go ahead and scale these back
| | 05:20 |
so we have a bit more of a subtle look.
And in this way, you can see how you can
| | 05:23 |
add a lot of visual interest when you're
working with your black and white
| | 05:26 |
photographs.
And you can do so in different ways.
| | 05:30 |
You can focus in on having a lot of small
details using hard light A little bit less
| | 05:34 |
of those small details with soft light,
which in my opinion typically works best.
| | 05:39 |
Although sometimes I like using those
other blending modes as well, and then of
| | 05:42 |
course if you want more contrast, you can
use that overlay.
| | 05:46 |
Alright, here it is, our before and then
our after.
| | 05:51 |
And again, more important than the before
and after, is we've looked at how we can
| | 05:54 |
use this technique in order to customize
the way that we create our black and white
| | 05:58 |
images.
By taking advantage of those HDR toning
| | 06:03 |
controls and blending modes in order to
create a unique and distinct look.
| | 06:07 |
| | Collapse this transcript |
| Creating a desaturated effect| 00:00 |
In this movie we'll take a look at how we
can use HDR Toning in order to create a
| | 00:04 |
really unique and distinct look when we're
working with color photographs.
| | 00:09 |
And I really like this technique.
It's one that I use quite often.
| | 00:12 |
It begins by duplicating our image.
Then adding a bit of that HDR tone look to
| | 00:17 |
the photograph and desaturating the color.
And then bringing that file back and
| | 00:22 |
changing the blending mode and creating a
few other adjustment layers, alright?
| | 00:26 |
Well, let's begin.
We'll begin by taking the first step which
| | 00:29 |
is to go to the Image pull down menu and
then here choose Duplicate to create a
| | 00:32 |
duplicate version of this image or of this document.
| | 00:36 |
Zoom in on that one.
Press Cmd + Plus on a Mac or Ctrl + Plus
| | 00:39 |
to do so.
Next navigate to the image pull down menu,
| | 00:43 |
choose adjustments, and then select HGR toning.
| | 00:48 |
Now in the HGR toning dialog the first
thing you want to do is get rid of the
| | 00:51 |
color.
So go ahead and remove the color.
| | 00:53 |
Next, crank up the detail.
We're going for a look here which is
| | 00:57 |
going to appear a little bit over the top
and sort of crispy.
| | 01:00 |
So here I want to have a low radius.
I almost always like a lower radius.
| | 01:05 |
We can also change our gamma like to just
remove a little bit of the brightness
| | 01:08 |
there.
Alright, we'll just crank that up just a
| | 01:12 |
touch.
Exposure, I think the exposure's probably
| | 01:15 |
fine exactly where it is.
Again, you want a bit of an over the top
| | 01:19 |
look, which is desaturated.
In order to apply this, click OK.
| | 01:23 |
Now, if you're working on the most recent
version of Photoshop, you can just click
| | 01:26 |
on the image and drag it to the tab in
order to bring it over.
| | 01:30 |
If you're working on an older version
click and drag this tab off.
| | 01:34 |
And then with the move tool hold down the
Shift key and then click and drag and drop
| | 01:38 |
in order to bring over the desaturated
version which has the HGR tone effect
| | 01:42 |
applied to it.
Next press the F key to go to full screen
| | 01:47 |
so we can sort of focus in on.
The task at hand.
| | 01:50 |
Here I'm going to zoom in on this image.
You can see that we have this look which
| | 01:54 |
is a bit over the top, but we're going to
be able to blend this into the underlying
| | 01:58 |
layer using the soft light blending mode.
And whenever you have an image which is
| | 02:04 |
desaturated, and when you blend it with
soft light, it allows you to create a
| | 02:07 |
really unique color pallette.
Take a look.
| | 02:11 |
Here's the before, and then now here's the after.
| | 02:13 |
And again, this has this distinct sort of
subtle muted contrast look.
| | 02:19 |
And this technique, it works well with
landscapes, with fashion photography, with
| | 02:22 |
people photography.
And of course, you can always dial this
| | 02:26 |
back if it's a bit too strong.
You can have jut a little bit more of that
| | 02:30 |
subtle muted contrast look.
With this photograph, I think I want to
| | 02:34 |
crank this up even further, because I like
the way that this is changing the color
| | 02:38 |
and the contrast in the photograph.
Next, I want to create two different
| | 02:42 |
adjustment layers to modify the color and tone.
| | 02:46 |
One easy way to modify color is with Color Balance.
| | 02:49 |
Here, I simply am going to increase my
blues in the midtones and also a little
| | 02:52 |
bit of the cyans.
To change that overall look here of the
| | 02:56 |
color in this way again I'm just creating
this unique sort of color pallette here's
| | 03:00 |
the before and here's after.
Of course how far you go with your color
| | 03:06 |
adjustments is obviously completely up to you.
| | 03:09 |
If you want to bring in a little bit more
yellow, well Double-click that Adjustment
| | 03:13 |
Layer icon, and go into the Highlights,
and in the Highlights we can bring back
| | 03:16 |
some yellows in order to make this skin a
bit more golden, or we could also add a
| | 03:19 |
bit more red.
In this way we have this layer which is
| | 03:24 |
adding some blues, but also maintaining
some of those skin tone colors that we
| | 03:27 |
had.
Here we'll just go ahead and bring that
| | 03:31 |
back a little bit more because I want a
little bit less of that in the image.
| | 03:34 |
Also a little bit less of the red there.
Alright well next after you've customized
| | 03:38 |
your color using that adjustment what you
might want to do is bring out the color in
| | 03:42 |
a certain area of the picture.
Like how about the eyes we could bring out
| | 03:48 |
some brightness or some color in that area.
| | 03:51 |
To do that, click on the Curves Adjustment
Layer icon.
| | 03:54 |
With Curves, we can go ahead and create a
curve which then allows us to brighten the
| | 03:57 |
image but also, click and drag down, add a
little bit of contrast.
| | 04:02 |
Next, invert the mask.
Do you remember how to do that?
| | 04:05 |
One technique you can use is to go to the
Mask panel.
| | 04:09 |
Here in the Mask panel, you can click on
the option which is called Invert, this
| | 04:12 |
little button.
And it fills the mask with black.
| | 04:17 |
So far, the brightening curve effect, it's
doing nothing because of our black mask.
| | 04:22 |
That's exactly how we want it.
We'll choose the brush tool.
| | 04:25 |
We'll use the techniques which we know
about masking which is to paint with white
| | 04:28 |
to reveal.
We want a brush which is really small, no
| | 04:33 |
hardness.
Go ahead and decrease my brush size even a
| | 04:35 |
little bit further there.
Whenever your masking it's always nice to
| | 04:39 |
paint with a low opacity, sort of build
the effect up.
| | 04:42 |
Here I'm just going to paint with white
over this area, in order to brighten up
| | 04:45 |
the eyes.
We can also customize the color as you'll
| | 04:49 |
see in a minute.
So again just painting over this back and
| | 04:52 |
forth at a relatively low opacity.
Here's before, then here's after.
| | 04:55 |
If you paint too far and make a mistake
like I did here.
| | 04:58 |
Well, just press the X key to paint with
black and you can paint away any of the
| | 05:02 |
area where you brought in brightness and
you didn't want it.
| | 05:08 |
Alright, well then double-click the Curves
Adjustment icon and here we can go into
| | 05:12 |
the different channels.
Go into the red channel and drag down and
| | 05:16 |
you can make those eyes more cyan.
Drag up and you can make them more red.
| | 05:20 |
You know, in dragging up (LAUGH) the eyes
obviously look horrible, but it's showing
| | 05:24 |
me that I've actually painted an area in
my mask which I don't want to.
| | 05:28 |
So here, I'll click on the mask with the
brush tool.
| | 05:31 |
I needed to paint with black so I'm not
brightening up that part of the face
| | 05:34 |
there.
All right, next I'll go back to the curve
| | 05:36 |
by double clicking it.
And in the red channel, I'll bring it back
| | 05:40 |
down, make that a little bit more cyan.
We can also go into the green channel, we
| | 05:44 |
can make those eyes more green or more
magenta, kind of creates a little more of
| | 05:48 |
a navy blue color there.
I think that works kind of well.
| | 05:52 |
Here's before and then now here's after.
Again it's a subtle adjustment, but
| | 05:57 |
nonetheless it's kind of fun to play with
color, especially if you're creating sort
| | 06:01 |
of an interesting look as we've created
here using this technique.
| | 06:06 |
We'll take a look at how we've done.
Here's the before, and then now here's the
| | 06:09 |
after.
The top layer in my opinion is a touch too
| | 06:12 |
strong so I'll go ahead and just decrease
the opacity there a little bit on that
| | 06:15 |
one.
And then let's review our steps.
| | 06:19 |
Step one was to create an adjustment which
was using each zr toning and converting
| | 06:24 |
the image to black and white.
Here we brought out a lot of nice details.
| | 06:30 |
If you want to exaggerate this effect even
more, let's say you're photographing a
| | 06:34 |
rock star holding a guitar and you just
want it to really snap, well just increase
| | 06:37 |
that detail amount even more.
Next after you've customized your HGR
| | 06:43 |
toning layer, you bring it back over and
you change that blending mode to Soft
| | 06:47 |
Light.
By using Soft Light we create This
| | 06:50 |
interesting color palette, mid-term
contrast, saturated colors.
| | 06:54 |
Let me use a few layers.
First one was color balance to change the
| | 06:58 |
overall color characteristics.
Then last but not least we customize a
| | 07:02 |
specific area of the image in order to
sort of finish of this look, all right.
| | 07:07 |
Well here it is, there is the before and
now here is the after.
| | 07:11 |
And again, perhaps, more important then
the before and after, is that we've
| | 07:15 |
learned yet another technique that we can
use by integrating in this HGR toning step
| | 07:19 |
into our workflow, which will allow us to
create a unique color or look in our
| | 07:22 |
photographs.
| | 07:26 |
| | Collapse this transcript |
|
|
13. Increased Flexibility with Smart FiltersIntroducing Smart Filters| 00:00 |
In this chapter we're going to dig into a
topic, which I've already briefly
| | 00:03 |
mentioned.
And that is the topic of how we can work
| | 00:06 |
with Smart Filters.
What Smart Filters allow us to do is when
| | 00:10 |
we access our filters or apply different
filters here, we can apply those with more
| | 00:14 |
flexibility.
And there are a few steps that we'll take
| | 00:18 |
in order to work with Smart Filters.
So, before we actually start to do that on
| | 00:22 |
this photograph, I want to pull up this
slide that I have visible here in my other
| | 00:26 |
tab.
I'll press F to go to full screen a few
| | 00:29 |
times so we can focus in on the details here.
| | 00:32 |
Now, step one for working with smart
filters is to convert the layer to a smart
| | 00:36 |
object.
We can do that a few different ways as
| | 00:39 |
you'll see in a moment.
Then, of course, we'll apply a filter.
| | 00:43 |
Now, after we've applied the filter, the
icons in the Layers panel will appear
| | 00:47 |
differently.
Here, we have the icon for the image, then
| | 00:50 |
we have an icon for the Smart Filter,
which comes with a mask, the filter that
| | 00:54 |
was applied and then a button which allows
us to access blending options.
| | 00:59 |
Now, the great thing about Smart Filters
is they give you a lot of flexibility.
| | 01:04 |
If you want to change the settings for the
filter, well just double click this little
| | 01:07 |
area here and it will relaunch that filter dialog.
| | 01:11 |
And here we can change or customize the settings.
| | 01:14 |
If we want to change the blending or the
opacity of this filter, well we can double
| | 01:17 |
click this icon here.
That will then launch the Blending Options
| | 01:21 |
dialog and here we can choose our blending
mode Or again, change the opacity.
| | 01:26 |
Alright, well let's go ahead and take a
look at how we can start to work with
| | 01:29 |
smart filters, and let's do that in the
next movie.
| | 01:32 |
| | Collapse this transcript |
| Applying Smart Filters| 00:00 |
Well, with this image what I want to do is
apply an effect which we've already talked
| | 00:03 |
about, but I want to review how we can do
that using a Smart Filter.
| | 00:08 |
The first step is to select the layer that
you want to work on.
| | 00:11 |
Then you can right click or control click
on that layer and choose Convert to Smart
| | 00:15 |
Object or you can also go to the filter
pull-down menu and choose Convert for
| | 00:19 |
Smart Filters.
Either method, it will do the same thing.
| | 00:25 |
It will convert the layer to a smart
object layer.
| | 00:27 |
So here, let's choose one of those options.
| | 00:30 |
When I choose this option it says, hey, in
order to be able to re-edit the smart
| | 00:33 |
filters, I need to turn this layer into a
smart object.
| | 00:37 |
That's exactly what we want, so click Okay.
| | 00:40 |
In doing that, we'll notice that the layer
icon has changed.
| | 00:43 |
It's showing us that this is now a smart
object layer.
| | 00:47 |
The next step of course is to apply a filter.
| | 00:50 |
Here we'll navigate to the Filter
pull-down menu.
| | 00:53 |
We'll choose Blur, and then we'll select
Gaussian blur.
| | 00:56 |
And previously what we saw is we could
apply this Gossian blur and change the
| | 01:00 |
blending mode in order to create an
interesting high contrast kind of soft
| | 01:03 |
look in the photograph.
So here, I'll go ahead and increase the
| | 01:08 |
radius so that the image appears pretty blurry.
| | 01:11 |
Next click okay.
From here we can then modify the blending
| | 01:15 |
mode.
To do that, double-click this icon here
| | 01:18 |
which has two lines and these two arrows,
signifying blending.
| | 01:22 |
Double-click that to launch our blending
options dialogue.
| | 01:26 |
Here, we'll click on the pull down menu
and choose soft light.
| | 01:30 |
What soft light blending does is it blends
in all of that blur with some really nice
| | 01:34 |
contrast creating beautiful colors, kind
of a soft look to the photograph.
| | 01:40 |
And here when we click on the image, we
can see the before, let go we can see the
| | 01:43 |
after.
I should say when we click on the preview
| | 01:45 |
we can see the before and after.
Now we can lower the opacity of this, so
| | 01:49 |
here I can decrease the amount of soft
light that I'm blending into this or the
| | 01:52 |
overall blur effect.
Here we can dial that in.
| | 01:56 |
I'll leave it up at 100% and then click Okay.
| | 01:59 |
Now, what about if we want to change the
amount of the Gaussian blur?
| | 02:03 |
Well, herein lies the beauty of working
with smart filters.
| | 02:07 |
In order to change the amount, we just
double-click this icon here.
| | 02:10 |
This opens up our Gaussian blur dialogue.
Now we can increase the radius and see how
| | 02:15 |
this would look if we had more amount of
blur, or we can decrease this as well, and
| | 02:19 |
we can see this in real time.
Previously we couldn't see this in real
| | 02:24 |
time, we had to guess at the gaussian blur amount.
| | 02:27 |
We didn't really know how much we would need.
| | 02:30 |
We can also experiment.
So far we've added Gaussian blur and we've
| | 02:34 |
blended this in with Soft light, but what
about also adding some noise.
| | 02:38 |
Navigate to the filter pull down menu.
Select noise and then choose Add Noise.
| | 02:44 |
When we click on the Add Noise menu
button, that will launch our Add noise
| | 02:47 |
dialogue, and here we can increase the
amount of this.
| | 02:50 |
I'm going to exaggerate this, so we have a
ton of noise, and then click Okay.
| | 02:54 |
Well, currently the noise is overpowering,
yet we can blend that in using blending
| | 02:59 |
mode.
I'll double-click on the icon for our
| | 03:02 |
blending options here, and change this to
soft light.
| | 03:06 |
In doing this, we can see that the noise
is now blending into the image in a more
| | 03:09 |
subtle way.
We can also decrease the opacity here if
| | 03:12 |
we want to little bit less of this effect.
Well I like this effect, except the noise
| | 03:17 |
is much too strong.
No big deal.
| | 03:19 |
Click Okay.
Here we have flexibility with these
| | 03:22 |
filters.
Just double click on the filter name add
| | 03:25 |
noise.
Decrease the noise size until the Film
| | 03:27 |
grain look looks exactly how you want it
to appear.
| | 03:30 |
And then click OK.
And again, the advantage of working with
| | 03:33 |
this technique is flexibility.
