Adobe PhotoshopWhat is Photoshop?| 00:00 | Adobe Photoshop is used by
photographers, graphic and web designers,
| | 00:05 | videographers, and 3D artists to
enhance and manipulate photos and create
| | 00:09 | original digital artwork.
| | 00:11 | Photographers use Photoshop for
correcting exposure or modifying color;
| | 00:15 | cropping, aligning, and rotating
photos to achieve better compositions;
| | 00:19 | restoring and retouching images;
combining multiple images into composites; and
| | 00:26 | simulating a variety of
photographic lens effects.
| | 00:29 | Designers use Photoshop for creating
textures for web backgrounds and photorealism;
| | 00:34 | manipulating type by using 3D
extrusions and layer styles, creating comps of
| | 00:39 | website and mobile application designs;
and applying special effects, like blurs
| | 00:44 | and lighting effects.
| | 00:46 | Videographers use Photoshop for
assembling image sequences into timeline
| | 00:50 | animations, removing unwanted
objects from various frames of their video,
| | 00:54 | repairing video using the Cloning and
Healing tools, and creating frame-by-frame
| | 00:59 | animation for cartoons and special effects.
| | 01:02 | 3D artists use Photoshop for creating
three-dimensional shapes for use in other
| | 01:06 | applications, creating 3D objects
using extrusion tools for use in title
| | 01:11 | sequences, and painting 3D
environments for film and TV backdrops.
| | 01:15 | There are dozens of other types of
people using Photoshop in their daily work,
| | 01:20 | creating amazing projects and
original artwork like these.
| | 01:24 | Photoshop also integrates with other
Adobe applications, like InDesign for
| | 01:28 | print production and digital magazines or
After Effects and Premiere for video compositing.
| | 01:33 | Whether you're a designer,
photographer, or video production artist, Adobe
| | 01:37 | Photoshop gives you the tools to
help you achieve your creative vision.
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IntroductionWelcome| 00:04 | Hi and welcome to
Photoshop CS6 Essential Training!
| | 00:07 | My name is Julieanne Kost, and
together we are going to discover the most
| | 00:10 | efficient way to use Photoshop to
manage our images, enhance our photographs,
| | 00:15 | composite multiple elements
together, and automate our workflow.
| | 00:19 | As Photoshop has evolved, it is
developed into three distinct applications:
| | 00:24 | Adobe Bridge, Adobe Camera
Raw, and Adobe Photoshop.
| | 00:27 | We will begin in Bridge, where you will
learn how to download your images from a
| | 00:32 | camera, organize and select the best
photographs from a shoot, add metadata,
| | 00:38 | rate images, and quickly make collections.
| | 00:41 | Once we have organized our images
with Bridge, we will take our images into
| | 00:45 | Adobe Camera Raw to start enhancing them.
| | 00:48 | Next we'll master all of the
fundamentals of working with Photoshop, including
| | 00:52 | layers and masking, selections and
adjustment layers, retouching essentials,
| | 00:57 | compositing, blend modes, filters,
layer effects, and much, much more.
| | 01:04 | My goal is to have you creating
professional results as soon as possible,
| | 01:08 | so let's get started.
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1. It Begins in BridgeWhat is Adobe Bridge?| 00:00 | As we take more and more photographs
or as we work with more and more images,
| | 00:04 | we're going to need a way to quickly see
them, as well as organize them, before we
| | 00:08 | decide which ones we are
going to open in Photoshop.
| | 00:11 | Now in my opinion, it is far too
tedious to use the File > Open command, and it's
| | 00:17 | just very inefficient to
view your images one at a time.
| | 00:20 | So fortunately, Photoshop CS6 comes
with an incredibly powerful companion app
| | 00:27 | called Adobe Bridge.
| | 00:29 | And I feel it's far easier to use
Bridge to navigate your folders on your hard
| | 00:32 | drive and open your images than
it is to use the operating system.
| | 00:36 | So let's go ahead and choose File and then
browse in Bridge, and Bridge will appear.
| | 00:42 | Now, you don't have to do anything to
get Bridge to appear; it is automatically
| | 00:46 | installed when you install either
Photoshop or any of the suites from Adobe, so
| | 00:51 | there is nothing that you really need to do.
| | 00:53 | And in fact, you don't even need to
have both applications running. You could
| | 00:56 | just open Bridge from your
application folder, but since we are going to go
| | 01:00 | back and forth between Bridge and Photoshop,
it makes more sense to have them both open.
| | 01:04 | So this is the default view of Bridge.
One of the things that I'd like the
| | 01:08 | change is I'd like to change this panel
that shows over here on the upper-left
| | 01:12 | from Favorites to Folders.
| | 01:14 | As soon as I select this, I can then see all of
the folders on my hard drive and navigate them,
| | 01:20 | because Bridge is not a database
program, it's simply a file browser that allows
| | 01:25 | you to see what's in your operating system.
| | 01:29 | Another way that we can navigate
is by using the path across the top.
| | 01:34 | Once we select a folder, like we've
selected the Exercise Files folder here, we
| | 01:39 | can see the contents of those
folders inside the Content area.
| | 01:44 | And in fact if we double-click on
the first folder here, we can see the
| | 01:47 | contents inside that folder.
| | 01:50 | If I click on an individual image,
on the right-hand side I get a larger preview
| | 01:56 | in my Preview panel.
| | 01:58 | And if I select more than one image, by
just holding down the Command key on Mac
| | 02:02 | or the Ctrl key on Windows, you can see
that I can view both of those images now
| | 02:06 | in my Preview window.
| | 02:08 | If I decide that I want to select an
image and open it, all I need to do is
| | 02:12 | double-click on that file and it will take
me directly to Photoshop and open it there.
| | 02:17 | If I want to quickly get back to Bridge,
I can use File > Browse in Bridge or
| | 02:23 | use the keyboard shortcut
Command+Option+O or Ctrl+Alt+O. If I'm in Bridge and I
| | 02:30 | want to get back to Photoshop without
opening an image, I can use the little
| | 02:34 | boomerang icon up here in the upper-left.
| | 02:37 | So as you can see, it's very easy to go
back and forth between the applications
| | 02:42 | so that you can see all of the images
that you want to work with and just open
| | 02:46 | those select images into Photoshop.
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| Getting photos from a camera| 00:00 | Let's start by learning how to
download your images from a digital camera.
| | 00:04 | Of course you can do this through the
operating system, but by using Adobe Camera
| | 00:08 | Downloader, we can add important
information to files as we download them.
| | 00:12 | In Bridge there is an icon of a little
camera and if we select that, it will
| | 00:17 | launch the Photo Downloader.
| | 00:18 | Now you can choose whether or not you
want this to automatically launch--because
| | 00:22 | it is its own separate little utility--whenever
you connect a camera or plug in a card reader.
| | 00:29 | So I am going to go ahead and select No
for now, but if you're doing this often
| | 00:32 | then you might want to select Yes.
| | 00:36 | Now if you don't have a camera or a
card attached, then it will say that it
| | 00:40 | can't find a device right up here.
| | 00:42 | So you won't see what I'm showing you
until you actually plug in your own camera
| | 00:46 | or your own card reader to your computer.
| | 00:48 | But let's take a look at
all of the different options.
| | 00:51 | You'll notice that we can change the
location, so I'll go ahead and select
| | 00:55 | Choose and then just navigate to
my Desktop to save my images here.
| | 01:01 | I can create a subfolder to put all of
my images in, and we can do that based on
| | 01:06 | either a variety of different presets
here or if we wanted to add in our own
| | 01:11 | custom name, we could select that.
| | 01:13 | So the presets that have the year, month,
and day are really convenient if you've
| | 01:17 | taken images on multiple days on the
same card and you want Bridge or the Photo
| | 01:23 | Downloader to automatically
create all of those subfolders.
| | 01:26 | For now I'll go ahead and choose
Custom Name, and then we can enter the custom
| | 01:30 | name right below. So in this case, I'll
go ahead and type in Oregon, since that's
| | 01:35 | where all of these images were taken.
| | 01:38 | We also have the opportunity to rename
our files. Again, we can choose from a
| | 01:43 | variety of presets or we can go ahead and
create our own by choosing Advanced Rename.
| | 01:50 | Because all of these presets include
the date and I don't necessarily need that,
| | 01:55 | I will go ahead and choose the Advanced
Rename and I'll type in the text that I
| | 02:01 | want to add to each image.
And then I want to add a sequence number.
| | 02:06 | So I don't need the date, time so we
can click the minus, and also another
| | 02:11 | Minus here for the text.
| | 02:13 | Now you can see I am left with a
sequence number, and of course, I can modify
| | 02:16 | that if I want, but I'll go ahead
and put a sequence of Two Digits.
| | 02:22 | Down below we can see the current
file name, which is the file name that the camera
| | 02:27 | provided as well as a
preview of the new file name.
| | 02:31 | Now it's up to you whether or not you
want to rename at this point. I'm actually
| | 02:35 | going to click Cancel because I
typically rename later in Bridge, because I often
| | 02:41 | throw images away, and because I'm
renaming with a sequence, I don't want there
| | 02:45 | to be any missing images or
any gaps in that sequence.
| | 02:50 | So for now, I'll go ahead and click
Cancel, but it's good to know that you
| | 02:52 | can rename your files.
| | 02:55 | So I'll go ahead and set this to Do not rename.
| | 02:59 | We can uncheck the option to open Adobe
Bridge, because of course that's actually
| | 03:03 | how we got to the Photo Downloader,
but like I mentioned, it is its own
| | 03:08 | utility so you could just launch it separately.
| | 03:12 | There is an option to delete your
original files if you'd like to delete
| | 03:16 | them from the card.
| | 03:18 | Since I typically reformat my card in the
camera, I will often leave this off as well.
| | 03:24 | And we could save another copy to a
secondary location if we wanted to, by
| | 03:28 | checking this on and then choosing
wherever that secondary location is.
| | 03:32 | It's a really nice way to get a
secondary backup of all of your images.
| | 03:38 | There's also an Advanced Dialog option,
which I really like because it allows me
| | 03:42 | to see the thumbnails of the
images that I'm going to import.
| | 03:46 | You'll also notice that if I don't want
to import all of my images, I can uncheck
| | 03:51 | them and then simply click on the
images that I do want to import.
| | 03:56 | In addition, we can apply metadata on
import. We could add in our creator and our
| | 04:02 | copyright information.
| | 04:04 | But again, if you don't want to do
this here, you can do it later to multiple
| | 04:09 | files at one time using Bridge.
| | 04:12 | Then we'll simply click the Get
Media button here and we can see if we
| | 04:16 | navigate to the Desktop and open up
the Oregon folder, Adobe Downloader has
| | 04:21 | copied the files off the card to
exactly where we told it to put them, and it's
| | 04:25 | built the thumbnails for us.
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| A tour of workspaces in Bridge| 00:00 | One of the greatest things about
Bridge is that the interface is
| | 00:04 | completely customizable.
| | 00:06 | I want to make sure that we're all
starting in the same place, so up at the top
| | 00:10 | we have a variety of different
workspaces and I'm going to start in the
| | 00:14 | Essentials workspace by clicking on it,
and then I'm also going to use the
| | 00:18 | little caret, or a triangle here, and I'm
going to select Reset Workspace, so that
| | 00:24 | we are all looking at the same view of Bridge.
| | 00:28 | In order to customize it, well, we can
see, for example, that there are two panels
| | 00:32 | nested together here in the left,
your Favorites and your Folders.
| | 00:35 | So the one that you would want to view,
you would simply click on that tab.
| | 00:39 | Now when you select a folder that has
images in it, all of the images will show
| | 00:45 | up in the Content area. You can click on
that and of course we can see that over
| | 00:49 | here in our Preview area.
| | 00:51 | The panels right below the Preview area,
the Metadata and the Keywords panels,
| | 00:55 | these are going to become more and more
important as we start adding metadata,
| | 01:00 | such as your copyright
information or your contact information.
| | 01:04 | The Keywords panel will become more
and more important as you add keywords
| | 01:08 | to your images, which will then allow you to
do things like search based on those keywords.
| | 01:14 | In fact, that functionality is over
here on the left, under the Filter panel.
| | 01:18 | We also have a Collections panel, so
you can make collections of different
| | 01:22 | images, as well as an Export panel.
| | 01:25 | All of the panels can be resized.
You'll notice that if you put your cursor in
| | 01:30 | between two panels, there's a splitter,
and you can click and drag with that
| | 01:35 | icon that has the arrows
pointing in both directions.
| | 01:37 | So we can resize any of these
to make them larger or smaller.
| | 01:42 | In addition, we can change the
way that the panels are nested.
| | 01:46 | So for example, if I didn't want
metadata and keywords to be nested together,
| | 01:50 | I could simply drag the panel that says
Keywords and nest it up with the Preview panel.
| | 01:57 | I can even click and drag and you'll
notice that when I drag on top of another
| | 02:02 | panel, I get the blue outline around
that panel that tells me that I am going to
| | 02:06 | drop it in that panel.
| | 02:07 | But if I simply drag in between panels,
I'll just get one solid blue line, and
| | 02:13 | if I drop the panel there,
it creates its own grouping.
| | 02:17 | Let's take a look at some of the preset
workspaces that come by default with Bridge.
| | 02:23 | The Filmstrip preset, I really like this
one because it enables me to see a very
| | 02:28 | large preview of my image, and yet
I can still scroll through all of my
| | 02:33 | thumbnails if I wanted
to view a different image.
| | 02:37 | If we click on the Metadata workspace,
you'll notice that I get a ton of
| | 02:41 | information about each image.
| | 02:43 | For example, I can look at the size,
and what file type, when it was modified,
| | 02:48 | and the dimensions of it.
| | 02:50 | If I click on the Output workspace,
this is where Bridge enables you to create
| | 02:56 | either a PDF or a Quick Web Gallery.
| | 03:00 | And there are additional workspaces
as well. You can see to the left of the
| | 03:04 | word Essentials, we have another
little grabber that we can drag out to see
| | 03:09 | additional workspaces.
| | 03:11 | Or in that gets too confusing or too
cluttered for the interface, you can also
| | 03:16 | select those same presets from the list here.
| | 03:19 | So if I wanted to go to
Keywords, we could set that up.
| | 03:23 | If I want to choose Preview, this
gives us probably the largest preview.
| | 03:28 | It's very similar to the filmstrip
workspace, except that your content is over
| | 03:33 | here on the left so you can scroll
through and select your images that way.
| | 03:37 | We also have a Light table which pretty
much hides all of the panels except for
| | 03:43 | the Content area. And we have our Folders view.
| | 03:48 | Let's go back to the Essentials.