So here we can turn off this adjustment
| | 03:38 |
layer, the add noise layer if we want to
remove it.
| | 03:41 |
Or we can change or customize any of these settings.
| | 03:44 |
Now, this advantage does come at a cost,
because you may be thinking, all right,
| | 03:48 |
great.
Smart filters are amazing.
| | 03:51 |
I'm going to use them all the time.
Well there are advantages obviously to
| | 03:55 |
using them, and the advantage is
flexibility, and there are also some
| | 03:58 |
disadvantages.
So let's go ahead and continue our
| | 04:02 |
conversation about the advantages and
disadvantages of working with smart
| | 04:05 |
filters, and let's do that in the next
movie.
| | 04:09 |
| | Collapse this transcript |
| The advantages and disadvantages of using Smart Filters| 00:00 |
One of the advantages of working with
smart filters is they allow you to make
| | 00:03 |
adjustments with more flexibility.
One of the disadvantages is file size, and
| | 00:08 |
in order to see some file size differences
or comparisons we need to navigate to
| | 00:13 |
Bridge.
You can navigate to Bridge from Photoshop
| | 00:16 |
by clicking on the File pulldown menu and
then choose Browse in Bridge.
| | 00:21 |
Here in Bridge, I have the original image,
and then I have the image where I've
| | 00:24 |
duplicated the layer, applied a blur, and
changed the blending mode to soft light.
| | 00:30 |
So I just used a traditional layers approach.
| | 00:33 |
Let me double click this layer so that you
can see how this one appears.
| | 00:37 |
Again here, we have a duplicate version of
the image.
| | 00:40 |
We apply blur and soft light blending.
Let's go back to our browse and bridge
| | 00:45 |
option by going to File > Browse and
Bridge, and let's look at the comparison
| | 00:48 |
between these two.
Between these two, we can obviously see
| | 00:53 |
that we have this effect being applied,
yet we also have an increase in file size.
| | 00:58 |
The first file is about 4 and a half megs.
The second file is about 12.
| | 01:04 |
So we've gained a lot of file size by
duplicating the layer.
| | 01:07 |
Well in the next option here, I have the
option where we use Smart Filters.
| | 01:13 |
In this case we can see that this file, is
20 megs.
| | 01:15 |
So what started out, that four and a half
megs, is now 20 megs.
| | 01:22 |
And that's 20 megs because this is a smart filter.
| | 01:25 |
And keep in mind that why you're able to
create these changes or always modify
| | 01:29 |
smart filters, is because it has to save
all of the original data inside of this
| | 01:33 |
file.
Now you aren't necessarily aware of that
| | 01:37 |
when you're working in Photoshop.
You aren't aware of that until you leave
| | 01:41 |
Photoshop and actually look at your file size.
| | 01:44 |
Now currently the file size isn't that significant.
| | 01:47 |
This is a small file.
It's about 4 megs.
| | 01:49 |
Yet, if you started with a 20 meg file,
you can imagine how this will leap up when
| | 01:53 |
you duplicate the layer or when you use
smart filters, so when it comes to working
| | 01:57 |
with smart filters, you just want to keep
that in mind.
| | 02:02 |
That while they do allow you to have a lot
of creative flexibility.
| | 02:06 |
They also do increase your file size, and
you know what, sometime the extra bit of
| | 02:10 |
file size is absolutely worth it.
In other situations, you may want to take
| | 02:15 |
another approach.
Yet, either way, you now know how you can
| | 02:18 |
start to work with smart filters in order
to apply filters to your images in
| | 02:22 |
creative ways.
| | 02:24 |
| | Collapse this transcript |
|
|
14. Using Camera Raw as a Smart FilterEnhancing your photographs using Camera Raw| 00:00 |
Filters can be used in so many different
ways to improve your photographs.
| | 00:04 |
And perhaps, the most powerful filter of
the entire set is the filter which allows
| | 00:08 |
you to access the Adobe Camera Raw controls.
| | 00:12 |
Here with this photograph, let's take a
look at how we can apply Camera Raw as a
| | 00:16 |
Smart Filter.
This is a photograph that was taken under
| | 00:20 |
water looking back at a surfer going
through the middle of a wave.
| | 00:25 |
Here he is getting barreled and riding
through the wave.
| | 00:27 |
This photograph is beautiful and stunning.
Yet, what I want to do is I want to bring
| | 00:32 |
out some color and contrast and I want to
do that using Adobe Camera Raw.
| | 00:37 |
The first step is going to be to convert
our layer to a Smart Object layer.
| | 00:41 |
You can do that either by right clicking
or control clicking and choosing Convert
| | 00:45 |
to Smart Object or you can navigate to the
filter pull-down menu and select Convert
| | 00:49 |
for Smart Filters.
Either way this will allow you to convert
| | 00:54 |
the image to a Smart Filter layer so that
you have more flexibility when working
| | 00:57 |
with camera.
Next up, is to select Camera Raw as a
| | 01:01 |
filter from the filter pull-down menu.
This will then launch Camera Raw.
| | 01:06 |
And when this launches, if it isn't in
full screen mode, if this is a bit
| | 01:10 |
smaller, click on the full screen mode
icon or press the f key.
| | 01:14 |
So that it takes over the entire screen.
Next, we'll begin here in the Basic panel.
| | 01:20 |
In the Basic panel, as you know, we can
increase Contrast.
| | 01:23 |
I'll go ahead and do that.
I'll recover some of my highlight detail,
| | 01:27 |
by dragging the Highlights to the left,
increase some Clarity, add a bit Vibrance
| | 01:31 |
and color Saturation.
Then we can modify the color Temperature.
| | 01:36 |
I'll do so by dragging this to the left as well.
| | 01:39 |
Again, I'm going for a color here, which
is really vivid and just kind of stunning
| | 01:43 |
and beautiful.
Press the P key.
| | 01:46 |
You can see here is before.
The image was a bit too cyan.
| | 01:50 |
Now here's after.
Now it has this almost blue purple look to
| | 01:53 |
it.
You can change the characteristics of the
| | 01:56 |
color too by adding more Magenta or more Green.
| | 01:59 |
So you can swing this however you want.
Well after you've dialed in the effect in
| | 02:04 |
order to apply these settings go ahead and
click OK.
| | 02:07 |
Well now that we've applied these settings
we can see that because we used a Smart
| | 02:10 |
Filter we have the filter listed below.
Here's before and then here's after.
| | 02:16 |
If we want to re-access those controls
because we've decided you know what, we
| | 02:20 |
also want to sharpen the image.
Well we can do that using Camera Raw.
| | 02:24 |
Double-click the icon to launch Camera Raw
and then access the Details panel.
| | 02:30 |
In the Details panel, what we can do is
zoom in on the photograph a little bit.
| | 02:34 |
And here when we zoom in on this picture
to see the surfer here, I want to focus in
| | 02:37 |
on sharpening.
Here I'm viewing the photograph at 100%,
| | 02:41 |
and I'll bring my Amount slider up.
Bring the Detail slider down, Radius way
| | 02:47 |
down.
I just want to apply a really subtle
| | 02:49 |
sharpening effect.
I actually want to, sharpen some of those
| | 02:52 |
details there.
And I'll go ahead and bring all of these
| | 02:55 |
amounts in, reduce a little bit of
Luminance noise there.
| | 02:59 |
Click on the Preview checkbox to see the
before and the after.
| | 03:03 |
It's a pretty subtle difference but,
nonetheless, it's helping to add a little
| | 03:06 |
snap to this photograph.
Next, click OK in order to apply that.
| | 03:12 |
And we now have both of those settings.
The settings from the Basic panel and from
| | 03:16 |
the Details panel in Camera Raw applied to
this image.
| | 03:20 |
So as you can see, working with Camera Raw
as a filter and in particular, as a Smart
| | 03:24 |
Filter can help you to improve your
photographs in just stunning ways.
| | 03:30 |
And with this image, we were primarily
focused on improving the overall
| | 03:33 |
appearance.
Yet, you can also improve other things
| | 03:37 |
like Exposure and other details as well.
So let's continue to talk about how we can
| | 03:41 |
work with Camera Raw as a filter.
And let's do that in the next movie.
| | 03:46 |
See you then.
| | 03:47 |
| | Collapse this transcript |
| Correcting exposure and color with Camera Raw| 00:00 |
When it comes to improving exposure in
color, using Adobe Camera as a filter, can
| | 00:04 |
really save the day.
So let's take a look at another example of
| | 00:08 |
how we can use Camera Raw as a filter, and
in particular as a Smart Filter, so we
| | 00:12 |
have extra flexibility when making
adjustments to our photographs.
| | 00:17 |
So here, click or target on the layer that
you want to work on and then right-click
| | 00:21 |
or Control+click.
From the pop-up menu, choose Convert to
| | 00:24 |
Smart Object.
Once a layer's a Smart Object, you want to
| | 00:27 |
navigate to the filter pull-down menu.
And then here, choose Camera Raw filter.
| | 00:32 |
This will launch the image in Camera Raw
right here, inside the Photoshop.
| | 00:36 |
And what I want to do with this image is
correct the exposure.
| | 00:40 |
The background here of this sunset
photograph is a bit too bright and the
| | 00:43 |
foreground is a bit too dark.
One of the ways that you can identify
| | 00:48 |
exposure issues is by clicking on your
clipping indicator icons here in the
| | 00:51 |
histogram.
When I turn on the Clipping Indicator
| | 00:55 |
icons for my Highlights and my Shadows,
the highlight area shows me that this area
| | 00:58 |
is clipped.
In other words, there isn't any detail
| | 01:02 |
there.
Well, we can recover that by working with
| | 01:04 |
our Highlights slider.
So, here, I'll go ahead and click and drag
| | 01:07 |
the highlights to the left.
Now, that corrected the problem so far,
| | 01:11 |
yet I want to leave these indicators
turned on, and you'll see why in a minute.
| | 01:15 |
Next, I'm going to brighten up the overall exposure.
| | 01:18 |
In brightening up the exposure, I like the
way the image looks here.
| | 01:21 |
But you notice there's some clipping here
in the hair and also on this area in the
| | 01:24 |
picture.
Well, let's not worry about that for now.
| | 01:28 |
Next, we'll go ahead and increase the Contrast.
| | 01:30 |
And I should say, we're not going to worry
about that for now because we'll be fixing
| | 01:33 |
that in a minute after we make some more adjustments.
| | 01:36 |
Here, I'm going to increase the Contrast,
change my color Temperature in order to
| | 01:39 |
warm this up a little bit.
And then I'll also bring up a little bit
| | 01:43 |
of Clarity and Vibrance and color
Saturation in order to enhance and warm
| | 01:47 |
this image up and to create a more vibrant photograph.
| | 01:51 |
Well, after having made these adjustments,
I also want to increase my Temperature
| | 01:54 |
even a little bit more, so that this
photograph is really warm and inviting.
| | 01:59 |
Here, we'll bring up the Tint value as well.
| | 02:02 |
Now, if we click on the Preview checkbox,
we can see here's the before and now,
| | 02:05 |
here's the after.
While the image looks better, I've also
| | 02:09 |
created more of an exposure issue.
So sometimes you want to keep that
| | 02:13 |
indicator on as you modify those sliders
cause you saw that indicator grow, or that
| | 02:17 |
problem area grow, as I made other adjustments.
| | 02:21 |
Now we could always fix this by working
with this Highlight slider and try to
| | 02:24 |
bring it down.
And if we can't get this all the way out
| | 02:27 |
of the image, what you can do is navigate
to the next panel, which is called the
| | 02:31 |
Curve panel.
Here in the Curve panel, we can access two
| | 02:35 |
different curves, the Parametric or the Point.
| | 02:38 |
The curve that you want in order to fix
clipping is the Point curve.
| | 02:42 |
If you click on the top white point here
and just drag this down, it can help you
| | 02:46 |
to correct really tough problems in
regards to exposure.
| | 02:50 |
Again, removing the clipping indicator
that we had there.
| | 02:53 |
And the great thing about this is we can
further adjust the image.
| | 02:56 |
We can brighten it up here a little bit,
brighten up the mid tone range.
| | 03:00 |
We could also click and drag down here in
the shadows in order to add a little bit
| | 03:03 |
more contrast.
In this way, we can customize the
| | 03:06 |
correction and also enhance the photograph
at the same time.
| | 03:09 |
Alright?
Well, now let's click on the Preview
| | 03:12 |
checkbox.
Here, we can see is our before and after
| | 03:14 |
we've made this adjustment here using the
tone curve.
| | 03:17 |
In this case, just correcting the detail
that we have here in the highlights.
| | 03:21 |
And here, I'm just going to modify this
just a touch further.
| | 03:24 |
Alright.
That looks good.
| | 03:25 |
Next, back to the Basic panel.
Here in the Basic panel we'll increase our
| | 03:29 |
contrast just a little bit more, making
sure to not introduce any more clipping.
| | 03:34 |
Warm the image up a little bit more as well.
| | 03:36 |
Again, I'm going for a nice, warm look in
this photograph.
| | 03:40 |
Alright.
Well, after we have dialed in all of our
| | 03:42 |
settings and done all of this magic, all
that we can do here with Camera Raw.
| | 03:47 |
The next step of course, is to click OK.
This will apply these Camera Raw settings
| | 03:51 |
as a Smart Filter.
And here, in the Layers panel, we can
| | 03:55 |
click on the Eye icon to view the before
and then now, the after.
| | 04:00 |
Now, we could have made similar
adjustments, working here inside of
| | 04:03 |
Photoshop, say, working with curves or
color bounce or different adjustments.
| | 04:07 |
Yet, by going to Camera Raw, it allowed us
to apply all of those adjustments really
| | 04:11 |
quickly and easily.
And it gave us that insight into knowing
| | 04:15 |
which area we had problems with by turning
on those clipping indicators.
| | 04:21 |
So here in this example, really what I
wanted to highlight is how sometimes when
| | 04:24 |
it comes to correcting exposure or color,
Camera Raw can really save the day.
| | 04:30 |
And when you apply Camera Raw as a Smart
Filter, of course, you have this extra bit
| | 04:33 |
of flexibility, so you can also go back by
double-clicking the Camera Raw Filter,
| | 04:37 |
which is located in the Layers panel here,
in order to further modify those settings.
| | 04:43 |
So, in this way, it gives us the ability
to apply excellent and non-destructive
| | 04:47 |
adjustments to our photograph.
| | 04:49 |
| | Collapse this transcript |
| Fixing an overexposed sky with Camera Raw and masking| 00:00 |
In this image the sky is overexposed.
So let's take a look at how we can use
| | 00:04 |
Adobe Camera Raw as a Smart Filter in
masking in order to correct the exposure
| | 00:08 |
in the sky.
The first step will be converting the
| | 00:12 |
layer to a Smart Object.
Then we'll apply the filter and then we'll
| | 00:15 |
work with masking in order to correct the
exposure in the sky.
| | 00:19 |
Well, here let's navigate to our filter
pull-down menu.
| | 00:21 |
Choose Convert for Smart Filters and,
then, click OK in order to convert that
| | 00:25 |
layer to a Smart Object layer.
Next step, choose Filter and then Camera
| | 00:31 |
Raw Filter.
Once this launches our image in Camera Raw
| | 00:34 |
we want to focus in on the sky.
And all that we're interested in doing is
| | 00:39 |
fixing the sky.
We're ignoring everything else.
| | 00:41 |
So here I'll decrease the exposure.
I'm also going to increase the clarity,
| | 00:45 |
because that will add some nice shape up there.
| | 00:48 |
Crank up the contrast as well.
That will make the sky more interesting.
| | 00:52 |
We can customize the color by using the
temperature tint sliders.
| | 00:56 |
We can also use some of our other sliders,
like Vibrance might be worthwhile to
| | 00:59 |
actually take that down just a little bit. Alright.
| | 01:02 |
Well, after we have dialed in a few
setting here, simply click OK.
| | 01:07 |
Now, we don't need to be to concerned
about our settings.
| | 01:09 |
If they aren't right, we can always go
back and change them.
| | 01:12 |
Alright.
Well the next step is to click in the icon
| | 01:14 |
for the layer.
Then we're going to use the Quick Select
| | 01:18 |
tool.