You'll notice that it doesn't look the same as
| | 03:53 | when I first came in here.
| | 03:54 | So, if I want to reset this, again,
we'll use the dropdown triangle here, and
| | 03:59 | we'll select Reset Workspace.
| | 04:02 | If I liked what I'd done to that
workspace, I could also choose to create a new
| | 04:07 | workspace and Bridge would add the name of
my new workspace right down here on my list.
| | 04:13 | You can also change the order of your
workspaces by simply clicking on the title
| | 04:18 | of the workspace and then
dragging it to reposition it.
| | 04:22 | Once you get the workspaces that you
want, in the order that you want them, if
| | 04:27 | you only want to show a few of them,
we can go ahead and close that up a bit.
| | 04:32 | Two quick shortcuts that I want to share
is that if I ever want to just collapse
| | 04:37 | some panels--for example, maybe I don't
need the Metadata and the Keyword panel
| | 04:42 | to be visible right now--
| | 04:43 | if I double-click on the name of the panel,
it will go ahead and collapse it down.
| | 04:50 | Then in order to see it again,
I just need to double-click on it.
| | 04:53 | So that might be a little bit easier than
using the splitters to drag to rearrange them.
| | 05:00 | In addition, if I tap Tab, you'll
notice that this looks very much like the
| | 05:04 | lightbox view where the panels on the
left and right are hidden. To bring them
| | 05:09 | back, simply tap Tab again.
| | 05:12 | And as you continue to explore Bridge,
you might also want to look at some of
| | 05:17 | the flyout menus for additional options.
| | 05:21 | So as you can see, the interface in
Bridge is completely customizable, in order
| | 05:25 | for you to get the tools that you
need for your specific workflow and the
| | 05:29 | specific tasks that you're trying to accomplish.
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| Customizing how thumbnails are displayed| 00:00 | As you view your images in the
Content panel, it's essential that you're
| | 00:03 | comfortable with the number of images
that you're looking at, as well as the
| | 00:07 | size of the preview.
| | 00:08 | The first thing that we
might want to change is the size.
| | 00:12 | If we scroll down to the lower-right
here, you'll notice that there's a slider,
| | 00:16 | and we can just click and drag in order
to make our thumbnails larger, or drag
| | 00:21 | to the left in order to make them smaller.
| | 00:24 | There are also icons at each side of
the slider, which we can click to make our
| | 00:29 | images smaller or larger.
| | 00:32 | If you are a keyboard junkie, you can
also use either Command+Minus on the
| | 00:36 | Mac or Ctrl+Minus on Windows to make
your thumbnails smaller, or use Command+Plus
| | 00:42 | or Ctrl+Plus in order to make them larger.
| | 00:46 | So now that we can customize the size
of our thumbnails, what about the content
| | 00:50 | that's underneath the thumbnails?
| | 00:52 | Well, if we want to display more
information about each image, we can use our
| | 00:58 | preferences. So I'll choose Adobe
Bridge CS6 and then come down to Preferences
| | 01:03 | on the Mac, or go underneath the Edit
menu and select Preferences on Windows.
| | 01:08 | You can see there is a keyboard
shortcut here too, which is Command+K on Mac
| | 01:12 | or Ctrl+K on Windows.
| | 01:14 | If we click on the Thumbnails area,
you'll notice that we can add additional
| | 01:19 | lines of thumbnail metadata.
| | 01:21 | So for example, if I wanted to show
the size underneath the name of my
| | 01:26 | file, I'll click Show to turn on the line of
metadata and then choose Size from the list.
| | 01:33 | If I want to show Dimensions, we'll go
ahead and choose that. But I actually want
| | 01:37 | to show the dimensions in inches,
so I'll select that from the list.
| | 01:42 | You can see, each time I choose to show
additional lines of thumbnail metadata,
| | 01:46 | we get a preview of what that
will look like in the content area.
| | 01:49 | And of course we can add up to two more
and select from any of the other options.
| | 01:55 | For now, I'll go ahead and leave it
set to our two lines and click OK.
| | 01:59 | Now, if I want to quickly toggle
that on and off, I can use the keyboard
| | 02:03 | shortcut Command+T or Ctrl+T on Windows.
| | 02:07 | This will allow me to see more
thumbnails at any given time, but of course, I
| | 02:11 | won't be able to see any
information about the thumbnails.
| | 02:15 | In order to bring it back, just use
that same keyboard shortcut, Command+T or
| | 02:18 | Ctrl+T. You can also move your
thumbnails around to create a different sequence
| | 02:25 | for telling your story.
| | 02:26 | For example, if I wanted this image to
appear first, I simply select it and then
| | 02:32 | drag it to rearrange.
| | 02:33 | If I want this image to come
second, again, just click and drag.
| | 02:37 | You will notice that when you start
creating your own custom sort orders, up at
| | 02:43 | the top here where it says Sort,
it automatically changes to Manually.
| | 02:48 | Prior to this, it was set to Filename,
and if I select that, Bridge will display
| | 02:53 | the images alphabetically again.
But if I go ahead and choose Manually again,
| | 02:59 | Bridge remembers that
custom sort order that I created.
| | 03:03 | In addition, you can use the icon to
the right, this little caret icon, to
| | 03:08 | either choose an ascending or
descending order for your images.
| | 03:12 | Well, I am going to go ahead and put
these back to sorting by filename and then
| | 03:18 | also going back to the Preferences
and I'm going to turn off the additional
| | 03:23 | lines of thumbnail metadata.
| | 03:25 | But I think you can see that as you work
with your projects with varying numbers
| | 03:30 | of images in them, it's really
convenient to be able to change not only the size
| | 03:35 | of your thumbnail, but also the
information that is underneath your thumbnail
| | 03:40 | and the way that your thumbnails are
ordered, so that you can tell your story.
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| Changing file names and batch renaming| 00:00 | The naming conventions that most cameras
use isn't always the most descriptive,
| | 00:05 | so Bridge makes it really
easy to rename your photos.
| | 00:08 | Now we saw that you could rename
your images when you're using the Adobe
| | 00:12 | Downloader Utility to get photos from
your camera, but if you're not using the
| | 00:16 | utility, or if you want to rename your
images later in your workflow, all you
| | 00:20 | need to do is simply select all of
the images that you want to rename--so I
| | 00:25 | clicked on the first image, held down
the Shift key and then clicked on the last
| | 00:29 | image in order to select
that entire range of images.
| | 00:34 | Then under the Tools menu, choose
Batch Rename or use the keyboard shortcut
| | 00:39 | Command+Shift+R on Mac or
Ctrl+Shift+R on Windows.
| | 00:44 | In the Batch Rename dialog box, you'll
notice that you can rename your images
| | 00:48 | in the same folder,
| | 00:49 | you can rename them and move them to
another folder, or you can actually make a
| | 00:54 | copy as you are renaming and
copy your files to another folder.
| | 01:00 | For now, we'll go ahead and
just rename in the same folder.
| | 01:03 | There are a variety of different options
that you can choose for your new file name.
| | 01:07 | For example, we could go ahead and just
enter in our own text, we could add in a
| | 01:12 | sequence number, you can add in date
and time, and anything else from this list.
| | 01:18 | I want to do just a really simple rename,
so I'm going to leave the first option
| | 01:23 | as Text. And then we can get rid of two
of these options, because all I want to
| | 01:29 | do is add a sequence number.
| | 01:32 | I can choose how many digits are in that
sequence number and also what number to start on.
| | 01:37 | Of course if you wanted to add more
options, all you need to do is click on the
| | 01:42 | plus icon over here. And down at the
bottom, you'll notice that we get a preview
| | 01:47 | of our current file name and the new file name.
| | 01:50 | If this is going to be kind of a
renaming convention that you use all the time,
| | 01:55 | I would suggest that you go up to the
Save option and then name this preset.
| | 02:00 | For example, I could name
this Client and then Sequence.
| | 02:06 | When I click OK, you'll notice now
that my preset appears at the top.
| | 02:11 | If I wanted to go back to the default,
that's as easy as selecting it from the
| | 02:14 | list, but if I want to go back to the
ClientSequence, I can just choose that
| | 02:19 | custom preset that we just saved.
| | 02:22 | The nice thing about this preset is
that no matter what you put in here, for
| | 02:26 | text--so for example, in this case
I've done this before and called these
| | 02:30 | images road trip, but if I had just done a
portrait setting, then I could type in the last name.
| | 02:36 | Let's say the last name of the family
was Smith, and you can see that I would
| | 02:40 | then get that as my new file name.
| | 02:42 | So it's actually a very
flexible naming convention.
| | 02:46 | Now because I've already renamed
these images and I don't actually want to
| | 02:49 | change the names of the exercise files,
I'm going to go ahead and click Cancel.
| | 02:54 | But now you know how to batch
rename your images in Bridge.
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| Adding basic metadata with metadata templates| 00:00 | As our collection of images grows,
it can be to our advantage to embed
| | 00:04 | information about the
image within the file itself.
| | 00:08 | This information is generally
referred to as metadata, and some metadata is
| | 00:12 | actually added automatically.
| | 00:13 | For example, when we use our digital
cameras to capture an image, the camera
| | 00:18 | manufacturer includes information such
as the lens that was used, or the F stop.
| | 00:23 | We can also add our own
information and embed it into the file;
| | 00:27 | we'll do that in a minute, but
let's take a look at the information
| | 00:30 | that's already there.
| | 00:32 | In Bridge, the easiest way to see
this is to go over to the Metadata panel.
| | 00:36 | Now I want to see more information so
I'm going to go up to the Preview panel
| | 00:40 | and simply double-click on the
Preview tab in order to minimize that.
| | 00:45 | That way when I use the disclosure
triangle right here, next to File Properties,
| | 00:49 | we can see more information.
| | 00:52 | First of all, there's a little placard
here that shows you like the F stop as
| | 00:56 | well as other information, like iSO
and shutter speed, about your camera.
| | 01:01 | You don't have to do anything to get
this information. This information came
| | 01:05 | from the file. It came from the XF
information which was information that the
| | 01:10 | camera wrote to the file
when I took the picture.
| | 01:13 | You can see in the File Properties,
we'll see the file name, what kind of
| | 01:16 | document type it is, and all
sorts of other information.
| | 01:20 | Again, I don't have to do anything to get
this information; it comes with the file.
| | 01:24 | But if we go down to the IPTC core, you'll
notice that there are a lot of blank fields here.
| | 01:30 | This is the kind of information
that we can manually put into the file.
| | 01:35 | So for example, if I wanted to put
myself as the creator, we could click in here
| | 01:39 | and then type in my name.
| | 01:41 | But honestly, that's going to be way too
time consuming. Because I want the same
| | 01:45 | information to be in all of these files,
I'm going to go underneath the Tools
| | 01:50 | menu and I'm going to
create a metadata template.
| | 01:54 | In this metadata template, we'll go
ahead and put in my creator as me, and I
| | 01:59 | could put in my job title and my
address and all of the information that I want
| | 02:04 | to apply to all of my images.
| | 02:07 | What's really important here is I want
to put my website, so let's type that in,
| | 02:11 | and then I want to scroll down and I
want to mark these as copyrighted and I'll
| | 02:20 | enter in my copyright notice.
| | 02:22 | So I'll put the copyright and
then the year and then my name.
| | 02:27 | Now in order to get that copyright
symbol, I use the keyboard shortcut
| | 02:31 | Option+G on the Mac.
| | 02:33 | If you're on Windows, if you have the
extended keyboard, you can hold down the
| | 02:38 | Alt key and type in 0169 or you can
just use the Windows Character Map utility--
| | 02:46 | so that's the little utility that comes
on Windows; it's called Character Map,
| | 02:49 | so you can do a search for that--and
then you'll see the character and you'll
| | 02:54 | just click on the character and you
can copy that to the clipboard and then
| | 02:57 | paste that copyright symbol.
| | 02:59 | So I'm not going to take the time to
fill in all the fields here, but let's just
| | 03:03 | say that I've got all the
information that I want entered.
| | 03:07 | So now I'll go ahead and save this.
Let's go ahead and enter in a name,
| | 03:12 | something that is descriptive so that I'll
know what is in here, and then click Save.
| | 03:18 | Now all that did was it simply saved
the metadata template; it didn't actually
| | 03:23 | apply that metadata to the images.
| | 03:25 | In order to apply it, I've got the
first image selected, I hold down the
| | 03:29 | Shift key, and I select the last image
in order to select all of them. I come
| | 03:34 | back to the Tools menu and I have the
choice to either append the metadata or
| | 03:39 | replace the metadata.
| | 03:41 | The difference is if you already had
some metadata assigned to your image and
| | 03:47 | you just wanted to add more metadata to it,
you would use the Append Metadata.
| | 03:52 | Let's say for example I had already
applied all of my copyright and contact
| | 03:56 | information, but I wanted to add a
secondary metadata template, say for example
| | 04:02 | something about rights usage
or I wanted to add a caption.
| | 04:07 | Well, then I would want to append it.
But because I haven't added information
| | 04:11 | before now, I'll go ahead
and use the Replace Metadata.
| | 04:15 | And as it replaces it, there was a
little icon in the lower left-hand corner
| | 04:19 | that actually told me that Bridge
was working on taking that metadata
| | 04:24 | information and applying it
to each one of those files.
| | 04:27 | Of course, you can have as many
templates as you want, with different
| | 04:31 | information in them for different
clients and different projects. But for now,
| | 04:35 | let's go ahead and just click on a
single image and then look over in our
| | 04:39 | Metadata area. Sure enough, we can
see, there is the creator, there is the
| | 04:44 | website, and if we scroll down, we can
see my copyright notice and the copyright
| | 04:49 | status marked as copyrighted.
| | 04:52 | So when we're finished, we'll just
scroll back up again, I'll close that
| | 04:56 | panel, and then just double-click on the word
Preview in order to show the Preview panel.
| | 05:02 | And that's how simple it is to embed
your contact and copyright metadata into
| | 05:06 | your file using Bridge's metadata templates.
| | Collapse this transcript |
| Creating and applying keywords to images| 00:00 | Keywords are another type of metadata
that can help you find the images that
| | 00:03 | you want to work with.
| | 00:05 | Now, depending on the types of projects
that you work on, you may decide to add
| | 00:08 | several keywords per image or
you might only need one or two.
| | 00:11 | For example, a photographer who is
shooting stock might want to add a lot of
| | 00:16 | keywords to their images so that
other people can search for them and find
| | 00:20 | them based on those keywords, whereas
a portrait photographer might only add
| | 00:24 | say the client name and the type of the
session, such as an engagement to their keywords.
| | 00:29 | Personally I try to add four to five
keywords to each of my images so that I
| | 00:33 | can quickly filter on that keyword
and find them, because I do a lot of
| | 00:37 | composite images and often I'm looking
for textures or for all of my images that
| | 00:41 | maybe have clouds in them.
| | 00:43 | Although you can add keywords in the
Metadata panel, I think that it's probably
| | 00:48 | much easier to go over to the Keyword panel.
| | 00:51 | Now, I want to make this a little
larger, so I'll double-click on the
| | 00:54 | Preview panel here.
| | 00:56 | Now, the keywords that ship by default--
and we've got this little Events and
| | 01:00 | People and Places, we don't actually
need those if you don't want them and you
| | 01:04 | don't find them applicable, so I'll go
ahead and select Events, and then I can
| | 01:09 | use the flyout menu here to just delete these.
| | 01:12 | I'll go ahead and do the same thing for
People, and then finally I'm also going
| | 01:18 | to remove the Places.
| | 01:20 | Now, we can go ahead and
create our own keywords.
| | 01:24 | I like to think of these kind of
as keyword categories, and then
| | 01:27 | individual keywords.
| | 01:28 | So I'll go ahead and click on the plus
icon, and the first one that I want to add
| | 01:33 | would be Point Reyes.
| | 01:36 | I'll go ahead and hit the Enter key,
and then I'll select the images that I
| | 01:40 | photographed in Point Reyes and then
simply click inside the empty checkbox
| | 01:46 | there in order to apply
those keywords to those images.
| | 01:50 | Now, I can move down a little further
and select some more images. And now I
| | 01:55 | can click the plus icon again, and
this time I'll add the John Day Fossil
| | 02:01 | Beds, and then tap Return or Enter and
go ahead and check to the left of it in
| | 02:08 | order to apply that keyword.
| | 02:09 | So you can see, it's quite easy to add
your own keywords, but these keywords
| | 02:15 | kind of have the same hierarchy.
| | 02:17 | Let's go ahead and add another keyword.
| | 02:20 | I'll select all four of the flower
images here, and I'll add another
| | 02:24 | keyword called flower.
| | 02:26 | We'll go ahead and check that in order
to add that as a keyword. But there are
| | 02:31 | different kinds of flowers.
| | 02:33 | We've got two that are sunflowers and
two that are lupin, so I'm going to select
| | 02:38 | the two that are sunflowers and then
instead of clicking the plus icon, I'm
| | 02:42 | going to click on the icon to the
left, which is going to give me as sub-
| | 02:47 | keyword. And because I have the flower
keyword, but I'm going to kind of turn it
| | 02:51 | into like a category or a parent
keyword, I'm going to add this child keyword
| | 02:56 | underneath it, and it's going to be
called sunflower. I'm not actually sure if those
| | 03:00 | are sunflowers or not, but I'm going to
go with it. And then I will click on the
| | 03:04 | empty area there in order to apply
that, and then we'll go to the next two
| | 03:09 | images. And now I don't want to add a
subcategory to sunflowers, so I better go
| | 03:14 | up and click on the parent keyword,
this flower/ I'll click to add a new sub-
| | 03:20 | keyword, and we'll call this
Lupin, and I'll click to apply that.
| | 03:24 | While you're making your keywords,
you don't have to have the images selected
| | 03:31 | that you want to apply the keywords to.