You can find the Quick Select tool by
| | 01:20 |
pressing the W key on the keyboard or
clicking on this icon here.
| | 01:24 |
With this tool, you simply choose a brush
and you paint across the image.
| | 01:29 |
In painting across this area, I'm trying
to select the sky.
| | 01:33 |
Looks like the selection was a little bit
too big, so hold down the Option key on a
| | 01:36 |
Mac, Alt on Windows, and paint away any
area that you don't want to have selected.
| | 01:42 |
Now, before you leave the selection with
Quick Select, you almost always want to
| | 01:45 |
refine the edge.
So here we'll go to Refine Edge in order
| | 01:48 |
to view this.
Do you remember the shortcut to toggle
| | 01:51 |
through the different views?
Here, you can press the F key, and that
| | 01:54 |
will show you the different views.
In this case, what I want to do is I
| | 01:58 |
want to have a view where I can really see
the edge here.
| | 02:02 |
Next I want to turn on Smart Radius and
then crank up the Radius a little bit.
| | 02:06 |
This will clean up all of those edges there.
| | 02:08 |
Then we're going to increase the contrast,
smooth this out just a little bit, add
| | 02:12 |
just a touch of feather as well, again
just to make that area or that edge or
| | 02:15 |
selection a little bit better.
Next we can shift the edge if we shift it
| | 02:21 |
to the left what will happen is that
selection will be smaller.
| | 02:24 |
Shift it to the right and it will be a
little bit bigger.
| | 02:28 |
Here we want to shift it to the right and
then feather it out even a little bit
| | 02:31 |
more.
This will give us a touch of transition
| | 02:34 |
and then perhaps I went too far there so
I'm going to just take this back a little
| | 02:37 |
bit here. Alright.
| | 02:39 |
After having refined the edge, click OK.
Well, now that we have the selection of
| | 02:44 |
the sky, what we need to do is to work on
the mask.
| | 02:48 |
So click into the Mask icon.
Well now in the Mask icon we can see that
| | 02:52 |
we have just the sky selected, and what I
actually want is exactly the opposite.
| | 02:58 |
Do you remember how you can invert a selection?
| | 03:01 |
You go up to the select pull-down menu,
and you choose inverse.
| | 03:04 |
This then flip-flops that selection, so
that now only the foreground here is
| | 03:09 |
selected.
Well, in this case, I want to fill this
| | 03:12 |
area with black to conceal the Camera Raw
adjustment from this area.
| | 03:17 |
To do that, choose the Edit pull-down menu.
| | 03:20 |
Then select fill.
Once you click on fill, it will open up
| | 03:24 |
our fill dialogue.
And here we're going to use a solid color,
| | 03:28 |
in this case black, and we'll click okay.
And by filling this area with black, it
| | 03:33 |
will then conceal the Camera Raw
adjustment from that area of our
| | 03:36 |
photograph.
This will allow us to turn off our
| | 03:43 |
selection.
And this mask right here, it allowed us to
| | 03:46 |
limit the adjustment just to the sky so
that now we have this great adjustment
| | 03:50 |
which is correcting exposure in one area
of our photograph.
| | 03:56 |
And we were able to correct that exposure
with a lot of precision and a lot of
| | 03:59 |
flexibility.
Again, if we want to change this further.
| | 04:03 |
Well, we can just double-click the filter
in order to re-launch Camera Raw and to be
| | 04:07 |
able to make further corrections.
Yeah, with this image, I think we did a
| | 04:11 |
pretty good job because we refined our
selection and that looks a lot better, and
| | 04:15 |
this little improvement here, it really
does improve the overall photograph in
| | 04:18 |
some pretty significant ways.
Now, as you make these adjustments, if you
| | 04:24 |
feel like the overall intensity of that
correction is too much, that's when you
| | 04:27 |
want to click on this icon, which opens up
your Blending options.
| | 04:32 |
Now, you may not want to change the
blending mode, but you might want to
| | 04:34 |
change the Opacity.
Notice that as I drop this down, I can
| | 04:38 |
have less intense version of that sky darkening.
| | 04:42 |
So here we can always drop this down a bit
if we want it to match the overall
| | 04:45 |
exposure of the image a bit better.
So here, I'll click OK in order to apply
| | 04:49 |
that.
| | 04:50 |
| | Collapse this transcript |
| Masking in Camera Raw adjustments| 00:00 |
In this movie, we will continue our
conversation about how we can use Camera
| | 00:04 |
Raw as a smart filter, and how we can work
with masking in order to mask in Camera
| | 00:07 |
Raw adjustments into certain areas in our photographs.
| | 00:13 |
We'll be working with this photograph that
I captured of my daughter Annie here.
| | 00:16 |
Annie was leaving to go to a friend's
house, and they were going to have a tea
| | 00:19 |
party, so she had dressed up and put
something in her hair, and as she walked
| | 00:22 |
out the front door I said, hey, hang on a minute.
| | 00:25 |
And I grabbed my camera, which was sitting
there, and I took this picture.
| | 00:29 |
I made this frame, and I captured this
image on film and then scanned it, and
| | 00:32 |
when I opened it up in Photoshop I
realized there was something there.
| | 00:36 |
I like the look, yet the photograph is too complicated.
| | 00:40 |
Often in photography what we need to do is
to reduce and simplify, and that's
| | 00:43 |
definitely what I want to do here with
this photograph.
| | 00:47 |
I want to darken the background so that
it's completely black.
| | 00:51 |
So that we can really focus in on my
beautiful daughter Anika here.
| | 00:55 |
Well, in order to do that, let's convert
this layer to a smart object layer, then
| | 00:59 |
we'll work with camera raw and masking in
order to darken the back of the
| | 01:02 |
photograph.
So first, right-click or Ctrl-click on the
| | 01:06 |
layer and choose Convert to Smart Object.
Now that the layer is a smart object
| | 01:11 |
layer, we'll go to filter, and then we'll
choose camera raw as a filter.
| | 01:17 |
Now when we're here inside of Camera Raw
we're going to do something which may seem
| | 01:20 |
a little bit strange.
Yet, stick with me because at the end
| | 01:23 |
you'll see the final result and I think
the results will speak for themselves.
| | 01:27 |
And more importantly, this will help us to
learn how we can use Camera Raw in really
| | 01:31 |
dramatic ways to make big, bold changes.
Well as I mentioned I want to darken the
| | 01:36 |
background.
So here I'm going to drag my black slider
| | 01:38 |
to the left.
I'll click and drag my contrast slider to
| | 01:42 |
the right and then exposure, I'm going to
bring that all the way down.
| | 01:45 |
I'm going to bring this all the way down
so that my entire image now is completely
| | 01:49 |
black.
And you may be thinking, Chris, you have
| | 01:53 |
lost it.
What are you doing here?
| | 01:55 |
Well stick with me.
Take a look.
| | 01:57 |
Here we'll go ahead click Okay in order to
apply these Camera Raw settings, which
| | 02:00 |
have essentially blacked out the whole image.
| | 02:03 |
Well next we'll click into the mask.
This mask is white, revelaing all of our
| | 02:07 |
camera adjustments.
Well that obviously isn't what we want.
| | 02:11 |
We want to invert the mask.
Do you remember the shortcut to do that?
| | 02:14 |
If you press Cmd + I in a Mac or Ctrl + I
in Windows, it will toggle the inversion
| | 02:18 |
of the mask.
So here can go between black and white.
| | 02:22 |
We want a mask which is filled with black,
essentially concealing everything we did
| | 02:26 |
with camera raw.
Next we'll grab our brush tool.
| | 02:30 |
Here with our brush tool, if we paint with
white, that will allow us to reveal the
| | 02:34 |
camera adjustments.
So now with a white brush, and here at
| | 02:38 |
100% opacity I can paint over the
background and paint away all these
| | 02:41 |
distracting elements.
I'll go ahead and paint hear Annica here
| | 02:46 |
to just darken up this area, and I'll
paint away any other distracting element
| | 02:49 |
that I see there in the background.
I'l use a smaller brush in order to get in
| | 02:55 |
close to the subject.
And so I'll just go ahead and use a
| | 02:58 |
smaller brush in these areas.
Now I can crank my brush size up by
| | 03:02 |
tapping the right bracket key, and then
we'll just go ahead and paint all of these
| | 03:06 |
away, and the advantage of course in doing
this with Camera Raw is we have a lot of
| | 03:09 |
flexibility.
This is non-destructive, we can always go
| | 03:14 |
back and change how far we've darken this
part of the photograph.
| | 03:18 |
And we can do so by simply double clicking
on the Camera Raw Filter icon.
| | 03:23 |
Alright well here you can see really its
this adjustment which allows us to take
| | 03:26 |
out All of the brightness, all of those
distracting elements that we have in the
| | 03:30 |
background and perhaps even more
importantly we started to see how we can
| | 03:33 |
use camera to make big bold adjustments
which may seem like we're wrecking the
| | 03:37 |
image but then when we paint them into
certain areas, well they really help out.
| | 03:44 |
We can make adjustments like these with
color or exposure, or sharpness or
| | 03:48 |
whatever it is.
Again, the trick is to use Camera Raw as a
| | 03:52 |
filter, and then to take advantage of what
we know about masking in order to finish
| | 03:56 |
off the adjustment as we did here with
this photograph.
| | 04:01 |
| | Collapse this transcript |
| Selective sharpening with Camera Raw and masks| 00:00 |
Another great way that you can take
advantage of using Camera Raw as a smart
| | 00:04 |
filter is to use Camera Raw to selectively
sharpen your photograph.
| | 00:08 |
Here in this movie we'll take a look at
two examples.
| | 00:11 |
We'll start off with this photograph here
of one of my daughter's good friends.
| | 00:15 |
She has these bright blue eyes.
And this is the way that the photograph
| | 00:18 |
appeared straight out of the camera. Literally.
| | 00:20 |
I didn't do anything to it yet.
She has this eye color which is just so
| | 00:24 |
beautiful, and she's a really fun kid, as
you can see from her expression here.
| | 00:28 |
Well, let's say that we want to draw out
even more color and sharpness in the eyes.
| | 00:33 |
To do that, let's right click or control
click on the background layer and convert
| | 00:36 |
this to a smart object.
Next, navigate to the filter pull down
| | 00:40 |
menu and choose camera raw as a filter.
Now as we start to work with Camera Raw
| | 00:45 |
let's zoom in on the image.
We'll do so by simply clicking on it and
| | 00:48 |
let's zoom into 100%.
This will allow us to evaluate the clarity
| | 00:52 |
and the contrast and the sharpness that we
have here.
| | 00:56 |
Now, typically before you sharpen an image
what you want to do is increase the
| | 00:59 |
contrast and also adjust the clarity,
because this will affect how far you might
| | 01:03 |
sharpen the photograph.
Now we can also drag our vibrance slider
| | 01:08 |
over, inner saturation slider if you
want to add more color to that area as
| | 01:11 |
well.
Or another technique that you could use of
| | 01:14 |
course would be to use the change the
color temperature or either way make some
| | 01:17 |
adjustments here in the Basic panel, then
navigate to the Details panel.
| | 01:21 |
In the detail panel, we want to sharpen,
so we'll increase the amount of the
| | 01:24 |
sharpening.
For the detail slider, when it comes to
| | 01:27 |
eyes, I find that having a little more
detail is helpful.
| | 01:31 |
This is a lower resolution file, so I need
to decrease the radius.
| | 01:35 |
For higher resolution files it might be
around one or one and a half, but again
| | 01:38 |
you want to experiment with that amount.
All right, well after you've dialed in the
| | 01:43 |
sharpening, and also some adjustments in
the basic panel, what you want to do is
| | 01:47 |
absolutely ignore every other area of the
photograph except for the eyes.
| | 01:52 |
Because we're going to be masking the
sharpening in to this area here.
| | 01:56 |
In order to illustrate this a bit more,
I'll go back to the basic panel and
| | 01:59 |
increase the exposure a little bit as well
And then click okay.
| | 02:04 |
The reason why I wanted to change the
exposure was to illustrate how this will
| | 02:07 |
work so you can see it a little bit better.
| | 02:11 |
Here I'll click into the mask and use the
shortcut that we've talked about
| | 02:14 |
previously to invert the mask.
That's Cmd+I on a Mac, or Ctrl+I on
| | 02:18 |
Windows.
If you ever forget that shortcut, just
| | 02:21 |
double click the smart filter mask that
will take you to the mask panel, and click
| | 02:25 |
on this button here, which allows you to
invert the mask.
| | 02:29 |
The next step is to select our brush tool.
Press the B key, or click on that tool in
| | 02:33 |
the Tools panel.
Next we want to paint with white, and here
| | 02:37 |
we'll position our cursor over the image.
My brush is too big, so I'll press the
| | 02:41 |
left bracket key.
You can also change your brush size by
| | 02:44 |
going to the Options bar here, and just
decreasing the brush size.
| | 02:48 |
Make sure your brush has 0% hardness.
Next step, go ahead and just click into
| | 02:53 |
the eyes.
What this will allow us to do is to paint
| | 02:55 |
in this adjustment in the selective areas.
In this case, just into the eyes.
| | 03:01 |
Now here I've painted in this effect in a
way that it's over the top, but just stick
| | 03:04 |
with me for a moment.
Again, remember that I wanted to show you
| | 03:07 |
the effect in a way that it was too
intense, so that you could really see the
| | 03:10 |
difference.
Well here's the before and after view.
| | 03:13 |
You can see that we have brighter eyes.
We also have more detail there.
| | 03:18 |
Well, to lower the opacity of this effect,
I'll double click this icon here.
| | 03:21 |
This allows me to see this view, which I
can then scale back.
| | 03:26 |
So I'm going to scale back the overall
intensity of the effect, really focusing
| | 03:28 |
in on the image rather than the preview.
because that's the one that I want to see
| | 03:32 |
because that has the mask there.
Click Okay to apply that, and then we can
| | 03:36 |
click on the eye icon.
Here's a before and after.
| | 03:39 |
It's much more subtle.
Yet in this case probably a bit more
| | 03:42 |
realistic.
Let me double-click this slider and crank
| | 03:44 |
this up a little bit further, at least so
you can see the difference.
| | 03:48 |
Again when working with eyes, you want to
be careful not to go too far, otherwise it
| | 03:51 |
just looks a little bit strange.
So here's a before and then now here's the
| | 03:55 |
after.
In this way, we can selectively sharpen or
| | 03:58 |
brighten different areas of our photographs.
| | 04:01 |
Say, for example, like the eyes.
Let's take a look at another example.
| | 04:05 |
Here, I'll click on another tab, where I
have a different photograph open.
| | 04:09 |
This a photograph of another one of my
daughter's friends, down at the beach.
| | 04:13 |
She loves the beach, and loves pickin' up
crabs, and doin' all these crazy things,
| | 04:16 |
and what I want to do is just sharpen this
area of the photograph.
| | 04:21 |
To do that, right click or control click,
and choose convert to smart object.
| | 04:26 |
Again navigate to filter, and then choose
camera as a filter.
| | 04:30 |
Here I want to zoom in on the image, so
Ill click a few times to zoom to 100%, and
| | 04:33 |
then go straight to the details pannel.
In the details panel, I'm just going to
| | 04:38 |
look at the detail that I have here on the crab.
| | 04:41 |
Ignoring the rest of the photograph
because I was shooting with a really
| | 04:43 |
shallow depth of field.
And often in your photographs, you'll have
| | 04:47 |
an area of focus and an area which is out
of focus.
| | 04:50 |
In this image it's very defined.
It wont always be so.
| | 04:53 |
Yet either way, what you can do is just
sharpen the area of focus by focusing in
| | 04:57 |
on that as you make these adjustments.
And here I want to bring up some more
| | 05:01 |
detail, and just sharpen that area and
then click okay in order to apply that.
| | 05:06 |
Now, this has sharpened the whole image,
so that the background, well, it just
| | 05:10 |
looks kind of horrible.
If we click on this icon, we can see the
| | 05:13 |
before and after.
In the background if I zoom in closer you
| | 05:17 |
can see it has all of these little strange
texture artifacts.
| | 05:21 |
Well the crab looks great.
So lets zoom back out, click into the mask
| | 05:24 |
and invert it.
Press Cmd+I in a Mac or Ctrl+I on Windows,
| | 05:28 |
then select the brush tool.
Paint with white and here we'll just paint
| | 05:32 |
over this little crab to bring in some
nice sharpness and detail into this part
| | 05:36 |
of the photograph.
Now, these little details maybe a little
| | 05:41 |
bit tricky to see once this movie has been compressed.
| | 05:45 |
So, what you'll want to do is experiment
with this on your own, but what this
| | 05:47 |
technique allows you to do is to take
advantage of the power of Camera Raw and
| | 05:50 |
then to paint in those adjustments into
certain areas.
| | 05:55 |
If I click on and off the mask, and if I
zoom in past 100 percent perhaps so you
| | 05:58 |
can see this, you can see how this allows
me to just sharpen up that area in some
| | 06:02 |
really profound ways.
And so by taking advantage of using camera
| | 06:08 |
as a smart filter and then by working on
the mask, well it allows us to make
| | 06:11 |
selective corrections and enhancements to
certain areas of our photographs.
| | 06:17 |
| | Collapse this transcript |
|
|
15. Applying Creative Effects with the Blur GalleryChanging focus with the Blur Gallery| 00:00 |
In the next few movies, I want to
introduce you to a family of filters which
| | 00:03 |
are all located in what's called the Blur Gallery.
| | 00:07 |
You can access these filters from the
Filter pull-down menu.
| | 00:10 |
And here, these allow us to shift the
focus in our photographs by adding
| | 00:14 |
different types of Blur.
Typically, when you're working with these
| | 00:18 |
Blur effects what you'll want to do is
work with them as Smart Filters.
| | 00:22 |
So before you actually access the filter,
go to the Filter pull-down menu and choose
| | 00:25 |
Convert for Smart Filters.
Here, we'll click OK in order to convert
| | 00:29 |
our layer to a Smart Object layer.
Next, navigate to the Filter pull-down
| | 00:34 |
menu, and then, choose Blur and then
select the type of blur that you want to
| | 00:37 |
work on.
Let's start off using Iris Blur.
| | 00:41 |
As perhaps this is the easiest to
understand and to work with, at least
| | 00:44 |
initially.
Now when we click on any of these menu
| | 00:48 |
items, what will happen is it will launch
our image in what's called the Blur
| | 00:51 |
Gallery.
Here, you'll notice that the Photoshop
| | 00:55 |
interface will disappear and we have some
different panels and on screen controls.
| | 00:59 |
Now, we can click and drag this around.
In doing that, we can control the area
| | 01:03 |
that's affected by the Blur.
Here, you can see the area inside of the
| | 01:08 |
shape is protected.
The area on the outside, well, that's
| | 01:11 |
where the Blur effect is being applied.
Now you can change the intensity of the
| | 01:15 |
effect by using this slider here.
Click and drag in order to increase the
| | 01:19 |
Blur or decrease the Blur.
We can also use the slider on the right.
| | 01:24 |
Currently, we're working with Iris Blur,
so you can simply drag the slider in order
| | 01:27 |
to customize how that Blur effect appears.
Next, what I want to do is zoom in on the
| | 01:32 |
photograph.
You can zoom in and zoom out inside of the
| | 01:35 |
Blur Gallery just like in Photoshop.
Press Command+Plus on a Mac or
| | 01:39 |
Control+Plus on Windows.
Next, I'll press the Spacebar key and
| | 01:43 |
click and drag in order to reposition the
photograph, so that we can view this
| | 01:46 |
better.
Well, what's the deal with this overlay?
| | 01:50 |
Well, the Iris Blur allows us to create a
shape, and that shape protects part of the
| | 01:54 |
image.
Whereas, the rest of the photograph has
| | 01:57 |
the Blur effect being applied.
You can change the shape by simply
| | 02:01 |
positioning your cursor over the edge of that.
| | 02:04 |
And here you can see I can change this,
either by clicking and dragging it this
| | 02:07 |
way or by clicking and dragging it this way.
| | 02:10 |
By changing the shape of this protected
area, you can make a blur effect which
| | 02:13 |
fits your photograph.
Next we have these little solid circles.
| | 02:19 |
Well, in order to see how those work what
I'm going to do is exaggerate and here I"m
| | 02:22 |
going to really exaggerate.
Notice that now I just have the center
| | 02:27 |
area protected in my photograph and that
area extends out to the solid circles.
| | 02:32 |
Well, if you click and drag those in
you're just protecting this area inside of
| | 02:37 |
this shape.
The rest well it all has that blur effect
| | 02:41 |
applied and here we can click and drag
these all the way out to this outer edge,
| | 02:44 |
if we want to protect a larger area.
As we do that we'll notice that its
| | 02:50 |
creating a transition from this point out
to where it's fully blurred out.
| | 02:54 |
Well, here obviously we have too much Blur applied.
| | 02:58 |
So what I need to do is scale this back.
We'll just drag the slider to the left in
| | 03:01 |
order to remove some of that, or to lessen
that Blur effect.
| | 03:05 |
When you're adding blur to your
photographs, you want it to look realistic
| | 03:08 |
or appealing, not necessarily overwhelming.
| | 03:11 |
Alright.
Well here, in this case, I have the center
| | 03:13 |
of my Blur area right on top of the subject.
| | 03:15 |
It's right on top of her nose.
Well, that's a little bit distracting.
| | 03:19 |
It would be great, of course, if we could
hide all of those overlay interface
| | 03:23 |
elements.
Well we can do that.
| | 03:25 |
Simply press the H key and hold that down
to hide those, and then let go of the H
| | 03:28 |
key and it will bring those controls back.
What I like to do, as I'm evaluating how
| | 03:34 |
I'm working with these different types of
blur, is to press and hold H, then to
| | 03:38 |
click on the Preview checkbox.
That will show you the before and then,
| | 03:42 |
click again and that will show you the after.
| | 03:45 |
And then of course, after you've previewed
that let go of the H key so that you can
| | 03:48 |
then see the controls.
Well here with this photograph I'll go
| | 03:52 |
ahead and click and drag this down a
little bit and extend the size of the
| | 03:55 |
shape.
I want to have a little bit more of the
| | 03:57 |
subject in focus.
So I'm just clicking and dragging this
| | 04:01 |
around until I have a nice area of focus.
Now, I accidentally dragged the slider
| | 04:06 |
there, that's way too high, so I'll go
ahead and bring that back.
| | 04:10 |
The great thing, of course, about using
these is that we have a lot of flexibility
| | 04:13 |
with how we dial this in. Alright?
| | 04:15 |
Great.
Well, let's apply this affect to the
| | 04:17 |
photograph.
To do so, click OK.
| | 04:19 |
That will take the image out of the Blur
Gallery and back into Photoshop.
| | 04:24 |
Well here in Photoshop we now have our
Smart Filter.
| | 04:27 |
If I re-position the photograph, you can
really see that the subject's face is in
| | 04:31 |
focus, the background and some of the
lower area of the image is out of focus.
| | 04:36 |
We can turn that on and off by clicking on
this Eye icon here.
| | 04:39 |
Here is before the Blur Gallery effect was
applied, and now here is the after.
| | 04:43 |
We can also re-access those controls by
double-clicking the word Blur Gallery that
| | 04:47 |
will then re-launch the image inside of
the Blur Gallery with the settings, which
| | 04:52 |
we last applied.
Here we can customize this further.
| | 04:56 |
If we want to change the way that this
appears I'll go ahead and click and drag
| | 04:59 |
this just around a little bit, and
increase the overall blur.
| | 05:03 |
Next after you've customized that so that
it looks good, click OK in order to apply
| | 05:07 |
that.
And again, when you do that, that will
| | 05:10 |
apply that effect and show you that image
inside of Photoshop.
| | 05:14 |
And it will also show you the Smart Filter
layers or you can view the overall before,
| | 05:18 |
and then, now, the after.
| | 05:20 |
| | Collapse this transcript |
| Using Tilt-Shift Blur on a portrait| 00:00 |
In photography there are cameras and
lenses which you can use, which allow you
| | 00:04 |
to tilt or shift the area focus, so that
you can have a slice of your image in
| | 00:08 |
focus.
And we can do something similar in
| | 00:12 |
Photoshop using the Tilt Shift Blur.
This blur is part of the blur gallery, and
| | 00:16 |
so let's take a look at how we can use
this filter As a smart filter.
| | 00:21 |
To do that, you want to target your layer
and convert the layer to a smart object.
| | 00:26 |
One way to do that is to right click or
control click the layer, and choose
| | 00:29 |
convert to smart object.
Next, access the filter by going to the
| | 00:33 |
filter pull down menu.
Here, select blur, then choose tilt shift,
| | 00:38 |
working with the tilt shift filter is a
lot of fun.
| | 00:42 |
Right, well you can see we have some
controls over here on the right and some
| | 00:45 |
onscreen controls as well.
Well as we've seen before, we have the
| | 00:49 |
center area which is protected.
The area between these two solid circles
| | 00:53 |
and solid line is a protected area.
Now we can increase or decrease that by
| | 00:57 |
clicking and dragging this one way or another.
| | 01:01 |
And what I want to do is decrease the
distance between the lines, so that we can
| | 01:04 |
sort of focus in on what's happening.
If I reposition this, you can see that the
| | 01:09 |
slice of the image that's in focus is this
area here.
| | 01:12 |
We can increase the blur, by dragging this
slider here, or by working with our slider
| | 01:16 |
in this area.
You can also control the distortion that
| | 01:20 |
you have in the area where the image is blurred.
| | 01:23 |
Sometimes this can help you to dial in the
shape of the blur so that the blur looks
| | 01:27 |
realistic and good.
Next we have the dotted line.
| | 01:31 |
Well, the dotted line is all about the transition.
| | 01:34 |
Notice that this area is protected.
Well then there’s a transition from the
| | 01:38 |
solid line to the dotted line.
Here we can click and drag that in order
| | 01:41 |
to have a larger transition area.
Or we can bring this in if we want a
| | 01:45 |
smaller area.
We can also extend the overall blur by
| | 01:49 |
working with bulk lines and this way you
can see that I can customize that out so
| | 01:52 |
that I now have more of my image in focus.
Another thing that we can do at these
| | 01:57 |
controls is rotate the blur.
By rotating the blur we can align this up
| | 02:01 |
say with the hat so that the slice of blur
is just this area right here.
| | 02:06 |
Then I'll go ahead and click and drag
these lines up just a little bit more so
| | 02:10 |
that the focus really is on the subject
and the face.
| | 02:14 |
Will bring this up just a bit, also
increase that blur, then in order to apply
| | 02:17 |
this particular filter, again, all that
you need to do is to click on the Okay
| | 02:21 |
check box.
Yet, before you do I always find it's a
| | 02:26 |
good idea to hide the overlay cause that's
a bit distracting.
| | 02:30 |
Press and hold the H key in order to hide
the overlay, then you can click on the
| | 02:33 |
preview check box, and here you can see
the before, and then click again and you
| | 02:37 |
can see the after.
Let go of the H key and it will bring back
| | 02:42 |
those overlay elements.
Alright, well after you have dialed in all
| | 02:46 |
of your settings and previewed the results
of this tilt shift blur.
| | 02:50 |
The next step is to click Okay.
That will then render and apply those
| | 02:54 |
settings to your photograph.
And here, back in our layers panel, we can
| | 02:58 |
see that we now have this smart filter
applied to the photograph.
| | 03:01 |
And we have the blur down below.
You can click on the eye icon to the
| | 03:05 |
toggle the visibility of that blur on and off.
| | 03:08 |
If ever you decide to change the blur
amount or the type of blur, just
| | 03:11 |
double-click the Blur gallery.
That will re-launch the blur gallery, and
| | 03:15 |
here we can customize this, and bring the
blur down a bit.
| | 03:19 |
I feel like it was a little bit too heavy
handed, so I'm just going to customize
| | 03:23 |
this a little bit more here, and dial this
in so that I have a nice slice of focus,
| | 03:26 |
which is really drawing the viewer in to
this area of the image.
| | 03:32 |
Alright I think that looks a little
better, and then again click Okay in order
| | 03:35 |
to apply those settings.
| | 03:37 |
| | Collapse this transcript |
| Becoming more advanced with Tilt-Shift Blur| 00:00 |
Now that we know a little bit about a few
of the filters which we'll encounter in
| | 00:04 |
the blur gallery, here I want to dig
deeper into working with the tilt shift
| | 00:07 |
blur, and in particular, I want to
highlight how we can use the distortion
| | 00:10 |
slider and also, how we can save out our
selection as a channel mask so that we can
| | 00:14 |
then take advantage of that in order to
modify the blur area of our photograph.
| | 00:22 |
I also want to work with tilt shift on
this image, because what you'll discover,
| | 00:25 |
is that, you'll use these blur filters a
little bit differently when you are
| | 00:28 |
working on different types of photographs.
Alright, well this time, rather then
| | 00:33 |
applying the filter as a smart filter,
what I want to do is copy the background
| | 00:36 |
layer.
Press Cmd+G on the Mac or Ctrl+G on
| | 00:39 |
Windows, and let's go ahead and name this
new layer Blur.
| | 00:42 |
Next we'll navigate to the Filter pull
down menu.
| | 00:45 |
Here's select Blur and then choose Tilt Shift.
| | 00:48 |
When you click on the Tilt Shift menu
button it will launch this image in the
| | 00:52 |
blur gallery and it will apply a default blur.
| | 00:56 |
Here as I click and drag this around one
of the things that you'll notice is I can
| | 00:59 |
change the area focus.
What I want you to foucs in on instead of
| | 01:03 |
looking at the area where the image is
sharp Is look at the area where the image
| | 01:06 |
is blurry.
Notice how it changes the shape of the
| | 01:10 |
items in that area.
Let me zoom in closer so you can see this
| | 01:14 |
better.
Watch as I click and drag this across the
| | 01:16 |
car and the trees, and all of those items
that are becoming a bit blurry.
| | 01:20 |
Well you can change the characteristics of
the blur, with the distortion slider.
| | 01:25 |
Notice that as I change the slider, or
reduce the amount of distortion, you can
| | 01:28 |
see that we're actually changing what's
happening to that part of the photograph.
| | 01:32 |
If I click and drag this up even more, and
if you look at the car there, you can see
| | 01:35 |
how it's changing the way that we see that car.
| | 01:38 |
So in this way, you can customize that
blur area, in order to suit your needs or
| | 01:43 |
your vision for how you want that image to look.
| | 01:47 |
Alright well next I'm going to zoom back out.
| | 01:49 |
With this photograph what I want to do is
I want to have a blur effect where the car
| | 01:53 |
is in focus where I also have this guy
over here in focus.
| | 01:58 |
Well to do that I need to rotate the blur.
We already know how to do that.
| | 02:01 |
Position your cursor near that solid
circle and then click and drag to the
| | 02:04 |
right to rotate one way.
Click and drag to the left to rotate to
| | 02:07 |
the other.
Alright great.
| | 02:09 |
Well, so far so good.
We now have this area in focus, the car,
| | 02:13 |
the guy crossing the street.
Let's take a look at this without overlay.
| | 02:17 |
Do you remember the shortcut to hide the overlay?
| | 02:19 |
It's the H key.
Press and hold the H key.
| | 02:22 |
Now, if you press that key and if it
doesn't work, here's why.
| | 02:26 |
What might've happened is you might've
clicked into the field.
| | 02:29 |
Which allowed you to change the blur.
Well now if I press the H key its not
| | 02:32 |
going to work.
Yet if we simply click on this icon right
| | 02:36 |
here and then drag this around a little
bit that will deactivate any of those
| | 02:39 |
fields.
Now when we press the H key we'll see that
| | 02:43 |
overlay disappear.
Next let's look at our preview here's
| | 02:46 |
before and then here's after.
Well I like this.
| | 02:50 |
I think that the blur transition is too harsh.
| | 02:53 |
To make that transitionary smoother we
increase the distance between the dotted
| | 02:57 |
line and the solid line.
Then of course we need to click and drag
| | 03:01 |
this around in order to change that area
of focus.
| | 03:04 |
Now I want to do the same thing down here.
I'm just going to click and drag these
| | 03:07 |
around in order to customize this a little bit.
| | 03:10 |
And I'm trying to create a blur which is a
little bit softer, not quite so harsh.
| | 03:14 |
In other words, I want it to be softer
from the area of focus to the area of
| | 03:17 |
blur.
Next, I might lower the blur amount just a
| | 03:21 |
little bit more as well and then click and
drag to reposition this, alright?
| | 03:25 |
Well, here, we're having a look which is
looking pretty good.
| | 03:29 |
We're getting closer to what I have in
mind for this photograph.
| | 03:33 |
And I'm just going to drag this around a
little bit more.
| | 03:35 |
Press the H key to turn the visibility to
overlay off, click on the Preview check
| | 03:39 |
box.