For example, I just clicked in this gray
| | 03:34 | area here so that none of my images are
selected. Before I click to add another
| | 03:39 | keyword, because I don't want it to be
a subkeyword here on the same level,
| | 03:43 | just make sure that you click somewhere
in the gray area, and that way when you
| | 03:47 | click the plus icon, it will add
your keyword at the top level here.
| | 03:51 | So I want to add one more--this is
going to be Crater Lake--and then I'll tap
| | 03:57 | Return, and now you can see, I can
go in and actually select the images
| | 04:02 | photographed at Crater Lake, which I
believe is all of these down here. And I
| | 04:06 | selected those one at the time, but I
could also simply click and drag or I
| | 04:11 | could click on the first image at
Crater Lake and then hold down the Shift key
| | 04:15 | and click to select the whole range, and then
we'll click to add the Crater Lake keyword.
| | 04:22 | Now if I select another image, one of
the nice things is is up at the top of
| | 04:26 | the Keywords panel we can see which
keywords are applied to which images.
| | 04:30 | So as I clicked through different images,
we can say that, for example, this one
| | 04:34 | has the John Day Fossil Beds. If I
come down here, it's got flower as well as
| | 04:38 | sunflower. Here we have
Crater Lake, flower, and Lupin.
| | 04:42 | So you can see it's easy to make your
own keyword categories, or parent keywords,
| | 04:47 | as well as subkeywords and apply them
to your images, which is going to make
| | 04:51 | it much easier in the future for me to
find images based on these keywords that
| | 04:57 | I've applied.
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| Viewing images in Full Screen Preview mode| 00:00 | The ability to preview images, both
full screen as well at 100%, in Bridge
| | 00:06 | without actually opening them in
Photoshop is one of the lesser-known, yet most
| | 00:10 | useful features in Bridge.
| | 00:13 | Certainly we can make our thumbnails
larger by scaling up here, and we can see
| | 00:17 | our images large, or we could go and
we could change maybe to the Preview
| | 00:23 | workspace, but there's a much easier
way to see your images full screen, and
| | 00:28 | that is to simply tap the spacebar.
| | 00:31 | When you tap the spacebar in Bridge
you go into Full Screen mode, and I can
| | 00:37 | actually click in my image to zoom up to 100%.
| | 00:41 | In fact, I can use the Plus key to zoom
up to, like, 800% if I want to, or I could
| | 00:49 | use the Minus key to zoom back down to
100%. Tap the Minus key one more and I go
| | 00:54 | back to full screen. And there's no
keyboard modifier. When you're in this
| | 00:59 | Full Screen mode, it's just
the Plus and the Minus key.
| | 01:03 | If I want to move to the next image,
I just need to use my arrow keys, so I'll
| | 01:08 | tap the right arrow key and I can
move from one image to the next.
| | 01:14 | If I want to escape and go back to
Bridge, I just tap the Escape key.
| | 01:19 | When I tapped the spacebar, I actually had
this first image selected and no other
| | 01:25 | images selected, and because I only
had one image selected, Bridge actually
| | 01:29 | assumed that I probably wanted to see
all of my images. But if you just have a
| | 01:34 | range of images that you want to see,
you can select the first image and then
| | 01:39 | hold down the Shift key to select that
range and then when you tap the spacebar,
| | 01:44 | you'll go in and you'll see the first
image, and as you toggle through by using
| | 01:49 | that right arrow key, you'll go
through only the images you have selected and
| | 01:54 | then when you go to the end, it'll go
ahead and start back at the beginning.
| | 01:59 | Now one thing to be careful about:
if I tap the Escape key, and if I have no
| | 02:04 | images selected, if I actually want to
use the menu item, the View > Full Screen
| | 02:11 | Preview, you'll notice that it's grayed out.
| | 02:14 | So if I'm going to use the menu item,
I need to make sure that I have the images
| | 02:19 | selected that I want to preview
before choosing it from the View menu.
| | 02:25 | So now you know, to preview your images
quickly without having to open them in
| | 02:29 | Photoshop, simply select the images you
want to see and tap the spacebar to go
| | 02:34 | into full screen preview mode.
| | Collapse this transcript |
|
|
2. Whittling Down to KeepersUsing Review mode to filter out rejected images| 00:00 | I can tell you that today, I am taking
a lot more photographs with my digital
| | 00:03 | camera than I ever did with film, and
as a result, I have had to figure out a
| | 00:08 | quick way to edit a shoot so that I
could identify my selects or my keeper
| | 00:12 | images or whatever you want to call
them--they are the best of the shoot.
| | 00:16 | Although the Full Screen mode is
great for reviewing images, I actually
| | 00:20 | prefer the Review mode when I'm trying to
narrow down an entire shoot to just my favorites.
| | 00:28 | So let's go ahead and select all of the
images that are in this folder, and I can
| | 00:33 | do that by just holding down the Shift
key and then clicking on the last image.
| | 00:37 | Since the first one is already
selected, it will select that entire range.
| | 00:41 | Now I'm going to use the keyboard
shortcut, Command+B or Ctrl+B, but you can
| | 00:46 | see it's under the View menu
and it's called Review mode.
| | 00:50 | Now we can't see the image quite as
large as we could in Full Screen mode, but
| | 00:54 | the reason that I like Review mode is
that I can see the images that are coming
| | 00:59 | before it and the ones that will
come after my currently selected image.
| | 01:05 | Just like the full-screen view, all I
need to do to move from one image to the
| | 01:09 | next is simply use the right arrow key.
| | 01:13 | If I come across an image that I'm not
really fond of, I can use the down arrow
| | 01:18 | key in order to remove it from my selection.
| | 01:22 | I'm not removing it from the folder,
I'm not deleting it; I am simply removing
| | 01:27 | it from my selection.
| | 01:29 | You'll notice, if you don't want to use
your arrow keys, in the lower-left here,
| | 01:33 | we have the same options, to move
back and forth between images and also to
| | 01:37 | remove an image from your selection.
| | 01:40 | So I'll just tap the down arrow. And I
kind of like this image, so we'll move to
| | 01:45 | the next one. That one is rather
static, a little too boring, so I'll remove
| | 01:48 | that. And that one is just too
cluttered, so we'll remove that. And I'm just
| | 01:52 | going back and forth between each
image and see here, when there's these two
| | 01:56 | images that are similar, I can use the
left and then right arrow key until I
| | 02:00 | find the one that I want to remove, and
then I'll use that down arrow. And let's
| | 02:06 | get rid of that one. You know what?
I think I want to change my mind.
| | 02:09 | So I actually just removed one
and I want to add it back.
| | 02:14 | I can use the up arrow key to add
back just the last one that I removed.
| | 02:19 | It'll kind of do like a one-level undo.
It won't do anything else if I keep
| | 02:23 | using the up arrow, but just know that
you kind of have a little safety net. If
| | 02:26 | you do remove one that you don't want,
if the next thing you do is use that up
| | 02:31 | arrow button, it'll bring it back.
| | 02:32 | So let's bring that one down and just
quickly go through the rest of these and
| | 02:38 | see which ones I want to remove. I like
that one, but let's get rid of that one.
| | 02:42 | That's kind of a nice texture. That one
not so much, no. Let's get rid of those.
| | 02:49 | Okay so I'm back at the beginning, and
I've got all of the images that I like
| | 02:54 | still in this Review mode.
| | 02:56 | So what I'm going to do is I am going
to tap the Escape key in order to get out
| | 03:01 | of Review mode and you'll notice right
now, that in Bridge all of the images
| | 03:06 | that I still liked are
highlighted, so they're all selected.
| | 03:10 | So now would be the time for me to
do something with that selection.
| | 03:15 | So for example, I might want to give
all of my images a one-star rating to tell
| | 03:21 | myself later and remind myself
that these are the best images.
| | 03:24 | Now, in order to do that, you can use the
menu here. We go under Label and we can
| | 03:29 | choose one star, or we can use the
keyboard shortcut Command+1 or Ctrl+1 in
| | 03:34 | order to add those stars, and we can
see the stars are applied to all of the
| | 03:39 | images that we liked.
| | 03:41 | If you have only a few images selected,
like maybe these first four images, and
| | 03:47 | you go to View and you go to Review mode,
if you have four or fewer images, it
| | 03:52 | won't actually give you that carousel;
it'll just show you the four images or
| | 03:57 | three images or two images that you
have selected full screen. And don't forget,
| | 04:02 | you just tap the Escape key to get out of there.
| | 04:05 | So now that you know how it works, give Review
mode a try next time you've got a shoot to edit.
| | 04:11 | I think you'll find it to be a much
faster way to cull or edit down a large
| | 04:15 | number of images to just your favorites.
| | Collapse this transcript |
| Saving images in collections| 00:00 | Review mode offers another advantage
over the full-screen preview, and that is
| | 00:04 | by enabling you to create a collection of
your images when you exit the Review mode.
| | 00:10 | So a collection is just another way
that you can save your selects, or your
| | 00:13 | favorite images, and quickly
access them at another time.
| | 00:17 | So let's go ahead and do that.
| | 00:19 | The collection that I'm going to
create is going to be based on images that I
| | 00:24 | just think would make great textures.
| | 00:28 | Now, I do a lot of compositing so I
often need a texture to composite more
| | 00:33 | than one image together.
| | 00:34 | So I'm just holding down the Command key--
it would be the Ctrl key on Windows--to
| | 00:38 | select the images here that have a lot
of texture in them, and then I'll go into
| | 00:44 | Review mode by using Command+B or Ctrl+B.
| | 00:46 | So I'll move through the images and if I
don't think they'll make a good texture,
| | 00:52 | I'll just use the down arrow.
We'll just quickly go through these. And I think I
| | 00:58 | want maybe a collection of the
top maybe eight images from here.
| | 01:02 | So these are the images that I
want to create a collection out of.
| | 01:07 | Now, we know that if I tap the Escape
key, that will just take me back to Bridge,
| | 01:13 | but in the lower right-hand corner
here, there is an icon to create a
| | 01:17 | collection, which I really like,
because when you hit Escape you're really in
| | 01:22 | kind of that fragile state where you
just have the selection and if you don't do
| | 01:25 | anything immediately to that selection,
you may lose that selection, whereas if
| | 01:30 | I simply click on this Collection icon,
it'll ask me to make a collection.
| | 01:35 | So we'll just call this Texture and then
click Save. That takes me back to Bridge,
| | 01:41 | and look over here on the left-hand
side, we've got a Collections panel and I
| | 01:46 | now have my texture
collection with my eight images in it.
| | 01:50 | The important thing to know about a
collection is that it's virtual. You'll see
| | 01:54 | up here in the path that I'm not
actually looking at a specific folder; I'm
| | 02:00 | looking at this collection.
| | 02:03 | In fact, if I click the back arrow
button here, that will take me back to the
| | 02:08 | actual folder inside the Exercise
Files. But if I want to get back to that
| | 02:14 | collection quickly, all I need to do
is click on it in the Collections panel.
| | 02:20 | I think it's really fantastic that I
can have like this little grouping of
| | 02:23 | images that's always accessible to me
and it doesn't take up any more space on my
| | 02:28 | hard drive. Because it's virtual,
because it's just part of Bridge's knowledge
| | 02:33 | about these files, there
is no duplicating the files.
| | 02:37 | There is no moving files from folders.
There is no having to keep track of
| | 02:41 | multiple actual copies of the files.
| | 02:45 | So I only have one image on the hard
drive. It's only taking up whatever space
| | 02:49 | that one image does, but I can put that
image into as many collections as I want.
| | 02:55 | And in fact, if we hit the back button
again, if I wanted to add another image
| | 03:00 | to that collection at any point in time,
I could just select that image here in
| | 03:05 | Bridge and drag it onto the collection.
| | 03:08 | The image doesn't even have to be
in this folder. I could navigate to a
| | 03:11 | different folder, find another
texture, and then drag that into my
| | 03:15 | texture collection.
| | 03:17 | So really, this is just kind of the tip of
the iceberg when it comes to collections.
| | 03:21 | Down here at the bottom of the
Collection panel, I can click on this first icon
| | 03:26 | here and create another collection.
| | 03:29 | Now, I don't want this image to be a
part of the collection, so I'll select No.
| | 03:33 | And then we'll just type in Best of
Road Trip, navigate back one folder in
| | 03:41 | order to go back to all of my images,
and then if I select maybe these images
| | 03:47 | and I really like these and this one here
and here, I can drag them into that collection.
| | 03:54 | I can go down and select additional
images and add them to the collection at any
| | 03:59 | time, and then we can quickly go back and
forth between my collection of textures
| | 04:03 | and my collection of the
best images from that road trip.
| | 04:07 | Remember collections are virtual, so
you can make as many as you want by just
| | 04:12 | dragging your files into them.