There's before and then there's after.
| | 03:42 |
Alright.
Well, after having customized the area
| | 03:44 |
that I've selected, in this case this
area, to remain sharp, what I want to do
| | 03:47 |
is save that out as a channel mask.
You can do so by clicking on this icon
| | 03:53 |
which we have up here in the options bar
so go ahead and click on save mask to
| | 03:56 |
channels and then click okay what that
will allow us to do is to apply the blur
| | 04:00 |
effect to this layer and then in the
channels you'll notice that we now have
| | 04:03 |
this mask.
If you turn on this icon, you'll discover
| | 04:10 |
that this is showing us the mask or the
selected area.
| | 04:14 |
If you command or control click this mask,
it will turn this into a selection.
| | 04:19 |
So here, what I have, we'll turn off the
visibility there to see that, what I have
| | 04:22 |
selected is the top of the image.
And the lower area.
| | 04:26 |
In the same way that quick mask works, you
can see that this area is the area which
| | 04:29 |
won't be affected.
And that makes sense, right, because our
| | 04:33 |
blur is affected up in this part of the image.
| | 04:35 |
Now, why might that be helpful?
Well, this can be incredibly helpful for
| | 04:39 |
this reason.
When we navigate back to the Layers panel,
| | 04:42 |
what we can do is we can actually apply an
effect to this area of our photograph, and
| | 04:46 |
sometimes this can be helpful to make the
blur look a little bit more realistic.
| | 04:52 |
In order to apply this technique, what
we'll do is copy this layer once again.
| | 04:56 |
Here I'll click and drag this to the new
layer icon.
| | 04:58 |
I'm going to go ahead and name this layer noise.
| | 05:01 |
Now before we add the noise, I'll click on
the add layer mask icon.
| | 05:06 |
Here, let's turn off the visibility of the
other layers so that we can see what we
| | 05:08 |
have.
On this top layer, we have a layer which
| | 05:11 |
has blur.
Yet, we also have a mask which is masking
| | 05:15 |
out this center area of the image.
So now we could apply another filter just
| | 05:20 |
to the area which is blurry.
And here, in order to be able to do that,
| | 05:25 |
what we did was we went to the Channels mask.
| | 05:28 |
We CMD clicked on the mask, went back to
the Layers channel, duplicated the layer
| | 05:32 |
and added the layer mask.
All right.
| | 05:36 |
Well, now, here, with this layer, let's
target it by clicking into the layer.
| | 05:39 |
You'll see the brackets show Up around a
little icon for that layer.
| | 05:43 |
Then I'll navigate to my filter pull down menu.
| | 05:46 |
Here I'll choose Noise, and then Add Noise.
| | 05:49 |
In this case we can see that the noise is
just showing up in the upper and lower
| | 05:52 |
area of the image.
We might want to decrease the noise
| | 05:55 |
perhaps a little bit.
What I want to do is just make this look a
| | 05:58 |
little bit more like film grain, so I have
a really low noise amount which is
| | 06:01 |
affecting this part of the image.
Next, click Okay in order to apply that.
| | 06:07 |
Now, currently, again, this layer, it has
blur and a bit of noise, and it has this
| | 06:11 |
nice transition area.
Now, sometimes what you'll want to do is
| | 06:14 |
you'll want to apply a little bit of the
noise grain to the other areas as well to
| | 06:18 |
try to make a bit more of a uniform look
to the grain that we're adding here.
| | 06:23 |
Well, in order to do that, double click
the mask and this will open up the mask
| | 06:26 |
panel.
Here, if you decrease the density of the
| | 06:30 |
mask, this will allow some of that noise
to show through in this area of the image.
| | 06:35 |
This becomes evident if I turn off the
visibility of the other layers.
| | 06:39 |
Notice that, as I decrease the density, we
see more and more of this part of the
| | 06:42 |
photograph.
In this way we can bring in some of that
| | 06:45 |
noise to this area as well so that have a
bit more of a uniform effect.
| | 06:50 |
Yet we still have a stronger amount of
noise being applied to the upper area of
| | 06:53 |
the picture.
Now why might you want to apply noise when
| | 06:57 |
you're tilt shift?
Well tilt shift is traditionally used on
| | 07:00 |
certain type of cameras, say a large
format cameras, or maybe with a tilt shift
| | 07:04 |
lens.
And sometimes it might be fun to try to
| | 07:07 |
create, a bit of a nostalgic look when it
comes to using this tilt shift filter.
| | 07:12 |
For example, you might want to try to
simulate, a little bit of a tilt shift
| | 07:15 |
look, that was captured using a camera
which uses film.
| | 07:20 |
Well here we're able to do that, and we're
able to bring in another filter on top of
| | 07:23 |
that here.
Now sometimes it's helpful to change the
| | 07:26 |
blending mode of this layer, say to soft light.
| | 07:29 |
This will increase the contrast, and here
you can see we have more contrast, and it
| | 07:32 |
will blend that grain in to the rest of
the photograph.
| | 07:35 |
In other situations you might just want to
tap down your opacity a little bit here,
| | 07:39 |
just to blend that film grain into the
overall image.
| | 07:43 |
And again these adjustments are rally
subtle yet nonetheless its helpful to see
| | 07:46 |
how you can save out that selection as a
channel mask so that you can make some
| | 07:50 |
subtle adjustments to those areas which
you've selected or to those areas where
| | 07:53 |
the blur is applied.
| | 07:57 |
| | Collapse this transcript |
| Creating a specialized effect with Field Blur| 00:00 |
Next I want to take a look out how we can
work with another one of the filters,
| | 00:03 |
which is part of the blur gallery family
of filters.
| | 00:07 |
And this one's called the field blur.
In order to work with this filter, let's
| | 00:10 |
convert the background layer to a smart
object layer.
| | 00:13 |
Here we'll Right Click or Ctrl + Click the
layer, and then choose convert to smart
| | 00:17 |
object.
After having done that we'll navigate to
| | 00:20 |
the filter pull down menu.
Here we'll select blur and then choose
| | 00:24 |
field blur.
That will launch this image which we've
| | 00:27 |
worked on previously inside of the blur gallery.
| | 00:29 |
And I wanted to use this image that we've
worked on previously in order to make a
| | 00:33 |
comparison between tilt shift.
And iris blur.
| | 00:37 |
In order to make a comparison between
field blur and the other blurs that we've
| | 00:40 |
worked with inside of this gallery.
Well here what field blur allows us to do
| | 00:45 |
is to have a point where we're applying blur.
| | 00:49 |
And let's say that what I want to do is I
want to blur out the background of this
| | 00:52 |
photograph.
So I'll position this point here and then
| | 00:55 |
we can dial in how blurry we want that to be.
| | 00:58 |
Next you can click to Add Another Point,
say on an area that you want to protect.
| | 01:02 |
I want to protect the car, and then reduce
the blur value to 0.
| | 01:07 |
In doing that, you can see that we have a
blur area above and the area below is
| | 01:11 |
protected.
And in a sense, I think of a field blur
| | 01:15 |
kind of like a competitive sport.
Because these two different points are
| | 01:19 |
going to fight with each other.
They're on a playing field and here
| | 01:22 |
they're going to push back and forth.
If I click and drag this one closer, you
| | 01:26 |
can see how this is pushing away that blur.
| | 01:29 |
If I move this off to the right, you can
see it's protecting this side of the field
| | 01:32 |
so to speak.
And again, we can move this around in
| | 01:35 |
order to protect different areas.
Now I can also say, well you know what, I
| | 01:39 |
want the car to be in focus, but I want
the street to be out.
| | 01:43 |
So here we'll click on this area to add
another point.
| | 01:46 |
So now we have 2 blur areas, and 1 area
that is protecting the car.
| | 01:50 |
As I drag this farther away, you can see
there's a little bit more of a transition.
| | 01:54 |
Or as I reposition this I can also control
the overall transition area.
| | 01:59 |
Now, what about bringing in another point
of blur?
| | 02:01 |
Well, we can do that by clicking over here.
| | 02:04 |
So again, it's almost like I've created
this circular shape, which we were able to
| | 02:07 |
do when we worked with the iris blur, in
order to protect a certain area of the
| | 02:10 |
image.
Yet what's different about field blur than
| | 02:14 |
iris or tilt shift Is we can create
effects which you just couldn't create on
| | 02:18 |
camera.
Which would be impossible to create with a
| | 02:22 |
lens.
What I can do is add another point of
| | 02:24 |
focus.
If I want this guy in the corner here to
| | 02:27 |
be in focus.
I'll click to add another point and
| | 02:30 |
that'll go ahead and remove the blur.
So here we can see we have one area of
| | 02:34 |
focus and then another over here.
We can also customize each of these areas.
| | 02:40 |
Click to activate any of these blur fields.
| | 02:44 |
And here I'll just click to activate, and
then drag down the blur amount so that I
| | 02:47 |
have a little bit less blur.
In this case, I want to try and create
| | 02:51 |
something which is a bit surreal or
fantastic where we have these different
| | 02:54 |
blur points where we'll able to focus on
different areas of photograph.
| | 02:59 |
I'm going to add another one over here on
this light and this building up top over
| | 03:02 |
here.
So go ahead and decrease the blur value,
| | 03:05 |
over there.
And in this way, it's almost like the
| | 03:08 |
areas of focus travel around the photograph.
| | 03:12 |
And what's fun about this technique is you
can always just customize it by clicking
| | 03:16 |
and dragging In moving these points around.
| | 03:19 |
Now I always like to evaluate the progress
of what we've done here, by pressing the H
| | 03:22 |
key in order to hide the overlays.
Then by clicking on the Preview check box
| | 03:27 |
to see the before, and then also to see
the after.
| | 03:30 |
Now here with this photograph we're
creating kind of a fantastic effect.
| | 03:34 |
Again, one which would be really difficult
to create any other way.
| | 03:38 |
Yet while I'm showing you this technique,
keep in mind that you can use field blur
| | 03:41 |
in a lot of different ways.
I actually saw field blur being applied on
| | 03:45 |
one of the catalogues that we received at
our house, and on the cover of the catalog
| | 03:49 |
there was a product.
The product was in the middle of the
| | 03:53 |
image, or in the middle of the page, and
that was in focus, and you can tell that
| | 03:56 |
they added some field blur points.
In order to blur out some of the other
| | 04:01 |
details in the surrounding environment, so
that you could focus in on the product.
| | 04:05 |
So you can use this technique with product
photography, automotive, architecture,
| | 04:09 |
landscape, street photography like this
here, and it can help you to create some
| | 04:12 |
really fun and fantastic results.
Next let's go ahead and click OK in order
| | 04:17 |
to apply this.
Because we applied this filter as a Smart
| | 04:20 |
filter, we have a lot of flexability.
So here I can click on this Eye icon to
| | 04:24 |
see the before.
And then now to see the after.
| | 04:27 |
Now you may have noticed that when we work
with the Blur gallery, we'll go ahead and
| | 04:30 |
click and drag this layers panel out, so
we can see a bit more of it.
| | 04:34 |
You may have noticed that the icon which
allows you to apply blending, has
| | 04:37 |
disappeared.
We can't just click on that to change the
| | 04:41 |
opacity yet we can control opacity by
working on the mask.
| | 04:45 |
Here we could fill the mask with a certain
color black or we could paint on the mask
| | 04:48 |
as well.
I'll grab the brush tool.
| | 04:50 |
I'll select black from my color picker and
then here I have 30% opacity and here I'm
| | 04:54 |
just going to paint over a few areas in
the image.
| | 04:58 |
In this way, I can paint away the blur effect.
| | 05:00 |
So I can really customize it if I want to
bring in a few more items into focus here.
| | 05:05 |
Paint at a higher opacity if you want to
bring it back into it's full focus.
| | 05:09 |
Now press the Right Bracket key that make
my brush bigger.
| | 05:12 |
And so this way, I can really customize
this and have some fun with how this blur
| | 05:15 |
effect is being applied to the photograph.
If ever you're working with masking, and
| | 05:20 |
you realize, you know what, my mask
doesn't look very good or I want to undo
| | 05:23 |
that, you can always just shift click the mask.
| | 05:26 |
That will temporarily disable it and it
will bring back all of the blur effect
| | 05:29 |
which you originally applied to the photograph.
| | 05:33 |
Yet here I simply wanted to highlight that
you can also work on your mask the blur
| | 05:37 |
effect even further.
Alright, well, before we wrap this up
| | 05:41 |
let's take a look at the before and after,
here it is.
| | 05:43 |
There is the before and then now here, is
the after.
| | 05:47 |
| | Collapse this transcript |
| Using channel masks to sharpen nonblurry areas of your photo| 00:00 |
In this movie, we'll be working with field blur.
| | 00:02 |
And with field blur, we'll look at how we
can add multiple fields in order to blur
| | 00:06 |
out different areas of our photograph.
And then we'll explore how we can save out
| | 00:11 |
a selection using a channel mask, and how
we can use that selection in order to
| | 00:14 |
sharpen the non-blurry or the sharp areas
of our photograph.
| | 00:19 |
Alright well in order to work with this
technique lets go ahead and copy the
| | 00:22 |
background layer.
Press Cmd + G on a Mac or Ctrl + J on
| | 00:25 |
Windows.
And lets name this new layer Blur.
| | 00:28 |
Next we'll navigate to the filter pull
down menu.
| | 00:32 |
Here select Blur, and then we're going to
choose Field Blur.
| | 00:35 |
This will launch our image in the field
blur dialogue.
| | 00:39 |
And what I want to do is crank up my blur
amount here.
| | 00:41 |
And I'm going to bring this up really high.
| | 00:43 |
I'll go ahead and set this point over here
on the left of the image.
| | 00:46 |
I'm going to then create another blur
field area by clicking on this area.
| | 00:51 |
And I'll make this one a little bit less.
I'll make another one here, a little bit
| | 00:54 |
less there as well.
This one over here I'll crank up.
| | 00:58 |
And again, I'm just going to click through
the image applying different field blur
| | 01:01 |
amounts.
Now when I get to the sun in the
| | 01:03 |
background here, I'm going to remove the blur.
| | 01:06 |
I want that to be sharp.
And I want this area up here to be blurry,
| | 01:09 |
and this area as well.
Well next I want to bring in some focus on
| | 01:13 |
a few of the subjects.
If we click on one of the subjects of this
| | 01:17 |
photograph, in the case my brother-in-law,
Ryan here, we can bring him into focus by
| | 01:20 |
adding a field blur, and by changing the
blur amount to zero.
| | 01:25 |
Now let's also bring cute little Maggie
into focus.
| | 01:28 |
We'll add a field blur.
And reduce the blur amount there.
| | 01:32 |
going to bring into focus my sister, Amanda.
| | 01:35 |
My sister is awesome.
She's an amazing person.
| | 01:38 |
I also want to bring into focus Stuart
over here as well.
| | 01:41 |
So again, just click to add a field
blurred area.
| | 01:43 |
An so now we have all of these different
areas of focus.
| | 01:47 |
What can be fun about having different
areas of focus is we can just create a
| | 01:50 |
different look in our photograph.
Here I'll push these around a little bit
| | 01:54 |
in order to bring in, different areas,
which are in focus or out of focus.
| | 01:59 |
Alright, well now that we have those let's
press the H key in order to hide all of
| | 02:02 |
that, an then click on the preview
check-box to see the before, an then now,
| | 02:05 |
the after.
Well here we have a pretty stylized look
| | 02:10 |
with this photograph, and we have
different amounts of blur.
| | 02:13 |
Notice that we have an amount of blur up
here, which is 15, which is different from
| | 02:17 |
the amount of blur that we have here,
which is 24.
| | 02:21 |
And by having different amount of blurs, I
brought that down to 18 to just take that
| | 02:24 |
back a little bit, what that allows us to
do is to have different intensity of the
| | 02:28 |
blur effect being applied in different areas.
| | 02:33 |
Now where this gets interesting, is when
we want to say, save out all of our
| | 02:36 |
selections, to a mask, as a channel mask.
So lets click on this check box here.
| | 02:42 |
We've seen how we can do this before, yet
not with this complicated of a selection.
| | 02:46 |
>> So after having created the blur, by
adding a number of different Fieldbus to
| | 02:49 |
our image.
We'll click on the check box to save the
| | 02:53 |
mass to channels and then click OK.
Now in doing this, when we click OK, it
| | 02:58 |
will apply the effect and bring us back to
the file here in Photoshop and we can see
| | 03:01 |
we have the Blur layer.
Here's the before and then here's the
| | 03:06 |
after.
Well what you want to do next is copy the
| | 03:09 |
blur layer, so click and drag this to the
New Layer icon.
| | 03:12 |
We're going to name this new layer
sharpened, and we'll name this new layer
| | 03:15 |
sharpened because I just want to sharpen
the area that isn't blurry in the image.
| | 03:21 |
In order to do that we're going to take
advantage of the channel mask, so click
| | 03:25 |
into the channels panel and here you can
see we have this blur mask.
| | 03:30 |
Now if we click to turn this mask on you
can see that we have different degrees of
| | 03:33 |
intensity of our selection.
Cmd or Ctrl + Click on that mask, and then
| | 03:38 |
turn the visibility of that off.
And navigate back to the layers panel.
| | 03:43 |
Now back here in the layers panel, we
want to add a layer mask to this layer.
| | 03:47 |
To do so, click on the add layer mask icon.
| | 03:50 |
Now here when we turn off the visibility,
the other layers, we'll see that this mask
| | 03:54 |
is the exact opposite of what we want.
So we need to invert the mask.
| | 04:00 |
To invert a mask, press Cmd + I in the Mac
or Ctrl + I on Windows.
| | 04:04 |
Now we just seeing non blurry areas of
this picture.
| | 04:08 |
If we option or Alt + Click on the mask.
You can see how this works.
| | 04:12 |
While the white area, that's the area
where the image is sharp, and in focus.
| | 04:16 |
Now the darker gray areas are where we
have the blur effect applied.
| | 04:21 |
Where it's darker, or even close to black,
we have the blur effect applied with more
| | 04:25 |
intensity.
Where it's gray, that's a little bit less
| | 04:28 |
blur.
Next Opt or Alt + Click on this mask, so
| | 04:31 |
it will bring us back to the photograph.
Well here, what I want to do is click into
| | 04:36 |
the image layer, and I just want to
sharpen this area.
| | 04:39 |
To do that, we'll navigate to our filter
pull down menu, select sharpen, and then
| | 04:43 |
choose smart sharpen.
When we click on smart sharpen it will
| | 04:47 |
open our image up in the smart sharpen
dialogue Here we can see this photograph.
| | 04:52 |
What you want to do is click and pan
around so you can see the image.
| | 04:55 |
If the preview is too small, you can
always change that by clicking and
| | 04:58 |
dragging on the corner in order to see
more of the image.
| | 05:02 |
Now this sharpening amount is too high,
and the radius is a little too high as
| | 05:05 |
well, so I'm going to go ahead and reduce
those values.
| | 05:08 |
Then what you want to do is click and hold
on the image to see the before; let go to
| | 05:11 |
see the after.
On my screen I'm seeing some really nice,
| | 05:15 |
subtle sharpening.
If we zoom in on Ara, you might be able to
| | 05:18 |
see this better, here's before, let go,
and there you can see the after.
| | 05:23 |
Again, just a little bit of a snap, a
little bit more of a sharpening effect.
| | 05:27 |
Next we'll click OK.
And, when we click okay, this filter will
| | 05:30 |
apply the sharpening just to the area of
the image where we can see here because
| | 05:34 |
the mask is concealing the rest of the photograph.
| | 05:39 |
Well in order to finish this project off,
we obviously want both layers turned on,
| | 05:42 |
so that we can have the blur layer nice
and soft and then we can have this sharp
| | 05:45 |
layer, bring in some sharpness just into
this area of the photograph.
| | 05:51 |
And in this way, we're able to take
advantage of that channel mask to really
| | 05:54 |
help and improve this image.
And to help and improve the image in a
| | 05:59 |
selective or specific way, and that is to
sharpen just the non-blurry areas of the
| | 06:04 |
photograph.
| | 06:06 |
| | Collapse this transcript |
| Changing the shape of the Iris Blur and using the Blur Effects panel| 00:00 |
In this movie, I want to dig a little bit
deeper into working with the iris blur and
| | 00:04 |
here, I want to show you how you can
change the shape of the iris blur from
| | 00:07 |
something which is less of a circle or
ellipse and more of a rectangle and I also
| | 00:10 |
want to talk about the blur effects panel.
Now, in order to work with the filter,
| | 00:16 |
let's go ahead and convert our background
layer to smart object layer.
| | 00:20 |
To do that, right-click or Ctrl-click and
choose Convert to Smart Object.
| | 00:24 |
Then, after having done that, navigate to
the Filter pull-down menu.
| | 00:28 |
Here, choose Blur, and let's go straight
to Iris Blur.
| | 00:30 |
Iris Blur allows us to select an area of
our image, and here I'm going to zoom out
| | 00:34 |
just a little bit on the photograph so
that we can see the shape.
| | 00:39 |
Currently, this shape is protecting this
area here.
| | 00:42 |
If we click and drag to increase the
overall blur We'll be able to see that a
| | 00:44 |
bit better.
Well lets say that we want to change the
| | 00:48 |
shape, so that the area of focus really is
a bit more of a rectangle which focuses in
| | 00:51 |
on these chairs which are next to the pool.
| | 00:56 |
Let me zoom back in on the photograph, and
then press the space bar key and click and
| | 00:59 |
drag, and re-position this over this area.
Well you can change the shape by hovering
| | 01:05 |
over this icon here.
As you click and drag this out you can
| | 01:08 |
make it more of a rectangle, drag in and
you can make this more of an ellipse.
| | 01:13 |
Here I want this to be a rectangle so I'll
drag out.
| | 01:16 |
Next we can change the overall size by
positioning our cursor over the edge of
| | 01:20 |
this area or this selection area and
dragging, then we'll reposition this over
| | 01:24 |
here.
Position our cursor near the edge once
| | 01:28 |
again so we can rotate it.
And here again you can see how we can
| | 01:31 |
start to click and drag this around so
that we have a shape or a focus area which
| | 01:35 |
is a bit more like a rectangle.
Currently, the blur is really over the
| | 01:40 |
top.
We could bring this down to perhaps create
| | 01:42 |
a little bit more of a realistic effect
where we're focusing in on this part of
| | 01:45 |
the photograph.
And again, here I simply wanted to
| | 01:49 |
highlight how we can make changes to the
iris blur shape.
| | 01:53 |
Next what I want to talk about is how we
can modify our blur effects.
| | 01:57 |
So here I'll go ahead and increase this a
little bit more, and increase the blur
| | 02:00 |
amount.
In order to demonstrate how we can use the
| | 02:04 |
blur effects panel below.
Well here you can see we have three
| | 02:07 |
different controls.
What these allow us to do is try to allow
| | 02:10 |
a bit more bokeh to the image.
Now what bokeh is, is when the area's out
| | 02:15 |
of focus, sometime's there'll be these
interesting sort of patterns or shapes in
| | 02:18 |
those areas.
Now if you turn on high quality, that will
| | 02:23 |
allow you to render or create better bokeh
in the background of your image.
| | 02:28 |
It'll be difficult to see, but sometimes
you'll see it will just re-render the
| | 02:31 |
small details in the background.
I should also point out while I'm up here,
| | 02:35 |
when you're working with the Iris Blur,
you can actually have this area a little
| | 02:38 |
bit out of focus.
As I decrease this you're going to see
| | 02:42 |
that this area is now more out of focus,
crank this up to 100%, now it has complete
| | 02:45 |
focus.
In my own workflow, I haven't found a use
| | 02:49 |
for bluring this out in this area that
I've selected, so typically, I just leave
| | 02:53 |
that at 100%.
Alright, well back to our blur effect
| | 02:57 |
slider.
OK well what this allows us to do is to
| | 02:59 |
brighten up those areas.
Take a look at the fire place or the
| | 03:02 |
brighter areas in this image.
In this case you can see its brightening
| | 03:06 |
them up.
Next we can control the color.
| | 03:08 |
As I drag this to the right you're going
to see that there are more colors here in
| | 03:11 |
these areas.
Obviously I'm exaggerating and this is a
| | 03:14 |
perfect image to work with because the
exaggerated results help you understand
| | 03:18 |
how the sliders work.
Next we have the light range.
| | 03:22 |
Do we want to apply these bokeh effects
just to the brighter tones, or click and
| | 03:25 |
drag the black icon, do we want to apply
these to more of the tones that we have in
| | 03:29 |
our image?
Now obviously this has made the image look
| | 03:33 |
horrible, but it's also highlighting how
you can start to limit the light range so
| | 03:37 |
that you can apply this effect to really
particular areas of your photograph.
| | 03:42 |
Now, with this image let's go ahead and
bring the bouquet and also the color all
| | 03:45 |
the way back down.
Often what you'll do is just crank this up
| | 03:48 |
just a little bit.
If you have areas of brightness in the
| | 03:51 |
background and you want to brighten those
up a little bit more to kind of have a
| | 03:54 |
little bit more of a characteristic that
an image might have when it was captured
| | 03:58 |
with a lens which allowed you to create
shallow depth of field.
| | 04:03 |
With this image I don't think we need it
very much, yet nonetheless, we started to
| | 04:06 |
see how we can use these various sliders.
All right.
| | 04:09 |
Well, in order to finish this project off,
I'm actually going to change the shape of
| | 04:12 |
this a little bit back to an ellipse here.
I'm going to click and drag this around
| | 04:16 |
because I want the focus to be on these
chairs and also on this area of the image.
| | 04:21 |
I think that is pretty cool.
Then we'll go ahead and reduce the blur
| | 04:24 |
effect so it's not quite so strong.
Press the h key in order to hide the blur
| | 04:28 |
overlay.
Click on your preview checkbox to see your
| | 04:31 |
before and then after.
And then of course, when you're ready to
| | 04:36 |
apply that blur effect, simply click OK in
order to exit and apply this effect to
| | 04:39 |
your photograph.
| | 04:42 |
| | Collapse this transcript |
|
|
16. Making Perspective CorrectionsUsing the Lens Correction filter| 00:00 |
In this chapter, we are going to focus in
on how we can make perspective corrections
| | 00:04 |
on our photographs using two techniques.
We will start of by looking at how we can
| | 00:09 |
use the lens correction filter, and we'll
also explore how we can use whats called
| | 00:12 |
"upright" in "Adobe Camera".
Well in this photograph here, you can see
| | 00:17 |
that it was captured with a wide angle lens.
| | 00:20 |
Because you can see there's a little bit
of distortion.
| | 00:22 |
Also, the columns aren't standing up straight.
| | 00:25 |
Well lets take a look at how we can use
lens correction as a filter in order to
| | 00:28 |
improve those issues.
Whenever you're working with lens
| | 00:32 |
correction, it's a good idea to use it as
a smart filter, or just to copy your
| | 00:35 |
background layer to apply the adjustments
to a new layer.
| | 00:39 |
To give you extra flexibility in case you
make a mistake.
| | 00:42 |
So let's do that.
Copy the background layer by pressing
| | 00:45 |
Cmd+J on a Mac, or Ctrl-J on Windows.
Let's name this new layer Lens
| | 00:50 |
Corrections.
Next step, navigate to the Filter pull
| | 00:53 |
down menu and choose Lens Correction.
When you click on this menu item, it will
| | 00:59 |
launch the image In the lens correction
dialogue, here you'll notice we have a few
| | 01:02 |
tools on he left and then we have a couple
of tabs on the right.
| | 01:07 |
We'll get into all of these items here in
just a minute.
| | 01:10 |
Lets focus in on auto correction for starters.
| | 01:13 |
The Geometric distortion radio button here
allows us to correct a bit of the
| | 01:16 |
distortion.
Yet it doesn't fully correct it, so to
| | 01:20 |
make more changes we'll need to go to
Custom, we'll do so in just a minute.
| | 01:24 |
Vignette corrects the darkening effect
around the outer edges, here you can see
| | 01:28 |
it's brightening up the outer edges of the frame.
| | 01:31 |
Auto Scale's important to turn on, because
that allows us to only see pixels.
| | 01:35 |
You know when you correct distortion
essentially what it's doing is bending or
| | 01:38 |
warping the image so that the edge of the
image, isn't a straight line any more.
| | 01:44 |
Well if you want to make sure that you are
always adjusting pixels, leave this check
| | 01:47 |
box turned on.
Next down below, because this is a RAW
| | 01:50 |
file.
You can see that it picked up on the
| | 01:53 |
camera and the lens that was used to
capture the photograph.
| | 01:56 |
We'll its taking the advantage of that
data about that information, the camera
| | 02:00 |
and lens, in order to make some corrections.
| | 02:02 |
Well next let's go to the Custom tab.
When we go to the Custom tab, we have a
| | 02:06 |
few controls.
These controls are grouped into geometric
| | 02:10 |
distortion, chromatic abboration, and the
ability to transform.
| | 02:14 |
Let's start off with geometric distortion.
Here we can click and drag this to the
| | 02:18 |
right or the left to add or remove
different types of distortion.
| | 02:22 |
I want to exaggerate this for moment and
go back to the audio correction tab and
| | 02:26 |
turn off auto scale, In doing that you can
see that what's happening here is it's
| | 02:30 |
stretching the image out in some
fascinating ways and with auto scale
| | 02:33 |
turned off one able to see these blank areas.
| | 02:39 |
So in this way I would need to crop the
photograph later.
| | 02:42 |
If you turn on auto scale image it will
then crop the image for you and it will
| | 02:45 |
just show you pixels in your photograph.
Let's go back to the custom tab and here
| | 02:50 |
let's bring this back to the default
setting of where it was before.
| | 02:53 |
Here you can see how the image originally appeared.
| | 02:56 |
With this photograph, I think we can push
this a little bit further and by dragging
| | 02:59 |
this to the right.
It's going to remove just a touch more of
| | 03:02 |
this distortion So that the photograph
looks better.
| | 03:05 |
Now, Chromatic Aberration has to do with
color fringing on edges.
| | 03:09 |
There isn't any of that in this
photograph, so I'm going to skip those
| | 03:12 |
controls.
Vignetting allows us to lighten or darken
| | 03:15 |
those edges.
Again, with that Automatic option turned
| | 03:19 |
on, there isn't a lot more that we need to
do here.
| | 03:22 |
but where we need to shift our focus now,
is in the transform controls.
| | 03:26 |
Vertical allows us to change the overall,
sort of lean of the image.
| | 03:31 |
Look at how the image looks like it's
leaning forward, or now we can make it
| | 03:34 |
look as if its leaning backwards.
As you start to make these corrections, I
| | 03:38 |
find its helpful to turn on the grid Click
on the Show Grid icon, and then you can
| | 03:42 |
use the icon here, which is the Move Grid
tool, or you can click on that icon in
| | 03:45 |
order to be able to move this around.
Sometimes, it's helpful to put the grid
| | 03:52 |
near something that you're trying to make straight.
| | 03:55 |
In this way, you can start to see how you
might want to shift this so you can make
| | 03:58 |
those lines or those columns a bit more straight.
| | 04:01 |
So I'll go ahead and click and drag this
and I'll focus in on the grid until I have
| | 04:05 |
nice, straight columns.
All right, that looks a little bit better.
| | 04:08 |
If this grid is distracting, just click on
the icon in order to turn that view off.
| | 04:14 |
Now as you make one change, you also may
need to go back and make another.
| | 04:18 |
So sometimes you'll have to make changes together.
| | 04:20 |
Here perhaps we want to modify the
distortion a little bit too Next we have
| | 04:24 |
horizontal perspective.
Here this controls our lean horizontally,
| | 04:28 |
and lean is simply a colloquial way to
describe what's happening here.
| | 04:32 |
You can see how our image is sort of
leaning from one way to the other.
| | 04:36 |
And we can make that shift.
In this case, it's pretty straight on so
| | 04:39 |
we don't necessarily need to do that.
Well then we have angle.
| | 04:43 |
You can click and drag this little wheel
here, this rotation wheel, or position
| | 04:47 |
your cursor over the word angle and then
click in order to make more subtle
| | 04:50 |
adjustments.
And this way, we'll just level the image
| | 04:54 |
out a little bit, or you can always use
this icon, click on the level icon, which
| | 04:57 |
allows you to straighten the image.
And then click and drag across something
| | 05:02 |
that should be straight in the image, and
it will then straighten the image based on
| | 05:05 |
that, and it will rotate the image here,
as you can see, in the angle area of this
| | 05:09 |
dialog.