It doesn't duplicate the files on your hard
| | 04:15 | drive, so it doesn't take up any extra
space and you can quickly see if images
| | 04:19 | are going to work together
in order to tell your story.
| | Collapse this transcript |
| Rating and labeling images| 00:00 | One of the great features in Bridge
is that you're actually able to rate or
| | 00:05 | label your images not only in the
Content panel that we're looking at right now,
| | 00:10 | but also in the Full Screen
preview as well as Review mode.
| | 00:15 | Let me show you what I mean. We'll
select these first five images, and then I'll
| | 00:19 | go into Full Screen Preview by tapping
the spacebar or selecting it from the
| | 00:23 | View menu. And while I am in here, if
I want to give my image either a color
| | 00:29 | label or a star rating, I can press one
through five for my stars or six through
| | 00:34 | nine from my color labels.
| | 00:36 | So let's go ahead and label this with
a six, which is going to give me a red
| | 00:40 | color label. And then I'll move to the
next image. I think I want to give this a
| | 00:46 | six as well, too, or a red label, and
move through and see if there's any other
| | 00:51 | images that I really like. Okay, no.
So we've got those two and when I hit the
| | 00:55 | Escape key you'll notice that the
first two images have that red label.
| | 01:00 | Now let's go to another series of
images, maybe the next sequence of five, and
| | 01:06 | this time I'll go into the Review mode.
| | 01:10 | Again, if I move from one image to
the next and I want to add a star or a
| | 01:14 | label, it's one through five for stars,
six through nine for a label. So again, I
| | 01:18 | can tap the six key, move to the next
image and apply the label to all of the
| | 01:24 | images that I want. When I'm finished,
tap Escape and we can see that those
| | 01:29 | labels have been applied.
| | 01:30 | But here is the odd thing.
| | 01:32 | While I'm in the Content panel, if I
decide that I want to give this image a red
| | 01:39 | label and I tap the 6 key,
it jumps to another image.
| | 01:44 | Well, that's because by default I tap
the 6 key, Bridge is trying to find an
| | 01:50 | image that has a 6 in it, so
that's why it jumped up to this image.
| | 01:55 | You can see that while we're in just the
Content panel, if we go under the Label
| | 02:00 | menu, all of the stars as well as the
labels have a keyboard modifier key--in
| | 02:07 | this case it's the Command key on Mac or
the Control key on Windows that I would
| | 02:11 | need to use to apply either
that rating or that label.
| | 02:16 | So now, if I select the image and I
use Command+6, I'll get that red label.
| | 02:23 | But I would actually prefer
that they are all consistent.
| | 02:27 | I very rarely want to type in a 6 or
7 to find a file that has a 6 or
| | 02:33 | 7 in the file name.
| | 02:35 | So I'm going to use the preferences
by going to Adobe Bridge, and then
| | 02:39 | Preferences on the Mac--you would go
under the Edit menu and choose your
| | 02:43 | preferences on Windows--and then we'll
move to the Labels area, and I'm going
| | 02:48 | to uncheck the option that requires the
Command key to apply the labels and ratings.
| | 02:54 | So now you can see that I can just
tap 6, 7, 8 or 9 to get my
| | 02:58 | color labels and I can also just click
1 through 5 to get my star ratings.
| | 03:04 | Then we'll click OK and if I
select another image, instead of using that
| | 03:08 | keyboard modifier, I can just tap the
6 key to get my red label or we could
| | 03:13 | move to another image and if I wanted to
give it a two star, all I need to do is
| | 03:18 | tap the 2 key, as opposed to using
that Command key or Ctrl key on Mac or
| | 03:24 | Windows in order to apply two stars.
| | 03:27 | So now that should make it much more
consistent and just easier to remember to
| | 03:32 | just tap the number that you want for
the number of stars or tap 6 through
| | 03:36 | 9 for the labels, and you don't need
a modifier key, regardless of whether or
| | 03:41 | not you're in the Content or in
Review mode or in Full Screen.
| | Collapse this transcript |
| Using the Filter panel to view different subsets| 00:00 | One of the best things about computers
is that they can do a lot of things much
| | 00:04 | faster than I can do them manually.
| | 00:06 | For example, if I have 500 images and
I want Bridge to only show the images
| | 00:10 | taken on a certain day, or that were
taken with a certain lens, or had a certain
| | 00:14 | ISO setting, or maybe a certain keyword applied,
| | 00:18 | well, Bridge is really good at doing that,
and you would do that in the Filter panel.
| | 00:23 | Now when we first look at the Filter
panel, depending on the images you have, you
| | 00:28 | might actually see a different list of options.
| | 00:32 | If I use the flyout menu here,
these are all of the different options that
| | 00:37 | Bridge can filter on.
| | 00:38 | But if none of the images, say, contain
something like Genre or Key or Tempo,
| | 00:44 | then Bridge isn't going to display
those options over here in the Filter area.
| | 00:49 | So it's quite nice. It keeps it rather
uncluttered. It doesn't add a bunch of
| | 00:53 | things that you don't want.
| | 00:55 | In addition to that, if there are things
listed over here on the left that you
| | 00:59 | don't want to see, you can simply
select them here to uncheck that category and
| | 01:06 | then Bridge will no longer show
that category in the Filter area.
| | 01:10 | I am just going to leave them set as
their default, and let's go ahead and filter
| | 01:16 | what we have in the Content area.
| | 01:19 | If I wanted to filter based on label,
for example, you can see that Bridge is
| | 01:23 | showing me both the images that
have no label as well as the select.
| | 01:27 | If I toggle off the check next to the
select, now I'm only seeing those images
| | 01:32 | that don't have a label.
| | 01:34 | I could turn back on selects and turn off
the no label, and now we're just seeing
| | 01:38 | the images that have that
red label, or my select label.
| | 01:43 | Let's go ahead and turn both of those on, and
let's take a look at another way we could filter.
| | 01:48 | We could filter on stars, for example.
| | 01:50 | We could look at the images that don't
have a rating, or we could look at the
| | 01:54 | images with just one star, or with two stars.
| | 01:58 | If I wanted to see the images that
have one star and two star, I can simply
| | 02:02 | click on the one star to add that to the filter.
| | 02:05 | If I wanted to quickly see only the
images that have no rating, I can hold down
| | 02:11 | the Option key on the Mac or the Alt
key on Windows and click next to No Rating
| | 02:16 | to toggle that on and
toggle off the other two options.
| | 02:20 | So let's toggle them all on for now
and go down to Keywords for a minute.
| | 02:25 | If I wanted to see, for example, the
images that I had photographed at the John
| | 02:29 | Day Fossil Beds, we can quickly filter on that.
| | 02:32 | Likewise, we could quickly filter
on Crater Lake or on Point Reyes.
| | 02:38 | You'll also notice, up here, I have the
option to look at just those images that
| | 02:43 | don't have the keywords.
| | 02:44 | So if I accidently miss some images
and didn't apply a keyword, I would
| | 02:48 | immediately know what those images
are, I could select those images in
| | 02:52 | the Content area, come over to my Keyword
panel, and then I could add another keyword.
| | 02:59 | I want make sure that I don't add it
inside Crater Lake, so I'll just click in
| | 03:03 | the blank area and then click the plus
icon, and this happened to have been Fort Bragg.
| | 03:10 | So I can quickly add that keyword,
and then you'll notice that it would remove
| | 03:15 | those two images because I'm
filtering only on the No Keyword images.
| | 03:21 | For this last keyword, I know that that
was taken at Crater Lake, so we'll apply
| | 03:26 | that keyword, and it will also then be
removed, and I have no images left that
| | 03:31 | don't have any keywords.
| | 03:33 | Of course, you can also mix and match
between the different criteria for filtering.
| | 03:39 | For example, I might want to take a
look at all of the images that have the
| | 03:44 | keyword Crater Lake but are also one star.
| | 03:49 | And of course, I could make this even
more detailed by coming down to, say, the
| | 03:54 | date created and adding that
as part of my filter criteria.
| | 03:58 | So, obviously you can get really
detailed with filtering, and since this is the
| | 04:02 | type of thing that computers do really
well, be sure that you take advantage of
| | 04:07 | it and don't spend a lot of time trying
to manually select the images that you
| | 04:11 | want when you can use the
information in the file to quickly filter.
| | Collapse this transcript |
| Using smart collections| 00:00 | There's another way to take advantage
of the metadata in a file and that's to
| | 00:04 | create a smart collection.
| | 00:06 | Now, similar to filtering, Bridge is
going to look in the metadata of the file
| | 00:10 | to select the images that match
the criteria of the smart collection.
| | 00:15 | But smart collections are a bit
easier to revisit because they're saved to
| | 00:19 | the Collection panel.
| | 00:20 | So let's start by clicking on
Collections and then in the lower-right of the
| | 00:26 | panel, there's an icon for
creating a smart collection.
| | 00:30 | It's the one with the gear next
to it, not the one with the plus.
| | 00:34 | As soon as we select that, Bridge is
going to ask us for our search criteria.
| | 00:41 | So for example, it's going to ask us
where to look. In this case, we'll look
| | 00:46 | inside the exercise files, inside 01 and 02
Bridge, and then we can define our criteria.
| | 00:52 | So for example, the criteria might be
a certain keyword, it might be a date
| | 00:57 | created, it might be a label or a rating,
so I'll go ahead and select the rating
| | 01:03 | that equals one star.
| | 01:06 | If I wanted to add additional criteria,
I could click on the plus icon and then
| | 01:10 | again choose from that same menu.
| | 01:12 | But for right now, let's make it rather
simple. I'll go ahead and tap the minus
| | 01:17 | button there to remove that, and I want
Bridge to show me the results if any of
| | 01:22 | the criteria are met.
| | 01:24 | So obviously, if I had more than one
criteria, then this list would make a
| | 01:27 | little bit more sense.
| | 01:28 | But I want if any of the criteria are
met, which is one star, it's going to add
| | 01:33 | it to my collection.
| | 01:34 | I'll click Save, and then I want to
come over here and name the collection.
| | 01:39 | So we'll call this Smart Portfolio,
and then I'll tap enter or return.
| | 01:48 | What Bridge has done is it's gone
and looked through my folder and it's
| | 01:53 | found all of the images with one star and
automatically added it to the smart portfolio.
| | 02:00 | That's cool in and of itself, but
let's use the Back button to go back to my
| | 02:05 | folder where my files are, and let's
say I change my mind about some images.
| | 02:11 | Let's go ahead and select this one
and maybe this one and this one.
| | 02:16 | And I now decide that they shouldn't
have one star. I actually want to
| | 02:21 | demote them, so I can either go under Label
and set No Rating or I can just tap the zero key.
| | 02:29 | Now that I have demoted them so that
they're no longer starred, when we go
| | 02:33 | back to my smart portfolio, you'll
notice that it has automatically removed
| | 02:38 | them from that portfolio.
| | 02:40 | Likewise, if we go back to that original
folder and I decide that I want to add
| | 02:46 | additional images, I can select those
images and then tap the 1 key. Now all
| | 02:52 | I have to do is tap the 1 key
because I've already gone in, underneath my
| | 02:56 | Preferences, under Labels and I have
unchecked the requirement to add the Command key.
| | 03:02 | If you didn't do this, then you would
have to use the Command key on Mac or the
| | 03:06 | Control key on Windows in
order to add that star rating.
| | 03:11 | Now we go back to the smart portfolio,
and we can see that Bridge has added
| | 03:16 | those additional files.
| | 03:18 | And of course, I can go back in at any
time and change the criteria of the smart
| | 03:23 | portfolio by either clicking on the
icon down in the lower-left of the
| | 03:28 | Collections area or you will notice in
the upper-right here I can click to edit
| | 03:33 | my smart collection.
| | 03:35 | So that means at any point in time I
could add additional criteria if I wanted
| | 03:39 | to narrow down the criteria
that the collection is based on.
| | 03:45 | I'll go ahead and leave it alone for
now and click Cancel, because I think
| | 03:49 | you get the idea. But if I was
looking for images on a certain day that had
| | 03:52 | a certain rating, that's where you
would go in and change the criteria for
| | 03:56 | the smart collection.
| | 03:59 | I would suggest that you use the
more powerful and more permanent smart
| | 04:02 | collections instead of the Filter
panel because if you change your mind and
| | 04:07 | re-rate your image, or change one of
the search criteria that the smart
| | 04:12 | portfolio is based on, it will
automatically update that collection of
| | 04:17 | images for you.
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| Viewing final selects in a slideshow| 00:00 | When you're finished editing your
shoot, you might want to present your
| | 00:03 | photos as a slideshow.
| | 00:06 | We can choose to present all of the
photos, or we could use something like the
| | 00:10 | Filters or Collection panel
to narrow down the selection.
| | 00:14 | I'll go ahead and choose to only show
my one-star and my two-star images.
| | 00:20 | Then under the View menu, I'll choose
Slideshow or use the keyboard shortcut
| | 00:24 | Command+L or Ctrl+L. That will
automatically start the slideshow.
| | 00:30 | If I wanted to pause the
slideshow, I could tap the spacebar.
| | 00:36 | This is really convenient if you
are actually telling stories about the
| | 00:40 | images and you want to slow them down and
then move them along as you finish your story.
| | 00:46 | While you're in this paused state if you use the
right arrow, it will move you to the next image,
| | 00:52 | and if you use the left arrow, it
will move you back to the previous image.
| | 00:57 | If you want to start the slideshow again,
all you need to do is tap the spacebar.
| | 01:04 | If you wanted to see some other
shortcuts that you can use while playing your
| | 01:07 | slideshow, you can tap the H key.
Then you get a little display that shows you
| | 01:12 | things like the spacebar will help you
to pause or play, your right arrow key
| | 01:18 | and left arrow key goes from the
previous to the next image, as well as a lot
| | 01:22 | of other shortcuts.
| | 01:24 | Tap the H key again to hide that.
| | 01:28 | And to get out of the
slideshow, you can tap the Escape key.
| | 01:32 | In addition, under the View menu,
you have Slideshow Options where you can
| | 01:37 | change things like the Display Options,
if you wanted your images to zoom back
| | 01:41 | and forth or if you
wanted the slideshow to repeat.
| | 01:45 | You also have other Slide Options.