All right, well after having made all of
| | 05:13 |
those corrections, in order to apply them
to the photograph, click OK.
| | 05:17 |
When you click OK, you will commit to
those corrections And they will be applied
| | 05:20 |
to your image, as you can see here in Photoshop.
| | 05:23 |
When we click on the eye icon, you can see
here’s the before and then now here’s the
| | 05:27 |
after.
And again, by having these adjustments on
| | 05:31 |
a separate layer, it just gives us more flexibility.
| | 05:34 |
Now, we’ll also talk about how we can work
on this image using Camera Raw in upright.
| | 05:39 |
So we'll revisit this photograph, yet for
now I simply want to focus in on the lens
| | 05:43 |
corrections filter.
And let's also continue to talk about how
| | 05:47 |
we can use lens corrections, especially
when we have an image which is a bit more
| | 05:51 |
difficult.
And so let's do that, in the next movie.
| | 05:55 |
| | Collapse this transcript |
| Correcting difficult distortions with Lens Correction| 00:00 |
In this movie, we're going to build upon
what we already learned in the previous
| | 00:03 |
movie.
And that was how we can work with the lens
| | 00:06 |
correction filter in order to correct distortions.
| | 00:09 |
We're going to take a look at a really
difficult image.
| | 00:12 |
You can see that this is a photograph of a rack.
| | 00:15 |
This is a critique rack and I set a number
of books on it in order to illustrate some
| | 00:18 |
inspiring books for photographers.
Yet, I captured this image at an off
| | 00:24 |
angle.
And let's say that what we want to do is
| | 00:26 |
to remove the distortion.
We also want these lines to be straight.
| | 00:31 |
We can make corrections like that, even in
dramatic situations like this, using the
| | 00:35 |
lens correction filter.
And sometimes working with a really
| | 00:38 |
difficult image can illustrate how all of
the different controls work.
| | 00:43 |
Let's copy the background layer by
pressing Command+G on a Mac or Control+G
| | 00:46 |
in Windows.
And let's name this new layer, Lens
| | 00:50 |
Corrections.
Next, we'll navigate to the Filter
| | 00:53 |
pull-down menu and then, choose Lens Correction.
| | 00:57 |
This'll open up the Lens Correction dialog.
| | 00:59 |
And here, I want to correct this photograph.
| | 01:02 |
Now, when we click on the Geometric
Distortion button, you can see it improved
| | 01:06 |
the image in really subtle ways, but it
didn't do that much.
| | 01:10 |
Now, because I know that I'm going to need
to make some pretty exaggerated
| | 01:13 |
adjustments here, I'm going to turn off
Auto Scale Image because as I make the
| | 01:16 |
adjustments, I want to analyze what's happening.
| | 01:20 |
Because this is a RAW file, we have a lens
profile attached to the image, or it's
| | 01:24 |
part of this file format, you can see here
the camera that was used and also the
| | 01:28 |
lens.
If you don't have access to the lens
| | 01:33 |
profile, no big deal.
Simply move forward to the next step,
| | 01:36 |
which is to use the Custom tab.
Here, we'll go to the Custom tab, where we
| | 01:40 |
can remove distortion.
Now, before we start to remove distortion,
| | 01:44 |
though, what I want to do is change the
overall lines or the lean of this image.
| | 01:49 |
Remember I said we can use our perspective
sliders in a sense to sort of lean the
| | 01:52 |
image one way or another.
And that's just my way of describing how
| | 01:57 |
this works.
Here, as I click and drag this, you can
| | 01:59 |
see how I can sort of bring the right side
of the image forward.
| | 02:03 |
So, I come forward little bit more, little
bit more.
| | 02:05 |
Okay, great.
Right around there.
| | 02:07 |
As we make these corrections, we may want
to turn on the grid.
| | 02:10 |
To do so, click the Show Grid icon here,
then use this tool.
| | 02:14 |
Click on the icon which allows you to move
the grid around.
| | 02:17 |
And you may want to do that to make sure
that you can see your lines are lining up
| | 02:20 |
pretty well.
In this case, I think it looks pretty
| | 02:23 |
good.
Maybe we want to remove just a little bit
| | 02:26 |
of distortion there.
That might be a nice touch.
| | 02:28 |
I think that looks good.
Just a little tiny bit.
| | 02:31 |
I'm going to drag this over to the right.
Then, we can also rotate the image.
| | 02:36 |
Here, it looks like we need to rotate it
just a little bit.
| | 02:38 |
So, I'll position the cursor over the
Angle slider and then rotate this subtly.
| | 02:42 |
In this way, we now have a much better
version of the photograph.
| | 02:46 |
The lines there are straight.
The problem though is with the background.
| | 02:51 |
Well, let's leave that problem there, so
that we can see how we can fill that in
| | 02:54 |
using Photoshop.
Now, of course, we could crop that out by
| | 02:58 |
going back to Auto Correction and turning
Auto Scale Image on.
| | 03:01 |
Yet, there'll be certain images where that
just won't work and where you'll need to
| | 03:05 |
have this filled in, and you can do that
using Photoshop.
| | 03:09 |
So let's go ahead and click OK in order to
apply these corrections.
| | 03:12 |
Now here we can see sort of the before and
the after.
| | 03:15 |
Lets turn off the underline layer
visibility by clicking on the Eye icon
| | 03:19 |
there.
Next, I'll zoom in a little bit on this
| | 03:22 |
photograph, so that we can see this a
little bit better.
| | 03:25 |
And one of the things that I noticed, as I
mentioned, is we have some blank areas.
| | 03:30 |
Well, we can select those blank areas
using one of our selection tools.
| | 03:34 |
You know, the Magic Wand tool might work best.
| | 03:36 |
Select that tool and then, click on the
transparent area.
| | 03:39 |
Then, you want to navigate to Select >
Modify > Expand.
| | 03:46 |
What will happen with the magic wand or
the Quick Select tool is it will make a
| | 03:49 |
selection which is right on the edge.
We need this selection to go past the edge
| | 03:54 |
a little bit.
So we'll increase this.
| | 03:57 |
About four pixels will work.
What that will do is it will just make a
| | 04:00 |
little bit of a bigger selection.
Next, I want to fill that in using what's
| | 04:05 |
called Content Aware Fill.
To access Content Aware Fill, press
| | 04:09 |
Shift+F5.
That will access the Fill dialog or open
| | 04:13 |
the Fill dialog.
And here, we want to use Content Aware.
| | 04:17 |
Now, if ever you forget that shortcut, the
Shift+F5 one, you can always go to the
| | 04:22 |
Edit > Fill here.
And then, there is that shortcut listed
| | 04:27 |
for you in order to remind you what it is. Alright.
| | 04:30 |
Well, again, from this pull-down menu, we
want to choose Content Aware, and then
| | 04:34 |
click OK.
Now, if the first Content Aware Fill
| | 04:37 |
doesn't work, you can always reapply it.
Just press Shift+F5 again.
| | 04:42 |
With my image, I think it did a pretty
good job.
| | 04:45 |
Let's take a look.
We'll go to Select > Deselect.
| | 04:48 |
And then, we can see how it filled in this
area with very similar content.
| | 04:53 |
And in this case, luckily, it did a
phenomenal job.
| | 04:56 |
It filled in all of those gaps and all of
that area.
| | 04:59 |
So now I have a complete picture.
Well, now when we click on the Eye icon,
| | 05:03 |
we can see this a bit better.
Here's the before, a lot of distortion.
| | 05:07 |
Here's after.
We've made some pretty phenomenal changes
| | 05:09 |
to this photograph.
And so, as you can imagine, you can use
| | 05:13 |
this Lens Correction filter in so many
different ways.
| | 05:16 |
You can use it with portraits, you can use
it with architecture, you name it.
| | 05:20 |
You can use it even in situations like
this when you weren't really being careful
| | 05:24 |
when you captured the image in order to
make corrections, so that the image
| | 05:27 |
appears better.
Now, in order to finish this photograph
| | 05:31 |
off, I'm going to zoom out just a little bit.
| | 05:33 |
This area over here on the right, while
it's nice that we filled it in, I still
| | 05:36 |
want to crop in the photograph.
So I'm going to select the Crop tool and
| | 05:40 |
just click and drag this in.
And by clicking and dragging this in, I
| | 05:43 |
can crop out some of the other outer areas.
| | 05:46 |
Yet, still the filled in area down below
is helping out and also a little bit of
| | 05:50 |
the edge.
Whenever you crop in Photoshop, it's a
| | 05:54 |
good idea to turn this checkbox off.
That way you can always undo this later.
| | 05:58 |
Press Enter or Return in order to apply
that crop.
| | 06:02 |
Alright.
Well, that wraps up our look at working
| | 06:04 |
with lens correction on a really difficult image.
| | 06:07 |
Here it is again, our before and then,
now, the after.
| | 06:11 |
| | Collapse this transcript |
| Using Upright in Camera Raw to easily correct distortion| 00:00 |
In this movie I want to introduce you to
another way that we can make distortion or
| | 00:04 |
perspective corrections to our photographs
and that is by using the lens correction
| | 00:08 |
controls that we'll find in Adobe Camera Raw.
| | 00:13 |
In order to work with Camera Raw, let's
use it as a smart filter.
| | 00:17 |
So first navigate to the filter pull down
menu and then select Convert for Smart
| | 00:21 |
Filters.
Click Okay, in order to convert the layer
| | 00:24 |
to a smart object layer.
Next, click on the Filter pull down menu
| | 00:28 |
and choose Camera Raw as a filter.
Now when you open your photograph up in
| | 00:33 |
Camera Raw, if you're seeing a smaller
view of Camera Raw, click on this icon
| | 00:36 |
here or press the F key, in order to
toggle the view to full screen mode.
| | 00:41 |
This is a photograph of my friend who's a
really talented artist, and here you can
| | 00:45 |
see that this image is leaning a little bit.
| | 00:49 |
Well, I want to correct that lean and also
a bit of the distortion because I was
| | 00:52 |
using here a wider angle lens.
To work on distortion or perspective
| | 00:56 |
issues, you want to click on the tab which
allows you to access the lens corrections
| | 01:00 |
controls.
You can see that right here.
| | 01:04 |
Here we have a few tabs.
The Color tab allows us to remove
| | 01:07 |
chromatic aberration or color fringing.
The Manual tab allows us to make very
| | 01:12 |
important corrections in regards to
perspective or distortion.
| | 01:16 |
Well up here near at the top we have some
upright controls.
| | 01:20 |
One of these controls allows us to
straighten the image and also remove
| | 01:24 |
distortion.
It's the first one, the a for automatic.
| | 01:28 |
When you click on this it will apply an
automatically balanced perspective on your
| | 01:31 |
photograph.
Here you can see it leveled the image out
| | 01:35 |
and it removed a little bit of the distortion.
| | 01:38 |
When you click on the preview check box,
you can see here's the before, and then
| | 01:41 |
now here's the after.
So, in comparison to working with lens
| | 01:45 |
corrections, you can see that these
controls are much stronger, and they give
| | 01:49 |
us much more flexibility.
Because all of our sliders and controls
| | 01:54 |
are all in 1 place.
And I think they're just easier to use.
| | 01:58 |
Now if we want to remove a little bit more
of the distortion, we can do so by
| | 02:01 |
clicking on this slider here.
And I'll go ahead and click and drag this
| | 02:04 |
to the left a little bit in order to
remove a bit more of the distortion.
| | 02:08 |
We can also do very similar things by
making adjustments here as you can see
| | 02:12 |
with these sliders.
Well, we'll dig into how we can use those
| | 02:15 |
sliders in the next few movies.
Yet for now, I simply wanted to introduce
| | 02:19 |
you to working with Upright and also
highlight how you can use these automatic
| | 02:23 |
controls in order to automatically correct
the leveling and also the distortion, or
| | 02:26 |
perspective, issues that you might have in
your photographs.
| | 02:32 |
After you've dialed in any settings that
you needed to take care of here, simply
| | 02:35 |
click Okay in order to apply those.
Here, we have those applied as a smart
| | 02:40 |
filter, so we can see the overall before
and after by clicking on that eye icon.
| | 02:46 |
| | Collapse this transcript |
| Digging deeper into the Camera Raw lens correction controls| 00:00 |
Now that you've been introduced to how we
can use Adobe Camera Raw to make
| | 00:03 |
perspective corrections on our
photographs, I hope that you're curious to
| | 00:06 |
learn more.
Because here in this movie, we're going to
| | 00:10 |
dig deeper in how we can use these
controls in order to make some perspective
| | 00:13 |
corrections.
We'll be using this photograph, which
| | 00:16 |
we've seen previously.
And this'll be helpful because it will
| | 00:20 |
help us to compare and contrast how we can
work with lens corrections, versus Adobe
| | 00:23 |
Camera Raw.
Alright, well let's go ahead and convert
| | 00:26 |
this background layer to a smart object layer.
| | 00:29 |
You can do that by right clicking or
control clicking, and then select Convert
| | 00:32 |
to smart object.
Next, navigate to the Filter pull down
| | 00:36 |
menu, and choose Camera Raw as a filter.
This will launch the image in Adobe Camera
| | 00:41 |
Raw, and let's go straight over to the
lens corrections tab.
| | 00:46 |
Click on this icon here, and then let's
start to work with our upright controls.
| | 00:50 |
In the last movie I highlighted how we
could use Automatic.
| | 00:53 |
And what that would do is automatically
apply a balanced perspective on our image.
| | 00:58 |
We also have three other icons here, and
you may be wondering, what do these do?
| | 01:02 |
Well, the icon with the straight line in
it, this one allows us to level our
| | 01:06 |
photograph.
Here you can see the correction is set off
| | 01:10 |
but it just allowed me to level this image
rather than having to manually rotate it.
| | 01:14 |
This took care of any leveling that I
needed to do.
| | 01:17 |
The next one allows me to make sure that
my vertical perspective is correct.
| | 01:23 |
This will take care of the lean that we
have here in the columns.
| | 01:26 |
So here I'll go ahead and click on that option.
| | 01:28 |
The last one applies all of these.
It will level the image, it will correct
| | 01:32 |
any horizontal or vertical perspective issues.
| | 01:36 |
So here we'll click on this option.
Now if we compare the one which applies
| | 01:39 |
all of these together versus automatic,
what we'll see is that there is a slight
| | 01:42 |
difference, and here we can see the
difference between the two.
| | 01:46 |
Sometimes as you're working you'll
discover that this option will work better
| | 01:50 |
for certain images, where automatic will
work better for others.
| | 01:54 |
So either way, we now know how all of
these Upright controls work.
| | 01:57 |
Well, after having dialed in some great
perspective corrections using Upright,
| | 02:01 |
what I want to do is I want to make a few
more adjustments.
| | 02:05 |
I notice that there's a little bit of
distortion, so I'm going to go ahead and
| | 02:07 |
click and drag my distortion slider to the right.
| | 02:10 |
In doing that, you'll notice that I
removed some of the distortion but also a
| | 02:14 |
new button or new link was highlighted or re-analyzed.
| | 02:18 |
And that was highlighted because I made a change.
| | 02:21 |
Well, now in order to take advantage of
these upright controls we want to click on
| | 02:25 |
re-analyze.
And take a look at this area of image and
| | 02:28 |
other areas and you'll notice then how
we'll correct those issues leveling the
| | 02:32 |
photograph out and recalibrating that
perspective correction.
| | 02:36 |
So as you make transform adjustments make
sure to look for that link if ever it
| | 02:40 |
turns on and is highlighted blue.
You want to click on that in order to
| | 02:45 |
acheive the best results.
Next, what I want to do is I want to apply
| | 02:48 |
a little bit of a perspective correction.
So here we can go ahead and click and drag
| | 02:52 |
to the right to stretch this out so that
the image is taller, or click and drag to
| | 02:55 |
the left to stretch this out horizontally
to make the image a little bit wider.
| | 03:01 |
I want to do that so that this image has a
little bit more of this wide, open feel to
| | 03:04 |
it.
Well, in doing that, you can see that we
| | 03:08 |
have a little bit of negative space, or
transparent, you can take care of that
| | 03:11 |
using the scale slider.
Here I can scale the image smaller or
| | 03:16 |
bigger.
We can also see how it sort of warped or
| | 03:18 |
changed the image in order to fix the perspective.
| | 03:22 |
Sometimes it's fun to see the difference
there and how you can see how it's really
| | 03:25 |
changed that up.