For example, you could change the duration of each slide.
| | 01:50 | And you have transition options as well.
| | 01:53 | So you don't have to stay with a
dissolve. You could select from any of these
| | 01:56 | other options on the list and
you can change the transition speed.
| | 02:01 | From here you can either go directly
to playing a slideshow or you can click
| | 02:06 | Done, in which case Bridge will save
those as the settings when you play
| | 02:11 | your next slideshow.
| | 02:13 | So it's as easy as that, to set up a
custom slideshow just based on the images
| | 02:19 | that you want to show in Bridge.
| | Collapse this transcript |
| Organizing groups of images into stacks| 00:00 | An additional organizational feature
found in Bridge is the ability to group
| | 00:04 | photos or stack images.
| | 00:07 | This can be tremendously helpful when
you're trying to organize a large volume
| | 00:11 | of images, or when you have a lot of
images that are very similar and you
| | 00:15 | really don't need to see them all in
the Content area--instead you would just
| | 00:18 | like to see one thumbnail that would kind of
represent the rest of the images in that stack.
| | 00:25 | In order to create a stack or group
your images together, you would simply
| | 00:29 | select the first one and then hold
down the Shift key in order to select the
| | 00:33 | range of images. And of course
they don't all have to be in a row.
| | 00:36 | We could hold down the Command or the
Ctrl key if we wanted to remove some of
| | 00:40 | these images, but I'll go
ahead and add those back in.
| | 00:43 | And then we go under the Stack menu and
the keyboard shortcut to group as stack
| | 00:48 | is Command+G or Ctrl+G.
| | 00:51 | Now you can see, here is our
stack. There's 14 images in it.
| | 00:55 | If we want to see the contents of the
stack, all you need to do is click on the
| | 00:59 | number 14. That expands the stack,
and then you can click on it again to
| | 01:04 | collapse the stack.
| | 01:06 | Of course, there is keyboard
shortcuts for that as well. You can open the
| | 01:09 | stack and then close the stack but
honestly, I think that just clicking on the
| | 01:13 | number is probably easier.
| | 01:17 | If we wanted to create a secondary stack,
we could. We could hold down the Shift
| | 01:21 | key and select this range of images and
then again use Command+G or Ctrl+G in
| | 01:27 | order to stack those.
| | 01:29 | But sometimes the image on the top
of the stack isn't the image that best
| | 01:34 | represents all of the images inside the stack.
| | 01:38 | So let's click on the five here, and
I'm going to select the fourth image here
| | 01:43 | in the stack, and then use the Stacks menu
to promote this one to the top of the stack.
| | 01:49 | That way when I close the stack,
that will be the image on top.
| | 01:54 | Same with this one. If I go ahead and
select maybe this image right here, choose
| | 02:00 | Stacks, and then Promote to Top of Stack,
then when I close the stack, maybe this
| | 02:05 | image is more representational.
| | 02:08 | Once you have more than one stack or
group of images, you can expand all of your
| | 02:13 | stacks at one time, and you can
collapse all of your stacks at one time.
| | 02:20 | If I make my thumbnails a little bit
larger and position my cursor on top of
| | 02:26 | the stack, you can see I can
actually play through the stack to see all of
| | 02:31 | those images within the stack.
| | 02:34 | It might seem a little bit odd to
play through them here, but this is an
| | 02:37 | exceptionally cool feature if you've
photographed a time lapse where you've
| | 02:41 | shot multiple images of the same scene
over time and you simply want to see how
| | 02:46 | those images change over time.
| | 02:48 | Of course, you can use this in
combination with all of the other different ways
| | 02:53 | that we have been able to
search and find our images.
| | 02:57 | So for example, if I wanted to
quickly just go to my Keywords and click on
| | 03:03 | Crater Lake, Bridge would filter
down so that I am only seeing the images
| | 03:07 | with that keyword. I could select them all and
group them, expand the stack if I wanted to,
| | 03:14 | select the image that I like the best
or that I think is most representational
| | 03:18 | of the group, promote it to the top of
the stack, and then remove the filter so
| | 03:24 | that now we can see all of
the images. Collapse that stack
| | 03:28 | and now just in this panel, I can
really get a good idea of all of the contents
| | 03:33 | of my photographs, while seeing a much
larger thumbnail of each of the groups.
| | Collapse this transcript |
|
|
3. Camera Raw EssentialsComparing RAW and JPEG files| 00:00 | There are two primary formats that
digital cameras capture today: RAW and JPEG.
| | 00:06 | But what can be really confusing is that
there are a lot of different flavors of RAW.
| | 00:10 | Raw is sort of a generic term that
people use to describe the unprocessed data
| | 00:15 | that the camera captures.
| | 00:17 | And for example, Nikon's raw format
is .NEF and Canon's raw format is .CRW.
| | 00:24 | But the file formats are all very
similar in that they contain much of the
| | 00:28 | same information, such as metadata about the
camera settings and information about the image,
| | 00:34 | but there's no real standard way of
writing them, so each manufacturer has its
| | 00:39 | own unique order to the data in the raw file.
| | 00:43 | Now there is one raw format that's not
proprietary, and that's the DNG format or
| | 00:47 | the Digital Negative Format, and many
people convert their raw files into the DNG
| | 00:52 | format because of the fact that
it's an openly documented file format,
| | 00:56 | and they have hopes that their files
will be opened farther into the future than
| | 01:01 | if they're kept in a proprietary format.
| | 01:04 | Now Adobe is the creator of the DNG
file format, and for more information, you
| | 01:08 | can go to their website and find that.
| | 01:12 | What's important to know is that if
you compare the quality of the RAW format
| | 01:16 | versus a JPEG, there is a lot
more information in that RAW file.
| | 01:21 | I like to think of the RAW file as
being unprocessed and as a result, you can
| | 01:25 | make greater changes to the color and
tonal values in the RAW file with out
| | 01:29 | losing image quality.
| | 01:31 | The JPEG file, on the other hand, has
already been processed, and that includes
| | 01:36 | having compression, which throws away
data, applied to it. And it's processed by
| | 01:41 | the camera so you can't make as dramatic a
change to a JPEG file without losing quality.
| | 01:48 | Let's go ahead and take a
look at these two examples.
| | 01:51 | Here I have a DNG file and a JPEG file,
which I'm going to open up from Bridge.
| | 01:57 | I'll select them both, and then I'll
click on the Open in Camera Raw icon up
| | 02:03 | here across the top.
| | 02:05 | That opens both of the images into the
Camera Raw dialog box, which in and of
| | 02:11 | itself is a little strange because a
lot of people don't expect that you can
| | 02:15 | open a JPEG file into Camera Raw but you can.
| | 02:19 | So let's start with the JPEG file.
I'll go ahead and click on it over here on
| | 02:23 | the left-hand side, and I'm also going
to take the screen into kind of full
| | 02:29 | screen mode so that it takes over the
whole computer, by clicking on this icon up
| | 02:35 | here in the upper right.
| | 02:37 | Obviously, this image is overexposed
and in fact, these two images, the JPEG
| | 02:42 | file and the DNG file, were both
shot with the same camera.
| | 02:47 | These digital SLRs, they usually
will capture not only raw files, but they
| | 02:51 | usually have a mode that will
capture a raw file plus a JPEG file.
| | 02:56 | Now I know that some of you might be
shooting with a point-and-shoot camera, in
| | 03:00 | which case you might not be able to
capture in raw, but if you can, I would
| | 03:06 | highly suggest that you do.
| | 03:07 | And let's look at why.
| | 03:10 | If you happen to overexpose an image--and this
image is pretty extreme in the overexposure--
| | 03:16 | I just want to show you what
will happen with the JPEG file.
| | 03:20 | I'll start by decreasing the exposure
in this image, and you'll notice that we
| | 03:25 | are seeing more detail now in the
highlight areas, but even if I bring down the
| | 03:31 | Highlight slider and even with the White
slider, you'll notice that we just can't
| | 03:37 | get back that detail in the clouds.
| | 03:40 | It was so overexposed that even using
the controls here at their maximum for
| | 03:46 | Highlights and Whites, we just can't
pull back the information that's not there.
| | 03:51 | It's no longer there because
this file was processed as a JPEG.
| | 03:55 | Now let's switch to the DNG file by
clicking on its icon over here in the
| | 04:00 | left-hand side, and let's
try to do the same thing.
| | 04:03 | We'll pull down the exposure a bit
and then I'm going to pull down the
| | 04:08 | Highlights as well as the Whites.
| | 04:11 | And you can see that in this image,
we still retained a lot of the detail
| | 04:17 | in this cloud area.
| | 04:20 | Let's compare them by just clicking.
Here is the landscape that was shot with
| | 04:23 | the JPEG and compressed, versus the RAW file.
| | 04:29 | Now, I do want to point out that just
because you're shooting RAW, you can still
| | 04:34 | overexpose your image so far that
you're not going to gain back detail.
| | 04:39 | I've moved both the White slider and
the Highlight slider a little bit too much
| | 04:43 | in this case, more than I normally would.
| | 04:45 | So let's pull those back so that I'm
still making use of the entire dynamic
| | 04:50 | range. But you can see here in this area
that there is just no detail in this file.
| | 04:56 | And the reason that I chose this file
to show you the difference between Camera
| | 05:00 | Raw and JPEG was to show you that
certainly the JPEG file is going to lose
| | 05:05 | quality faster than the RAW file.
| | 05:08 | But there is a point in a RAW file
where if you just overexpose it or going
| | 05:14 | the other extreme, if you underexpose it,
if your image is so dark that there is
| | 05:18 | no details in the shadows, you wouldn't
be able to pull back that information.
| | 05:24 | The point here is that there is more
information in the DNG file than there is
| | 05:28 | in the JPEG file, but you still want to
properly expose your images so that you
| | 05:34 | don't clip your highlights to pure
white, so there's not this big white area
| | 05:38 | here, and likewise, you don't
underexpose your image so much that there's no
| | 05:44 | detail in the shadows.
| | 05:46 | The primary disadvantage of shooting
raw is that you do have to process the
| | 05:50 | file, so there is a
little bit more work involved.
| | 05:53 | The files are also larger than
their JPEG counterparts, but the higher
| | 05:56 | quality of the raw file and the
flexibility to make these changes in Camera
| | 06:01 | Raw after capture or in post makes
the RAW file format worth the extra file
| | 06:08 | size, in my opinion.
| | Collapse this transcript |
| Starting in Camera Raw instead of Photoshop| 00:00 | So one of the most frequently asked
questions that I get is, why should you use
| | 00:04 | Adobe Camera Raw to process your files?
| | 00:06 | Why wouldn't you just go directly
into Photoshop and start editing there?
| | 00:11 | Well, let's take a few minutes to
talk about the five top reasons to start
| | 00:15 | in Adobe Camera Raw.
| | 00:16 | First of all, everything that you do
in Adobe Camera Raw is nondestructive.
| | 00:21 | You can change as many sliders as you want
and you can always return to the original.
| | 00:27 | Not to be too technical, but when you
move a slider in Adobe Camera Raw,
| | 00:30 | it's only assigning a set of instructions
that tells Camera Raw how to display the image.
| | 00:36 | So if you move the exposure slider up
one stop, all Camera Raw does is say, hey,
| | 00:41 | let's preview this image
with a plus-one stop exposure.
| | 00:45 | You might have heard this referred
to as parametric editing, as opposed to
| | 00:49 | pixel-based editing, which is
what Photoshop is so good at.
| | 00:53 | In order to save the changes that you
make in Adobe Camera Raw, it does write
| | 00:58 | these changes to a sidecar file--well,
to a sidecar file in the case of a camera
| | 01:03 | manufacturer's proprietary file format.
| | 01:05 | So like if you were shooting with a
Cannon, that would be the CRW file, or a
| | 01:10 | Nikon has its NEF file.
| | 01:12 | These sets of instructions, these
sidecar files, can be changed or updated or
| | 01:17 | deleted at any time.
| | 01:19 | It's not until you actually open the
file into Photoshop that these changes
| | 01:24 | that you make in Camera RAW, these sets
of instructions that it's keeping track
| | 01:28 | of in the sidecar files, get applied
to the raw data and are opened then as a
| | 01:34 | pixel-based file in Photoshop.
| | 01:37 | The second advantage is that Camera Raw
has a built-in workflow. The features in
| | 01:42 | the panels are structured so you can
follow them, taking the guesswork out of
| | 01:47 | what you're supposed to do.
| | 01:49 | It's really difficult sometimes
for a beginner to just open a file in
| | 01:53 | Photoshop and know if they are
supposed to use a tool or use a menu or work
| | 01:58 | on some of the panels.
| | 01:59 | So Camera Raw really simplifies that.
| | 02:03 | Camera Raw also works with
JPEG files and TIFF files.
| | 02:08 | Although it's not intuitive because
it's called Camera Raw, it's fantastic that
| | 02:12 | we work with these files, so that once
you learn the settings in Camera Raw, you
| | 02:16 | can apply them to all of your photographs.
| | 02:19 | Camera Raw can also be automated.
It's really easy to apply changes to hundreds
| | 02:25 | of photos at a time. You can
synchronize changes. You can copy and paste
| | 02:30 | settings. You can even save
presets to apply to different photos.
| | 02:35 | Now obviously, Photoshop can also be
automated, but learning how to record
| | 02:39 | and create actions is much more difficult
than simply creating a preset in Camera Raw.
| | 02:46 | And finally, Camera Raw has a
really simple learning curve.
| | 02:50 | Photoshop has layers and masks and
selections and adjustment layers, all of
| | 02:55 | those building blocks that make
Photoshop the powerful image editing tool that
| | 03:01 | it is, but it's a lot to learn at once,
and Adobe Camera Raw is so much easier.
| | 03:06 | So now that we know the advantages
of using Camera Raw, it's time to see
| | 03:10 | the workflow in action.
| | Collapse this transcript |
| Touring the Camera Raw interface| 00:00 | The first thing that we need to do is
familiarize ourselves with the Camera Raw interface.
| | 00:05 | We'll go ahead and select this Lupin.jpg file.
| | 00:08 | Now, I don't want you to double-
click on it because that would open it
| | 00:11 | directly into Photoshop; instead,
we're going to click on the Open in Camera
| | 00:16 | Raw icon at the top of Bridge.
| | 00:19 | Now in a previous movie, I went into
Full Screen mode, but your interface might
| | 00:23 | look a little different.
| | 00:24 | If you click on this icon, it will
toggle you in and out of Full Screen mode.
| | 00:29 | So if yours looks like this, you can
either click on the icon or tap the F key to
| | 00:34 | get to Full Screen mode.
| | 00:35 | Now you will notice that all of the
tools that you'll need in Camera Raw
| | 00:40 | are across the top.
| | 00:41 | We've got the Zoom tool and the Hand tool,
which will help us to navigate our image.
| | 00:46 | We've got two eyedropper tools: one is
a White Balance tool and the other is
| | 00:50 | the Color Sampler tool.
| | 00:52 | Then we got to Target Adjustment
tool, we've got a Crop tool and a
| | 00:55 | Straighten tool, we've got our Heal
and Stamp tool, we've got our Remove
| | 01:01 | Redeye, our Adjustment Brush, our
Graduated Filter and our preferences, as
| | 01:05 | well as some rotate tools.
| | 01:08 | You'll notice that when I hover on top
of a tool, we get a tooltip that says
| | 01:12 | the name of the tool as
well as the keyboard shortcut.
| | 01:14 | In this case, it's H for the hand tool.
| | 01:17 | So all of the keyboard shortcuts can be
accessed by just tapping on the single
| | 01:21 | letter that represents that tool.
| | 01:24 | In the center of course is our large
preview area and in the lower-left are
| | 01:28 | different ways to zoom.
| | 01:30 | You can quickly go to 100%, for example,
or we can choose Fit in View so that
| | 01:36 | we can see the entire image.
| | 01:39 | On the right-hand side, we have all
of our panels. The Basic panel is the
| | 01:43 | default panel, but you simply can click on any
of the other icons to move to the other panels.
| | 01:50 | Let's take a look at some of
the features in the Basic panel.
| | 01:53 | Here we can change the temperature or
the tint, the color, basically, of the image.
| | 01:59 | We can change exposure as well as contrast.
| | 02:02 | We can change our highlights,
shadows, whites, and blacks.
| | 02:06 | Let's take a look at what that might look like.
| | 02:08 | I might want the overall exposure down a
little bit on this image, to just darken
| | 02:12 | it up, and I might want to
add a little bit of contrast.
| | 02:17 | Now, as you move these sliders,
you will want to keep your eye on the
| | 02:20 | histogram up at the top.
| | 02:22 | The histogram is just a visual
representation of all of the pixels or all of the
| | 02:26 | values in your image.
| | 02:29 | You want to make sure that as you
move the sliders, you aren't pushing the
| | 02:34 | pixels off to either side of the
histogram, so you don't want to make your
| | 02:39 | whites too white, so that those values
start kind of climbing up the wall here.
| | 02:45 | The same with your blacks. You don't
want to move your blacks so dark that those
| | 02:49 | pixels start climbing up the
wall on the left-hand side.
| | 02:54 | If you want to quickly reset a slider,
all you need to do is double-click on the
| | 02:57 | slider and it will set it back to zero.
| | 03:00 | If you wanted to reset all of the
sliders at one time, you can hold down the
| | 03:05 | Option key or the Alt key on Windows and
you'll notice down here that the Cancel
| | 03:10 | button changes to Reset.
| | 03:12 | But you have to be a little careful
with that, because if you've made changes to
| | 03:16 | any of the other panels, it will
also reset all of those changes.
| | 03:22 | In this image, my basic workflow
would be to check the Temperature and Tint
| | 03:26 | slider, and then we could change the
exposure if we need to, we could add a
| | 03:31 | little bit of contrast, and then I
might skip down to the Whites and Blacks to
| | 03:36 | make sure that I have a white point
and a black point in my image, so that I
| | 03:40 | make sure that I'm using
the entire dynamic range.
| | 03:44 | I'll go ahead and scoot the whites up.
Again, I don't want to go too far so I'm
| | 03:47 | watching the histogram to make sure
that these pixels don't start climbing the
| | 03:51 | wall, and then I'll do the same with the blacks.
| | 03:55 | Then, if I need to, I could use
either the Shadows or the Highlights to
| | 03:59 | maybe open up the shadows a little
bit if they were getting too dark and I
| | 04:03 | wasn't seeing detail in the shadows,
or I could bring down the highlights if
| | 04:07 | the highlights were getting too bright
when I move my White slider over to the right.
| | 04:11 | We also have options for Clarity.
| | 04:14 | Clarity is a great way to make your
image look sharper because it adds contrast
| | 04:20 | along edges in the midtones of your image.
| | 04:24 | The nice thing here is that everything
I do is nondestructive, so if I added a
| | 04:28 | lot of clarity and then decided my
image was looking too contrasty, we could go
| | 04:33 | ahead and lower the contrast.
| | 04:36 | We also have a Vibrance and Saturation
slider, so that we could increase the
| | 04:40 | vibrance or increase the saturation.
| | 04:44 | Now there's a difference between these
two sliders, and I think it's best seen
| | 04:48 | if we really move them all the way to
the right. You'll notice that the colors
| | 04:53 | really get saturated, but this is a
relative slider, so they're not getting it
| | 04:57 | overly saturated, at least not as
overly saturated as if I take up the
| | 05:03 | saturation slider to a 100%.
| | 05:06 | The other way that we can see the
difference between Vibrance and Saturation is
| | 05:09 | by lowering the Saturation.
| | 05:12 | If I go all the way to -100,
you can see I've eliminated all of the
| | 05:16 | color from this image.
| | 05:18 | I'll double-click to reset that, and
then I'll move the Vibrance slider all the
| | 05:22 | way to the left, but you can see
that even at -100 with the
| | 05:26 | Vibrance, because it's a relative
slider, we're still going to see a little bit
| | 05:30 | of color in our image.
| | 05:32 | Again, to reset it, I'll just
double-click right on the slider.
| | 05:37 | So the Basic panel is where you would
want to start, but then there are a lot of
| | 05:41 | other panels that also provide
great tools for adjusting your images.
| | 05:46 | The second panel is going
to be the Tone Curve panel.
| | 05:49 | It's going to allow us to maybe add an
S curve to make more contrast if we want
| | 05:53 | to, or just lighten or darken
very specific areas of our image.
| | 05:58 | We've got the Detail panel for
adding sharpening and noise reduction.
| | 06:02 | We have HSL and Grayscale for making
changes to color ranges, including hue and
| | 06:08 | saturation and luminosity, as well as
the ability to convert to grayscale and
| | 06:12 | change the way that colors get
remapped into black and white.
| | 06:17 | We have this Split Toning panel where
we can add color in to our shadows or
| | 06:21 | highlights and create cross-process affects.
| | 06:24 | We've got our Lens Corrections, where
we can not only enable lens profile
| | 06:28 | corrections, we can also come in
and do some perspective corrections.
| | 06:33 | We've got our effects, if we wanted
to add grain or a post-crop vignette.
| | 06:37 | We also have a Camera Calibration tab,
which is a little bit beyond the scope of
| | 06:42 | the fundamentals, but if you're
interested in this, I would highly recommend
| | 06:46 | Chris Orwig's series on Adobe Camera Raw.
| | 06:49 | There is also a Preset area where we
can define our own presets and quickly
| | 06:55 | apply them to multiple images.
| | 06:57 | And we have the snapshot area, where
you can take different snapshots at
| | 07:01 | different points in time, in case you
wanted to try things out but wanted to
| | 07:05 | make sure that you got back to a certain
adjustment that you had made to your image.
| | 07:10 | Finally, we have the options along
the bottom, which include the ability to
| | 07:14 | simply save the image. And when I click
Save, I would be presented with a dialog
| | 07:19 | box where I could choose the file format
and compression and other options.
| | 07:24 | So this is great when you're done in
Camera Raw, if there's no need to take your
| | 07:28 | image to Photoshop, you could
simply save out your images.
| | 07:32 | We have workflow settings right here,
which will talk about another movie, that
| | 07:36 | enable you to pick your color space, as
well as your bit depth and the size of
| | 07:41 | the image that you want to process
if you were to open the image up into
| | 07:46 | Photoshop, which is what this button is
for. To open your image, we could cancel
| | 07:51 | which would say, you know I don't like
these changes, I just want to cancel and
| | 07:55 | back out of here and not
apply them, or we can click Done.
| | 07:59 | When we choose Done, we'll return back
to Bridge, where you can now see that the
| | 08:03 | thumbnail of this image has been
updated with those changes that we've made, and
| | 08:09 | I know that not only because visually
it looks different, but because Bridge
| | 08:13 | provides us with a small icon here
that tells me that there have been changes
| | 08:17 | made to this image in Camera Raw.
| | 08:21 | Now one important note: because I'm
using JPEG files as my exercise files, you
| | 08:27 | should know that when I click done,
I was returned back to Bridge.
| | 08:31 | If you're following along using your
own raw files, when you click Done, you
| | 08:37 | are probably in Photoshop, in which
case you would just go to the File menu
| | 08:41 | and select Browse in Bridge in order to get back
to Bridge and see the changes that you've made.
| | 08:48 | This is actually a feature, because
you could simply open Bridge, select your
| | 08:53 | raw files, and then use the icon here
to open in Camera Raw, in which case you
| | 08:58 | wouldn't even need to have Photoshop
open. You could simply make your changes
| | 09:02 | and when you click Done,
you could come back to Bridge.
| | 09:06 | But other than that, there really isn't
a difference. I just didn't want you to
| | 09:09 | be puzzled if you are using
your own raw files to follow along.
| | Collapse this transcript |
| Previewing before and after adjustments| 00:00 | When you're making changes in Camera
Raw, it can be really helpful to see the
| | 00:04 | before and after versions of
the image that you're working on.
| | 00:08 | Now, because I've used this image as a
previous exercise file, in order to clear
| | 00:13 | my settings, I'm going to quickly go to Edit
and then Develop Settings and then clear them.
| | 00:19 | So now we're back to the same starting place.
| | 00:23 | In order to open this in Camera Raw,
I'll click on the Open in Camera Raw icon,
| | 00:28 | and let's make an adjustment so that
we can preview the before and after.
| | 00:33 | I'll go ahead and decrease my Exposure
and increase Contrast, and let's add a
| | 00:38 | little bit of clarity as well.
| | 00:40 | Now if I wanted to preview before and
after, I could use the Preview button and
| | 00:45 | just check and uncheck to toggle it on and off.
| | 00:49 | I can also tap the P key
to preview what I've done.
| | 00:53 | Now, the Preview button is set up so that it
only previews whatever panel you're working on.
| | 01:01 | So let's move over to our Effects
panel and just add a quick post-crop
| | 01:06 | vignette. We'll add a big feather on
that so it's not quite as obvious and then
| | 01:11 | tap the P key again.
| | 01:13 | You'll notice that all I'm previewing
is the effects in this panel, which is the
| | 01:18 | post-crop vignetting.
| | 01:21 | If I want to preview all of the effects,
all of the changes that I've done, I
| | 01:25 | need to scoot over to the Presets panel.
| | 01:29 | Once I've got my Presets panel selected,
then if I tap the P key, you can see
| | 01:35 | that I'm previewing not only the
vignette, but also the changes that I've made
| | 01:39 | in the Basic panel. So that's
how you preview everything at once.
| | 01:45 | Let's return back to the Basic panel,
just to show you, if you wanted to preview
| | 01:50 | maybe just a single slider, if you move
the slider, you can then use Command+Z
| | 01:56 | or Ctrl+Z on Windows to undo that move.
| | 02:01 | So Command+Z or Ctrl+Z will just
toggle a single slider, which is similar to
| | 02:06 | the preview, but the Preview button
itself of course toggles all of the changes
| | 02:12 | that you've made in that panel.
| | 02:15 | Now because I like to toggle the
preview on and off for all of the panels at
| | 02:20 | once, I've learned the keyboard shortcut
to quickly get me to the Presets panel.
| | 02:25 | So on the Mac I would hold down the
Option and Command, on Windows it would be
| | 02:29 | the Alt, Control, and then tap 9 so
it is the ninth panel in the row here.
| | 02:37 | So if I want to quickly get back to,
say the first panel, which happens to be
| | 02:41 | the Basic panel, I can use that same
keyboard shortcut, the Option+Command or
| | 02:45 | Alt+Control, 1 for Basic, 2 for
the Tone Curve, 3 for Detail, 4
| | 02:51 | for HSL and Grayscale, 5 for Split
Toning, 6 for Lens Correction, 7
| | 02:56 | for Effects, and just when you think
you've got it all down, we actually skip
| | 03:00 | over the Camera Calibration. So the Option+
| | 03:04 | Command+8 will not take you there, or
Alt+Ctrl+8, will not take you there,
| | 03:08 | but we can skip to nine to get to our presets.
| | 03:11 | Now, some of you probably will use
Option+Command+0 or Alt+Ctrl+0
| | 03:16 | thinking that you would get to your
snapshots, but that's actually the
| | 03:19 | keyboard shortcut to view at 100%, and
we can see that in the lower left-hand
| | 03:25 | corner. In order to reset that back to
Fit in View, we can just select that
| | 03:30 | right there from the menu.
| | 03:31 | I always find it's helpful to toggle
the preview for an image, just to make sure
| | 03:37 | that I'm not overdoing my corrections.
| | 03:39 | Of course, if I change my mind, the
great thing with Camera Raw is I can always
| | 03:43 | return back to the Camera Raw defaults
by just holding down the Option or Alt
| | 03:48 | key and then clicking on the Reset button.
| | 03:51 | And I can refine my adjustments as
many times as I want, because everything
| | 03:56 | here is nondestructive.
| | Collapse this transcript |
| Toggling onscreen shadow and highlight clipping warnings| 00:00 | When you're making changes to your
images in Camera Raw, it's important that you
| | 00:04 | keep your eye both on the image as
well as the histogram, because if you're
| | 00:09 | making changes, you don't want to be
pushing any of the values in your shadows
| | 00:15 | and your highlights to pure black or pure white.
| | 00:18 | Or if you do do that, you want to make
sure that you know that you're doing it.
| | 00:22 | But because it's hard to look in both
places, there are two icons that will
| | 00:27 | allow you to see your clipping.
| | 00:29 | So if I toggle on the one on the left,
that's going to show our clipping warning
| | 00:33 | in the dark areas, and the one on the
right is going to show the clipping of the
| | 00:37 | highlights, or the light areas of your image.
| | 00:40 | Now there are keyboard shortcuts for
this. The U key toggles on and off the one
| | 00:45 | for the darks, which is the underexposure,
| | 00:48 | and the O key toggles the highlight
warning for the light areas, which would
| | 00:52 | be the overexposure.
| | 00:54 | So with those both on, now I can move
my White slider and my Black slider and
| | 01:00 | if I move my white slider too bright,
we can see that whatever values in my
| | 01:05 | image I'm pushing to pure white will have this
red overlay, so I immediately see the warning.
| | 01:12 | And you really have to be careful,
because if you push your Highlight values to
| | 01:15 | pure white and you print this image, the
area that has detail will have a dot in
| | 01:21 | the print; the area that doesn't
have detail will not have a dot.
| | 01:24 | And our eyes are very, very sensitive
to patterns. They can pick up on that dot
| | 01:29 | pattern, and it would be very jarring
where all of a sudden your image would
| | 01:33 | transition to an area with no dot.
| | 01:36 | So we definitely want to pull back on
that White slider to make sure that we're
| | 01:40 | not clipping any values in our image.
| | 01:42 | Now there might be some really small
areas, like this little teeny dot here or
| | 01:46 | here, but that will be okay.
| | 01:49 | Let's see what happens when we move
the Black slider too far to the left.
| | 01:53 | You can see here that we're getting an
overlay of blue, which is telling me that I'm
| | 01:58 | pushing those shadow values that used to
have detail all the way to pure black.
| | 02:03 | And we can see that those values sort
of start to climb the wall here, this
| | 02:07 | imaginary wall. We're pushing what
used to have detail to pure black.
| | 02:12 | So I want to back off on that as well,
until I no longer see that blue overlay.
| | 02:18 | And you can't forget, it's not just
the Whites and Black sliders where you
| | 02:22 | might see this clipping.
| | 02:24 | If I were to add some Contrast here or
maybe move my Exposure down dramatically,
| | 02:29 | you can see we're starting
to get that blue overlay.
| | 02:33 | So just be careful and when you see that,
it probably means that you've gone too far.
| | 02:38 | As a general rule of thumb, I think
most people would agree that you want to
| | 02:42 | keep your detail in the highlights of an image.
| | 02:45 | But there are definitely plenty of
examples of stunning images with rich, solid
| | 02:50 | areas of black that is lacking in detail,
but that's an aesthetic choice of the artist.
| | 02:56 | And I always think it's a good idea to
know the rules before you break them,
| | 03:00 | and the clipping warnings in Camera
Raw will help tell you where exactly you
| | 03:04 | are breaking the rules and pushing
those shadow detail areas to pure black
| | 03:09 | without detail.
| | Collapse this transcript |
| Choosing output settings| 00:00 | When you're ready to either open
your image in Photoshop or save out the
| | 00:03 | image, bypassing Photoshop, you want
to make sure that you pay attention to
| | 00:07 | your workflow settings.
| | 00:09 | So let's click on this hyperlink to
see what those workflow settings are.
| | 00:13 | The first thing that you can
change is your working space.