Well anyway, with the scale slider, I'll
| | 03:27 |
go ahead and scale this up so that all of
the transparency is now gone.
| | 03:32 |
Now I'm just looking at pixels, and we've
fixed that up.
| | 03:35 |
Next I'll scroll down to my vignetting controls.
| | 03:37 |
Here we can darken or brighten the edges
or corners of the image.
| | 03:41 |
We can also control the midpoint.
This is how close to the center of the
| | 03:44 |
image this will be affecting the photograph.
| | 03:47 |
In this case I'll drag it to the left so
that I have a larger area which is
| | 03:50 |
brightened.
Here you can see the before, and then now
| | 03:53 |
the after.
And by working on this image, which we
| | 03:56 |
also used with the lens correction filter,
you can kind of see that Camera Raw
| | 04:00 |
provides you so many more controls.
And the great thing about using Camera Raw
| | 04:06 |
is that you can not only use the lens
correction controls but we can also use
| | 04:09 |
all of the other controls here which allow
us to sharpen our image or work on
| | 04:13 |
contrast or color or do whatever we need
to do.
| | 04:18 |
So when it comes to making perspective
corrections, my tool of choice is lens
| | 04:22 |
corrections in Adobe Camera Raw.
Yet, either way, what you'll want to do is
| | 04:26 |
experiment with the lens correction filter
and also the lens correction controls in
| | 04:30 |
Camera Raw, and then decide which one
works best for you.
| | 04:35 |
Alright, well after having corrected this
image in order to apply these settings
| | 04:38 |
we'll go ahead and click Okay.
That will then apply these settings to
| | 04:42 |
this photograph as a smart filter and here
we can click on the eye icon to see the
| | 04:46 |
overall before and then now the after.
| | 04:49 |
| | Collapse this transcript |
| Fixing difficult issues easily with Camera Raw| 00:00 |
In this movie I want to dig a bit deeper
in the how we can work with camera in
| | 00:03 |
order to make some perspective or
distortion corrections when we have an
| | 00:07 |
image which is a bit more difficult.
We'll also dig into a few of our other
| | 00:12 |
controls so that we can really understand
how all of these controls and settings
| | 00:15 |
work.
We'll be using this image which we already
| | 00:19 |
worked on using the lens correction filter.
| | 00:22 |
And here we'll be able to compare the
results when working with Camera Raw.
| | 00:25 |
And what you'll discover is that Camera
Raw allows you to make these corrections
| | 00:28 |
more easily, and it also allows you to
accomplish better results more quickly.
| | 00:33 |
All right.
Well, if ever you know you're going to
| | 00:35 |
make adjustments which are dramatic, you
know that you might have some areas of
| | 00:39 |
transparency.
If that's going to happen, you won't want
| | 00:43 |
to use camera as a smart filter, rather
you simply want to copy your background
| | 00:47 |
layer or the layer that you are working on
for that matter.
| | 00:52 |
So let's do that, press Cmd+J on the Mac
or Ctrl+J on Windows, name this new layer
| | 00:56 |
CR, for Camera Raw.
Next, navigate to the Filter pull-down
| | 00:59 |
menu, and select Camera Raw as a filter.
Once we have the image open in Camera Raw,
| | 01:05 |
we'll be excited, and we'll expectantly
head over to the Lens Corrections panel.
| | 01:10 |
Here we are.
We'll go to our Upright controls, and
| | 01:12 |
we'll click on Automatic, and cross our
fingers, and hope for the best.
| | 01:17 |
And here it does practically nothing.
Look at the preview.
| | 01:20 |
Here's the before, and here's the after.
Well, why is that?
| | 01:23 |
What's the deal?
Well, in this case, upright didn't save
| | 01:25 |
the day.
Many images it will.
| | 01:28 |
But in certain images it won't.
Because here it just couldn't figure out
| | 01:31 |
what lines or what distortion to remove.
Because this image was so off.
| | 01:36 |
And in certain situations what you'll need
to do Is move over to this icon, which
| | 01:40 |
allows us to correct our vertical and
horizontal lines in the distortions image.
| | 01:46 |
And with one click of this button, well
this project, it's almost done.
| | 01:49 |
Take a look.
Here's the before, and then now here's the
| | 01:52 |
after.
What I want to do with this image is
| | 01:54 |
obviously straighten this out, as you can
see here, so that we have a little bit
| | 01:57 |
more of a straight on perspective of the photograph.
| | 02:01 |
Now if we want to take this further, we
can use our sliders.
| | 02:05 |
I want to click through these sliders so
that you understand how they work.
| | 02:08 |
So here as we drag this to the left, we
can remove distortion, or add a bit more.
| | 02:13 |
In this case, I think this image will
benefit from removing just a touch of
| | 02:15 |
distortion there.
When we do that, the Reanalyze button
| | 02:19 |
turns on.
We already know that if we ever see that,
| | 02:22 |
click on it because it will give you much
better results.
| | 02:26 |
Then we have the ability to change the lean.
| | 02:28 |
Vertical, I think of, it's kind of leaning
forward or backwards or horizontal, left
| | 02:32 |
or right.
So here, you can see how we can change
| | 02:34 |
that overall lean of the picture.
So in this case, I'm just going to have
| | 02:38 |
this lean a little bit more forward so
that this is standing a bit taller.
| | 02:42 |
Next, we have horizontal.
Where we can change the lean if we want
| | 02:45 |
the right side to come forward a little
bit we can click and drag that just a
| | 02:48 |
touch to the right.
We can also rotate the image if we need
| | 02:52 |
to, this helps out with leveling.
This photograph looks fine so it doesn't
| | 02:56 |
look like we need to do anything there.
So just go ahead and bring that back to
| | 02:59 |
the value of zero.
I’ll just type in zero in that field.
| | 03:02 |
We can scale the image.
If we want to scale it so we don’t see any
| | 03:05 |
of those transparent areas or if we know
that we’re just going to fix them later in
| | 03:08 |
PhotoShop, we can leave that scaled back
down and we’ll take care of these
| | 03:11 |
transparent areas later.
Then we have a fascinating slider, the
| | 03:16 |
Aspect slider.
If we click and drag this to the right the
| | 03:20 |
image becomes taller and thinner, drag it
to the left then it becomes shorter and
| | 03:23 |
wider.
As you can imagine this slider can help
| | 03:27 |
out in portraits, sometimes just clicking
and dragging to the right can add a bit
| | 03:30 |
more of a flattering look.
And you can use this with all sorts images
| | 03:34 |
as well.
Well as you make these adjustments you may
| | 03:37 |
want to turn on the grid, you can do so by
clicking on this eye icon here.
| | 03:42 |
This will make sure that all of our lines
are looking good, we're straight, we're
| | 03:45 |
level, we don't need any rotation, and
here I think the image looks fine.
| | 03:49 |
Alright, well let's go ahead and turn off
the icon for the grid, or click on the
| | 03:52 |
icon to turn off the visibility of the
grid is what I should say, then let's look
| | 03:55 |
at the preview.
Here we have it before, and then now
| | 03:59 |
after.
And really, changes like this are
| | 04:02 |
incredibly dramatic.
And I wanted to use an image which needed
| | 04:06 |
a lot of work to illustrate how we can use
this, and also to highlight the important
| | 04:10 |
feature of not skipping over these other
controls, in particular, this one here.
| | 04:15 |
You first want to try Automatic.
If that doesn't work, then try out the
| | 04:19 |
other options.
And in this case, one of the other options
| | 04:23 |
just hands down saves the day.
After we've dialed down all of our
| | 04:26 |
settings, well, go ahead and click Okay in
order to commit to those settings and to
| | 04:30 |
apply those to this new layer.
Now, when we click on the eye icon of the
| | 04:35 |
background layer, what we'll discover is
that we have these areas of transparency.
| | 04:40 |
Now, we can try to fix these in a similar
way, yet in this case, we might need to
| | 04:44 |
take a little bit more of an advanced approach.
| | 04:47 |
Let me show you what I mean.
Well here select the magic wand by
| | 04:50 |
clicking on it in the tools panel and then
click on the top area.
| | 04:55 |
Next navigate to Select, choose Modify and Expand.
| | 04:59 |
This will allows us to increase the size
of that selection and that's what we need
| | 05:03 |
to do.
We need a bit more overlap before we use
| | 05:06 |
content aware film.
Next up navigate to the edit pull down
| | 05:11 |
menu choose fill or use a shortcut which
is Shift F5.
| | 05:16 |
Let's go ahead and click on that menu item
here from this pull down menu or from the
| | 05:19 |
content aware fill dialogue we want to use
content aware from the pull down menu
| | 05:22 |
there.
Click OK and that will then fill up that
| | 05:26 |
area and save the day but in this case.
It didn't work.
| | 05:30 |
Now why is that?
Well it didn't work because it was
| | 05:32 |
sampling or bringing in another part of
the photograph.
| | 05:36 |
It didn't have enough content to know what
to work from.
| | 05:40 |
So what I need to do is undo this.
Press 'command z' on a Mac, 'control Z' on
| | 05:43 |
Windows and then choose 'select' and then deselect.
| | 05:48 |
Now before you throw in the towel, what
you want to think about is, is there
| | 05:51 |
anything I can do to give Photoshop a
hand, I mean to help out content aware?
| | 05:55 |
Content aware is great and strong and
mighty, but everyone needs a helping hand
| | 05:59 |
every once in a while, and here's what we
can do to help.
| | 06:03 |
We'll choose our rectangular marquee tool
in this case, or any of our selection
| | 06:06 |
tools.
And we'll select an area that might be
| | 06:09 |
distracting.
You know, we can all be easily distracted
| | 06:12 |
from items or things.
In this case, it was distracted by all of
| | 06:15 |
the books that we have here.
So here I'll go and click on the Add Layer
| | 06:19 |
Mask icon.
Now currently, I have a mask which is the
| | 06:23 |
exact opposite of what I want.
Do you remember the shortcut to invert the
| | 06:27 |
mask so that we have the other area selected?
| | 06:29 |
It's Cmd+I on a Mac or Ctrl+I on Windows.
Well, now that we have masked out all of
| | 06:35 |
those books temporarily, we can go back to
the image layer.
| | 06:39 |
In a sense, all we're doing is helping
Photoshop out.
| | 06:41 |
We're saying, hey, don't worry about this stuff.
| | 06:43 |
Just focus on the wall over here.
Now we'll select the magic wand and click
| | 06:47 |
on this area.
Then go to select.
| | 06:50 |
Choose modify and expand.
We'll expand this again, 4 pixels, that's
| | 06:54 |
fine, click okay.
Then navigate back to edit, and here
| | 06:58 |
choose fill, or use a shortcut, shift f 5.
And of course use Content Aware, and click
| | 07:03 |
OK.
Now in doing that, all of a sudden, it
| | 07:06 |
dealt with that issue, cleaned up the top,
created some new content, and everything
| | 07:10 |
is fine.
Here, if we choose Select and then
| | 07:13 |
Deselect, we can see we have a nice area
fixed up there in the top of the image.
| | 07:17 |
All right.
Well, let's work on the lower area of the
| | 07:19 |
image as well.
Again, we'll use the Magic Wand, navigate
| | 07:23 |
to Select, choose Modify and Expand.
And this technique works in so many
| | 07:28 |
different images.
It's helpful to take a focus on this.
| | 07:31 |
We'll use four pixels there And I guess
what I mean it was what's helpful about
| | 07:34 |
this is the idea of masking away
distracting elements.
| | 07:38 |
It can save the day when it comes to
content-aware fill.
| | 07:42 |
Alright, well next we'll go the edit and
we'll choose fill and then we'll select
| | 07:45 |
content-aware and click Okay.
In this way, we can see that Photoshop has
| | 07:49 |
done a good job.
Although the floor I don't quite like, so
| | 07:52 |
I'll press Shift + F5 in order to re-open
the content aware fill dialogue and click
| | 07:56 |
OK again.
I'm just going to press Shift F5 a few
| | 07:59 |
more times here in order to see if I can't
get better results because I don't quite
| | 08:03 |
like how it's, just a little bit too dirty
over there.
| | 08:07 |
So here what I'm finding is I'm pressing
Shift F5 and then applying this.
| | 08:11 |
Is that while it's applying a good
correction, if we go to select and then
| | 08:15 |
deselect it has some of this darker area
which isn't very flattering.
| | 08:19 |
Well if ever you need to recontent aware
fill just grab one of your tools.
| | 08:23 |
In this case the lasso tool.
Sometimes you can just relaunch or re
| | 08:26 |
apply content aware fill and that will work.
| | 08:29 |
This case it didn't ,so I will just go
ahead and make a selection of that, then I
| | 08:33 |
will press Shift+F5 and use Content-Aware
fill, and that will allow me to clean up
| | 08:36 |
that little bit of a problem area.
Alright well we took a lot of steps here
| | 08:41 |
but hopefully you are learning some
valuable techniques which you didn't know
| | 08:44 |
previously.
Let's go to select and choose deselect
| | 08:47 |
that we have extended the edge of the
photograph Let's hold down the Shift key
| | 08:50 |
and click on the mask that will disable
the mask because we don't need that
| | 08:53 |
anymore.
And now here we can see our overall before
| | 08:58 |
and after.
Here it is the before and then click on
| | 09:01 |
the eye icon again and then there is the
after.
| | 09:05 |
| | Collapse this transcript |
| Correcting distortion in an architectural photograph| 00:00 |
Well, sometimes we may need to use the
camera raw lens correction controls in
| | 00:04 |
order to make dramatic corrections.
Other times the corrections may be a bit
| | 00:08 |
more subtle like with this interior
architecture shot.
| | 00:13 |
You can see that there is a bit of bend in
the photograph.
| | 00:15 |
You can see that in particular on this
side of the image notice at the door is
| | 00:18 |
bending a little bit there.
We can see this on the left-hand side as
| | 00:22 |
well.
Well we can correct that using Lens
| | 00:25 |
Corrections.
So here let's click into the image, then
| | 00:28 |
press Command j on Mac, Control j on
Windows, and then this new layer CR will
| | 00:31 |
apply our corrections to a separate layer
so we can compare the before and after
| | 00:34 |
results.
Next we'll navigate to the Filter pull
| | 00:39 |
down menu, and then choose Camera Raw as a filter.
| | 00:43 |
This will launch the image in the Camera
Raw dialogue, and whenever you're making
| | 00:46 |
lens corrections, you're starting to see
how you're going to lose some of the
| | 00:49 |
composition.
So often when you're capturing your
| | 00:52 |
photographs, keep in mind that you may
want to leave a little more space than you
| | 00:55 |
need in case you need to make corrections.
Well here in this case, we'll navigate to
| | 01:00 |
the lens correction tab and we might try
working with Upright.
| | 01:04 |
When we click on the A icon, we’re
going to see that it isn’t doing that much
| | 01:07 |
for us.
If we click on the leveling or the
| | 01:10 |
vertical or all of those options, again,
it isn’t doing much for the image.
| | 01:14 |
So here I’ll go ahead and turn off upright.
| | 01:17 |
Upright doesn’t always work on all photographs.
| | 01:20 |
Next, primarily where I'm seeing the
problem is with the distortion here, so
| | 01:23 |
I'm going to drag this distortion slider
to the right.
| | 01:27 |
Now, in order to know how far to go, I
want to turn on the grid.
| | 01:30 |
When we turn on the grid, you can see it
showing me a straight line, because it's
| | 01:33 |
hard to tell, well, what is straight and
what isn't.
| | 01:37 |
In this case it looks like we have a
pretty good line there.
| | 01:39 |
I'm going to go ahead and click and drag
this to the right to increase that grid
| | 01:43 |
size so I have fewer lines.
So I can sort of line those up in this
| | 01:46 |
area.
Now we can click and drag this further.
| | 01:49 |
If we go too far, we'll create a problem
which is the opposite of what we have.
| | 01:53 |
Often, we're not looking for something
which is perfect, but we just want to
| | 01:56 |
remove a bit of that perspective or that distortion.
| | 02:00 |
Alright, next let's scale this so that we
can then cover up all of those edges with
| | 02:03 |
pixels.
Make sure the composition still works
| | 02:06 |
well.
That looks good.
| | 02:07 |
In this case we may want to rotate the
image just a little bit.
| | 02: |
|
|