| | 00:17 | This is a little bit of an
oversimplification, but I would recommend that if
| | 00:20 | you're going to go into Photoshop,
that you definitely want to set your
| | 00:24 | working space to Adobe RGB.
| | 00:27 | If, for example, you had a hundred images
that you were going to save for the web
| | 00:32 | or a hundred images you were going to
pass to a lab in order to have printed,
| | 00:37 | then you might want to change
these workflow options to sRGB.
| | 00:41 | For now, I'll go ahead
and leave this at Adobe RGB.
| | 00:45 | If you are going into Photoshop and
you're going to make additional changes, like
| | 00:48 | layers or masking or adjustment layers,
I would highly recommend that you take
| | 00:52 | the image into Photoshop as
16 bits per channel if you've started with a RAW file.
| | 00:58 | Right now with the exercise file, we
are starting with the JPEG file, and
| | 01:02 | JPEG files can only be 8-bit, so it
doesn't really make sense for me to
| | 01:06 | bring this into a 16-bit-per-channel
file in Photoshop, unless perhaps I was
| | 01:11 | going to composite it with other
images that maybe started off as RAW in a
| | 01:16 | larger bit depth like 16-bit.
| | 01:19 | Now, depending on the file that
you're working on, you're going to get
| | 01:22 | different options for Size.
| | 01:25 | Right now, because I've saved this as
a smaller file size, I only have the
| | 01:29 | native size that we're working on,
plus two sizes that I can resample this
| | 01:35 | image up to, to make it larger.
| | 01:38 | If you started off with a RAW file,
not only would you have two options for
| | 01:42 | resampling up the file, you would have
two options that have minuses after them,
| | 01:46 | so that you could resize your image down, if
you didn't want it this large. As for Resolution,
| | 01:52 | that depends on where
you're going with the file.
| | 01:54 | If I knew that I was going to print this,
I could leave it at 240, or I could even
| | 01:58 | go up to maybe 300 pixels per inch.
| | 02:01 | If I was going to post this image on
the web, then I'd probably want to bring
| | 02:05 | this down to 72 pixels.
| | 02:07 | But don't forget, this is just
the distribution of the pixels.
| | 02:11 | You've actually determined the total
pixel count up above in the Size category.
| | 02:17 | The Resolution just says how to distribute
those pixels, how many pixels to put per inch.
| | 02:23 | We also have options for sharpening.
| | 02:25 | This is considered output sharpening, so
if you knew that your images were going
| | 02:30 | to be displayed onscreen,
you would select that.
| | 02:32 | If you knew you were going to print
to glossy paper or matte paper you would
| | 02:36 | choose one of those options, and then
you can kind of dial in whether you want a
| | 02:41 | low standard or high amount of sharpening.
| | 02:44 | If you're not sure where the image is
going or if you're going to refine it
| | 02:48 | further in Photoshop, I would
suggest that you leave the set to None,
| | 02:52 | because you don't want to sharpen for a
specific output device and then make a
| | 02:56 | bunch of changes or corrections
in Photoshop, because you might be
| | 03:00 | amplifying that sharpening.
| | 03:03 | Finally, we have the option to open
into Photoshop as a Smart Object. That's a
| | 03:07 | little more advanced, we'll get into
that in later tutorials, so for now we'll
| | 03:11 | just leave that unchecked.
| | 03:13 | We'll go ahead and click OK.
| | 03:17 | As you can see, those options are
really quite important, yet they are easy to
| | 03:22 | overlook because of this
very small hyperlink down here.
| | 03:26 | To create the correct file for your
workflow, be sure that you check these
| | 03:30 | workflow settings before using the
Save option, or before opening your files
| | 03:35 | into Photoshop.
| | Collapse this transcript |
| Saving a copy without going to Photoshop| 00:00 | When you're satisfied with the changes
that you've made to your RAW files and
| | 00:03 | you decide that you don't have any
further editing that you want to do in
| | 00:06 | Photoshop, there are only
two things you need to do:
| | 00:09 | you need to check your workflow
settings and then click Save Image.
| | 00:14 | So let's go into our Workflow Options,
and I know that I'm going to save this
| | 00:18 | image as a JPEG image and I'll
probably be posting it on the web.
| | 00:23 | So I am going to change my
color space down to sRGB.
| | 00:27 | I'll change my bit depth down to 8-bit.
| | 00:30 | I've got the smallest file size
selected here, and I can change the Resolution
| | 00:35 | down to 72 if I want to.
| | 00:37 | The important thing to note is that
you really need to come into the Workflow
| | 00:41 | Options in order to set the space and
depth and size and resolution for the
| | 00:47 | project that you're working on.
| | 00:49 | If I wanted to add some sharpening at
this point for Screen, I'll add that and
| | 00:54 | I'll leave the Amount set to Standard.
| | 00:56 | Then when I click the Save Image button,
we can decide where to save the file--
| | 01:02 | we might want to save it in the same
location--or we could select another folder.
| | 01:06 | We can rename the file if we want to.
| | 01:09 | So in this case, I might want to put
an _ME after it, which just tells me that
| | 01:14 | it's my master edited file, and
then I'll change my format to JPEG.
| | 01:21 | I can either choose to include all of
my metadata or I can limit this down to
| | 01:25 | maybe just my copyright and contact
info. And I can choose my Quality setting.
| | 01:30 | In this case, I'll leave it set to High,
because I want to balance the file size
| | 01:35 | with the image quality.
| | 01:37 | If I move this all the way up to Maximum,
then I'll get a better-looking file,
| | 01:42 | but it's going to be a lot larger.
| | 01:44 | So usually the High setting is kind of
a good trade-off for posting images or
| | 01:49 | saving images for the web.
| | 01:52 | I should just point out that there
are other options as well. If we were
| | 01:55 | starting with a raw file, like a CRW or
an NEF, we could convert that file to a
| | 02:01 | digital negative, or the DNG file format.
We could also export this as a TIFF
| | 02:06 | file or as a Photoshop file.
| | 02:10 | When I click Save, if we look down in
the lower-left, well, that was really quick,
| | 02:14 | but it does say that it's
processing the file here.
| | 02:17 | If I had 500 images, we could see that
it was processing all 500 of those images.
| | 02:22 | The nice thing is we can continue working
while it's actually processing those files.
| | 02:28 | I'll go ahead and click Done, and in
Bridge, we can see that we have our new
| | 02:33 | document with the _ME,
which tells me it's my master edited file.
| | 02:38 | So the Save button in Camera RAW, an
excellent way to quickly process and
| | 02:42 | save your images directly from Camera
RAW when no additional edits are needed
| | 02:47 | in Photoshop.
| | Collapse this transcript |
|
|
4. Fixing Common Problems Using Camera RawUsing the nondestructive Crop tool| 00:00 | One of the huge advantages of cropping
in Camera Raw is that it's completely
| | 00:04 | nondestructive, so you can go back at
any point in time and change your mind
| | 00:08 | about what you want to include in
the image and what you want to hide.
| | 00:12 | Let's start with a fruit image and then
click the Open in Camera Raw icon in Bridge.
| | 00:17 | To select the crop tool you can either tap the
C key or click on the Crop tool to choose it.
| | 00:24 | Then position your cursor anywhere in the
image area and click to drag out your marquee.
| | 00:30 | The area inside the crop marquee is the
area that you're going to keep; the area
| | 00:34 | outside is the area that you're going to hide.
| | 00:38 | You can click and drag on any of the
anchor points in order to change your crop.
| | 00:44 | In order to apply the crop,
simply tap the Return or Enter key.
| | 00:49 | If you need to crop to a certain
aspect ratio, you can click and hold on the
| | 00:54 | Crop tool in order to see the dropdown menu.
| | 00:57 | Here, we'll go ahead and
select at 2:3 aspect ratio.
| | 01:02 | You'll notice that the crop marquee
was automatically adjusted, and this time
| | 01:06 | when I click and drag on the anchor
points, well, first you'll notice that
| | 01:09 | they're only on the corners;
they're no longer in the centers.
| | 01:13 | But I can click and adjust them, but
it will always maintain that aspect
| | 01:17 | ratio that I've defined.
| | 01:19 | Another option in the Crop tool
is the ability to show an overlay.
| | 01:24 | This overlay divides your cropped area,
or the area that you're going to keep, into
| | 01:29 | thirds and it can help you with
composition, because usually you don't want
| | 01:33 | to put something like, for example, the
sign right in the center of your image.
| | 01:37 | You might want to offset it a little bit.
| | 01:39 | So, this can help as far as where you
position the main subject within the crop marquee.
| | 01:46 | To apply the crop, we'll tap the Enter
or Return key, and then let's select Done
| | 01:51 | in order to return to Bridge.
| | 01:53 | You'll notice that in Bridge you can
see in the thumbnail icon that there's now
| | 01:57 | a little crop icon telling me that this
image has been cropped, but of course,
| | 02:02 | this is nondestructive.
| | 02:04 | If we take this image back into Camera
Raw and select the Crop tool again, you
| | 02:09 | can see that all of the information
outside of the crop is still there and
| | 02:12 | still accessible if we decide that we want to
change either the marquee or the aspect ratio.
| | 02:18 | Right now, I've been dragging out a
horizontal crop, but you'll notice, if I
| | 02:22 | drag to the right, across the image,
when I get far enough, the aspect ratio
| | 02:28 | will actually switch.
| | 02:30 | Instead of being horizontal,
it will flip to being vertical.
| | 02:34 | If I want to go back to horizontal,
I'll just click and drag out to the left.
| | 02:39 | You just kind of have to get a feel
for it, but you'll see that it will
| | 02:42 | automatically flip from
horizontal to vertical and vice versa.
| | 02:47 | There's one more important topic
that I want to cover with the Crop tool.
| | 02:51 | Right now, we are only cropping to a
specific aspect ratio, and we selected that
| | 02:56 | aspect ratio underneath the Crop tool.
| | 02:59 | What we didn't do though is tell Camera
Raw that we wanted a specific file size.
| | 03:04 | So, you'll notice that as I move or
reposition my crop, the actual size in pixel
| | 03:11 | dimensions will change.
| | 03:13 | Right now, for example, it's 1567 x 1045.
| | 03:17 | When I reposition this, you'll notice
that those numbers go down, because I'm
| | 03:21 | cropping out a larger area of the image.
| | 03:25 | Let's return back to the crop for a moment,
and I'm going to select the Custom option.
| | 03:30 | You can see that it allows me to enter
in any aspect ratio that I want, but it
| | 03:35 | also allows me to enter in specific
pixel dimensions or dimensions measured in
| | 03:41 | inches or centimeters.
| | 03:43 | So let's say, for example, I want this
image to be a 4 x 6, which is of course
| | 03:49 | the 2:3 aspect ratio, but I
want it to be 4 x 6 inches.
| | 03:54 | Now, when I click OK, you'll notice
down here in my workflow settings that this
| | 03:59 | file will actually be 6 x 4 inches,
although right now it is set to 72 ppi.
| | 04:04 | If I wanted to print this, I'd better
click on my Workflow Options and then set
| | 04:09 | the Resolution higher, maybe up
to 240 or even 300 pixels/inch.
| | 04:16 | Now, when I click OK you'll notice
that I've defined this file, if I were to
| | 04:21 | open it or save it, to be
6 x 4 inches at exactly 240 ppi.
| | 04:28 | And that's all there is to it.
| | 04:29 | If I click Done, we'll return back to Bridge.
| | 04:32 | You can see that I have
adjusted my crop in Camera Raw.
| | 04:35 | Of course, this is
nondestructive, so it's not permanent.
| | 04:38 | I can go back in there
and adjust it at anytime.
| | Collapse this transcript |
| Correcting a horizon line with the Straighten tool| 00:00 | Another common problem that you
might need to fix is a crooked horizon.
| | 00:04 | Again, Camera Raw makes it easy.
| | 00:06 | There are really two ways
that you can fix this problem.
| | 00:10 | The first way would be by using the Crop tool.
| | 00:12 | So, we can either select it from the
tools across the top or simply tap the C key.
| | 00:18 | Depending on whether or not you want
to constrain this to a certain aspect
| | 00:22 | ratio, we can either choose that from
the list or simply click Normal, then
| | 00:27 | click and drag out your crop marquee.
| | 00:29 | When you position your cursor outside
of the area that you want to keep, the
| | 00:35 | icon will change to the double-headed arrow.
| | 00:38 | Then I can click and drag in order to
create or change the angle of my crop, and
| | 00:45 | you'll notice when I have the mouse down,
I get this nice grid overlay so that I
| | 00:48 | can line that up with the
horizon that I want to straighten.
| | 00:52 | Then I'll simply let go and I no longer
see the grid, but I can still change the
| | 00:59 | size of the crop by simply
clicking on any of the anchor points.
| | 01:04 | So, we'll go ahead and just make this a
little bit larger and then to apply the
| | 01:08 | crop, tap the Enter or Return key and
Camera Raw will straighten the image.
| | 01:14 | If we want to undo this, you'll notice
that if you use the keyboard shortcut
| | 01:18 | Command+Z or Ctrl+Z, it will go ahead
and undo just the last thing you've done.
| | 01:24 | If you want to continue to go back in
time, then you need to add the Option key.
| | 01:29 | So Command+Option+Z on the Mac or
Ctrl+Alt+Z on Windows to step back through
| | 01:36 | more than one step, because Camera
Raw actually looks at the crop and the
| | 01:41 | straighten as two different steps.
| | 01:44 | The other way to quickly reset your
crop would be to simply select Clear
| | 01:49 | Crop from the Crop menu.
| | 01:52 | The other way that you can quickly
straighten the horizon in an image is to tap
| | 01:56 | the A key or select the Straighten tool.
| | 01:59 | Now, the icon for the Straighten tool
is a little bit large, and I'm not quite
| | 02:03 | sure where the hot spot is.
| | 02:04 | So, I am going to turn on my Cap Locks
key, which will toggle the cursor to be
| | 02:09 | this precise crosshairs.
| | 02:12 | Then I'll position the cursor on the
far left-hand side, right on the horizon,
| | 02:16 | and drag it out over to the right side.
| | 02:19 | When I let go, Camera Raw will
automatically create the crop and straighten that
| | 02:24 | image when I tap the Return or Enter key.
| | 02:28 | So, the Straighten tool is a very convenient
way to both straighten and crop in one step.
| | 02:34 | So, there you have it, two easy
methods for straightening images
| | 02:37 | nondestructively in Adobe Camera Raw.
| | Collapse this transcript |
| Fixing color casts with the White Balance tool| 00:00 | Getting rid of a color cast is
another common problem that can be easily
| | 00:04 | fixed in Camera Raw.
| | 00:06 | You can get a color cast in your image
for a variety of different reasons. Maybe
| | 00:10 | you had the settings on your
camera set incorrectly or you could have
| | 00:13 | photographed a scene may be an early
morning or early evening when the light is
| | 00:18 | a lot warmer and a lot yellower.
| | 00:21 | Regardless of the reason, we're going to go
over three quick ways to eliminate a color cast.
| | 00:26 | The first way is found underneath White Balance.
| | 00:29 | If I click and hold, I get a
dropdown menu and I can select Auto.
| | 00:33 | If you're working along with your own
raw files, you might notice that your
| | 00:37 | list here is longer.
| | 00:39 | For example, you might see something that
says Daylight or Clouds or Tungsten or Shade.
| | 00:44 | When you're working with raw files, you
can actually change your white balance
| | 00:50 | nondestructively, the temperature and the tint.
| | 00:53 | Because I am working with a JPEG file
here, it's still nondestructive in that I
| | 00:58 | can go back and forth and I'm not
hurting the file to choose As Shot versus
| | 01:02 | Custom versus Auto, but I am
actually changing the values of a JPEG file.
| | 01:08 | Remember, that JPEG has already been processed.
| | 01:11 | If I was working with a raw file, I
wouldn't be changing those values because
| | 01:14 | they hadn't been processed yet.
| | 01:16 | I would just be setting a
different starting point in Camera Raw.
| | 01:21 | If that doesn't get you where
you want--let's go back to As Shot--
| | 01:25 | the second way would be to manually
drag the Temperature and the Tint sliders,
| | 01:30 | and you can see that moving the
Temperature slider to the left is going to make
| | 01:33 | your image cooler or more blue;
| | 01:35 | moving it to the right will
warm it up and make it more yellow.
| | 01:38 | So, here what you're doing is you're
simply adjusting the image to what you
| | 01:42 | think visually looks good.
| | 01:44 | We can also use the Tint slider.
| | 01:46 | Moving the Tint to the left will make
your image appear more green and to the
| | 01:50 | right is more magenta.
| | 01:52 | So, again, this would just be a
manual way to make your image look good.
| | 01:56 | Here, obviously we are correcting a
color issue, but if you had an image and
| | 02:01 | you actually wanted to warm it up or
cool it down, this would be a great way to
| | 02:05 | add maybe a little bit of a color
shift to your image in order to get the
| | 02:10 | emotion or the feeling of the
image that you want to convey.
| | 02:14 | Let's reset those by simply
double-clicking on the slider there, and we'll talk
| | 02:18 | about the third way and that's by
using the White Balance Eyedropper tool.
| | 02:23 | The keyboard shortcut for that is simply
tapping the I key, and then all you need
| | 02:28 | to do is click on something in your
image that you know to be a neutral value.
| | 02:34 | You might want to hold a gray card in
your image and take a picture with the
| | 02:38 | gray card and then a picture without,
but in this case I don't have something
| | 02:42 | that is a completely known neutral value.
But I can still click, for example, in
| | 02:46 | this grayed area and see if
that removes the color cast.
| | 02:50 | You will notice that you click once and Camera
Raw automatically puts the tool back for you.
| | 02:55 | If I want to access it again quickly,
I'll just tap the I key again. And maybe
| | 03:00 | I'll click over here in the
cobblestones and if I didn't like that, I can tap
| | 03:06 | the I key again and maybe click in the door.
| | 03:09 | So it really depends on what value you
click on, as far as what correction will be made.
| | 03:15 | I think I'll actually return back
one more time to this front grate.
| | 03:19 | I think this is probably the
most neutral area in my image.
| | 03:23 | But of course, you can always
use a combination of this too.
| | 03:26 | If I still think maybe, for example,
that the tint is too magenta, all I need to
| | 03:31 | do is just move down that slider until
visually I think the image looks good.
| | 03:37 | So now you have it, three simple ways
to remove a color cast from an image by
| | 03:41 | setting the color temperature
using the White Balance tool, using the
| | 03:45 | Temperature and Tint sliders, and by
using the White Balance dropdown menu.
| | Collapse this transcript |
| Fixing blown-out highlights| 00:00 | Another problem that we commonly
want to correct is to fix any blown-out
| | 00:05 | highlights, or any really
bright areas of our scene.
| | 00:09 | The problem is is that as we walk
around the world and we look at different
| | 00:14 | things, our eyes can adjust.
| | 00:15 | So, say, for example, we walk inside of a room.
| | 00:18 | Our eyes will adjust so that we can see
the detail in the darker area of the room.
| | 00:22 | When we walk outside, our eyes will
adjust again so that we can see the
| | 00:26 | brighter scene before us.
| | 00:28 | The difference between the darkest
area of a scene and the lightest area of a
| | 00:31 | scene is called the dynamic range of the scene.
| | 00:34 | While our eyes are really good at adapting
really quickly, the camera is not quite as good.
| | 00:42 | The camera can adapt in one way and
that is, if you photograph in a very dimly
| | 00:47 | lit room, you can change the ISO of
the camera in order to make it more
| | 00:52 | sensitive and kind of see
the detail in the darker area.
| | 00:56 | If you walk outside, you would change the
ISO in order to photograph a very bright scene.
| | 01:03 | The problem that cameras have is
when there are very dark areas and very
| | 01:07 | light areas in the same scene,
because then it has trouble capturing the
| | 01:12 | entire dynamic range.
| | 01:14 | There are a variety of ways that we can
fix that, and I am going to try to tone
| | 01:19 | down these really bright reflections
in this scene by using a combination of
| | 01:24 | both the White slider and the Highlights.
| | 01:27 | In order to see what is blown out,
let's go ahead and turn on our
| | 01:31 | highlight clipping warning.
| | 01:33 | We can see now that all of the
overlaid areas with this red are completely
| | 01:38 | white without detail.
| | 01:40 | If we take our White slider and start
moving it to the left, you can see that we
| | 01:44 | can bring detail back into that highlight area.
| | 01:48 | In addition, if we bring the Highlights
slider down, we can also compress this
| | 01:54 | area right in here of our Histogram so
that we can see more detail in those areas.
| | 02:01 | I like to think of the White
slider as where I am going to set the
| | 02:05 | very brightest value.
| | 02:07 | So, here, you'll notice I don't
actually have to go as far as I did.
| | 02:10 | If we look at my histogram and we start
looking at the image, you'll notice that
| | 02:15 | pulling it back now that I've moved
the highlights down really still doesn't
| | 02:19 | blow out or clip any of my
bright pixels to pure white.
| | 02:23 | Then I can come back in the highlight
area here, and again, I'm just watching
| | 02:28 | my histogram here and also waiting for any
areas in my image to have that red overlay.
| | 02:34 | Once they do, I know just
to back it off from there.
| | 02:37 | So now, this scene contains
detail in my highlight areas.
| | 02:42 | Of course, this will only
work to a certain extent.
| | 02:45 | If the scene was so contrasty or if
the photo was way overexposed so that no
| | 02:50 | detail was captured, then the sliders
won't be able to recover what's not there.
| | Collapse this transcript |
| Revealing hidden shadow details| 00:00 | Here, we have another example of a very
contrasty or high-dynamic-range image.
| | 00:06 | This image was exposed to make sure
that the highlights kept their detail, but
| | 00:11 | in doing so, some of the
shadow areas are just too dark.
| | 00:16 | In order to correct that, we are going
to use a combination of the Blacks slider
| | 00:19 | and the Shadows slider.
| | 00:21 | But before we start moving the slider,
let's go ahead and make sure that we have
| | 00:26 | our Shadow Clipping Warning turned on.
| | 00:29 | As soon as I toggle that on, we can see
all of these dark areas have this blue
| | 00:34 | overlay on top of them.
| | 00:35 | I want to try to get rid of that blue
overlay, because that means that I'm
| | 00:39 | clipping those areas to pure black, and I
would like to see detail in those areas instead.
| | 00:45 | I'll begin with the Blacks slider and
start moving it to the right in order to
| | 00:49 | try to reveal some detail or set
my black point a little bit lighter.
| | 00:55 | That did correct for some of it,
but I'm also going to use my Shadows
| | 00:58 | slider, again, pulling that to the right, in
order to reveal detail in those shadow areas.
| | 01:05 | Let's go ahead and pull it all the way
to the right. And if you noticed, you can
| | 01:09 | see the change that I've made in the histogram.
| | 01:12 | Let me reset the shadows
by double-clicking on it.
| | 01:15 | So there is before and then as we
move it to the right, watch all of this
| | 01:20 | information starts moving to
the right of the histogram.
| | 01:23 | And when it moves to the right of the
histogram, of course, it gets lighter and
| | 01:27 | so now we are able to see the
detail that was in that shadow area.
| | 01:32 | One of the things that might happen as
you move your Shadows slider to the right
| | 01:37 | is that you will see an
increase of noise in those dark areas.
| | 01:41 | So, let's go ahead and zoom in to 100%
and then I'll use the spacebar in order
| | 01:48 | to scoot down so that we can
see some of these shadow areas.
| | 01:53 | You can see, for example, in the boat
here, especially in the lighter areas, we
| | 01:57 | are picking up a lot of noise.
| | 01:59 | One of the great combinations of tools
that you can use is the Shadows slider in
| | 02:05 | combination with the Noise
Reduction in the Detail panel.
| | 02:10 | Noise Reduction is going to be covered
in more depth in another video, but let
| | 02:15 | me show you what happens when I
start moving over the Luminance slider.
| | 02:19 | As we can see, the noise, all that
digital artifacting, is slowly going away.
| | 02:25 | We can still see a little bit of color
artifacting, so I can also move the Color
| | 02:30 | slider over in order to hide that.
| | 02:33 | You definitely have to zoom in to
100% while you're making these changes,
| | 02:39 | because if we are in any other zoom
percentage, we are not going to see an
| | 02:43 | accurate preview of anything,
actually, that we do in the Detail slider.
| | 02:49 | So, let's move over to our presets and
tap the P key to see a before and after.
| | 02:56 | You'll notice that by just using that
Blacks slider and the Shadows slider, we
| | 03:00 | are really able to see or reveal a lot
more information in those dark areas of
| | 03:05 | the image.
| | Collapse this transcript |
| Correcting lens distortion| 00:00 | Depending on the quality of the lens
that you are using, as well as the focal
| | 00:04 | length, you might see some
distortion in your image.
| | 00:07 | Typically, this is much more noticeable
with a wide-angle lens and it actually
| | 00:11 | gets worse with the less expensive lenses.
| | 00:15 | So let's take a look at this example.
| | 00:17 | You can see that the lines
going across, they are not straight.
| | 00:20 | It almost looks as if the house
is kind of bulging towards us.
| | 00:25 | Well, in order to fix that, we are
going to scoot over to our Lens Corrections
| | 00:29 | panel. And in the Profile area, I'm
simply going to click on the option to Enable
| | 00:35 | Lens Profile Corrections.
| | 00:37 | The great thing is is that Camera Raw
ships with a ton of different profiles
| | 00:43 | for different
combinations of lenses and cameras.
| | 00:47 | So you can see down here in the
Lens Profile area that Camera Raw has
| | 00:52 | automatically chosen the make of the
lens as well as the model and assigned
| | 00:57 | the profile for me.
| | 00:59 | What it's correcting is listed right
down here, the distortion in the lens as
| | 01:05 | well as any vignetting.
| | 01:06 | The reason that Camera Raw was able to
apply the correct profile is because it
| | 01:12 | can read the EXIF data in the file.
| | 01:14 | So it knows about the camera and
lens that were used to make this image.
| | 01:19 | But you might come across a situation
where Camera Raw is not able to find that
| | 01:25 | information, and that might be
because of a variety of different reasons.
| | 01:29 | You might be working with a JPEG file or
the original image might have been shot
| | 01:33 | with a point-and-shoot camera
that doesn't store that information.
| | 01:36 | If that's the case, you can always come
down here and manually change both the
| | 01:42 | Distortion as well as the Vignetting.
| | 01:45 | So say, for example, if I move the
Distortion to the left, you can see that we
| | 01:48 | get kind of that barreling look. Come back.
| | 01:51 | If we move it to the right, that's called
pin cushioning and we go the other direction.
| | 01:56 | Now, since the profile is already creating
this, let's just double-click to reset that.
| | 02:01 | In the Vignetting area--
this might be interesting--
| | 02:03 | even if Camera Raw does enable a lens
profile correction for your image, you
| | 02:09 | might actually not like the fact that
it removes that vignetting, the darkening
| | 02:14 | down around the edges.
| | 02:16 | If you like that effect, you can tell
Camera Raw to ignore that part of the
| | 02:21 | profile and bring back that lens vignetting.
| | 02:24 | Of course, if you wanted to do the
opposite, we could go in the other direction
| | 02:28 | and it would lighten those edges even more.
| | 02:30 | So this is just personal
taste. It's totally up to you.
| | 02:33 | In order to reset this, again, we'll
just double-click on the slider and that
| | 02:37 | will reset it to 100.
| | 02:39 | As you get more advanced, you can
actually make your own profiles for your
| | 02:44 | specific lens and camera combination,
using the free Adobe Lens Profile Creator
| | 02:49 | utility, which can be found on
labs.adobe.com. Or, if you want to look for
| | 02:56 | additional lens profiles, maybe for a
more unique lens camera combination, then
| | 03:02 | you can use the Adobe Lens Profile Downloader.
| | 03:06 | But again, that's as you get more
advanced, because I think that you'll find for
| | 03:11 | most of the common cameras that are
in use today with the common lenses, the
| | 03:15 | profiles will automatically ship with
Camera Raw and you'll simply be able to
| | 03:20 | enable them using the Enable
Lens Profile Corrections option.
| | Collapse this transcript |
| Making perspective corrections to images| 00:00 | Sometimes it's just not possible to
photograph the scene at the angle that you
| | 00:03 | want in order to make the perspective
correct, or sometimes you're just off by a
| | 00:08 | little bit and you might not
notice it as you take the photograph.
| | 00:12 | In order to fix this, we can use the
Manual tab in the Lens Correction panel,
| | 00:16 | but before we do that, let's also make sure
that we enable our Lens Profile Correction.
| | 00:22 | This is very different, the Profile
Correction is going to get rid of any
| | 00:25 | distortion that was caused by the lens itself.
| | 00:29 | Then we can move over to the Manual tab in
order to fix the perspective of the image.
| | 00:34 | I'll want to focus on the vertical and the
horizontal perspective, and maybe add a
| | 00:39 | little bit of rotation.
| | 00:40 | You can see, as I move the Vertical
to the left or to the right, we are
| | 00:45 | correcting the perspective of the image.
| | 00:49 | I just want to move that maybe a
little bit to the left in order to correct
| | 00:52 | that perspective, and then we'll use
the horizontal perspective in order to
| | 00:57 | make our correction here.
| | 00:59 | And I just want to make a slight change
to the right. But it's still not quite
| | 01:03 | straight, and we can tell that
because of the bricks going across the top.
| | 01:07 | So let's go ahead and add just a little
bit of a rotation to the left there in
| | 01:12 | order to straighten out those bricks.
| | 01:14 | If I tap the P key, we can toggle on
and off the preview, and we can see that
| | 01:20 | we've straightened the
perspective of this image.
| | 01:23 | Before we apply this, you'll notice on
the lower left as well as the lower right
| | 01:29 | there are some gray areas that have
been created by Camera Raw in order to fill
| | 01:36 | the rectangular area of the whole image.
| | 01:39 | I probably don't want those. And I
suppose I could take this image into
| | 01:43 | Photoshop and try to fill the
areas with Content-Aware Fill, but I'm
| | 01:47 | simply going to crop them.
| | 01:49 | So using the Crop tool, I'm going to
make sure that the Constrain to Image is
| | 01:54 | turned on and I'll crop
this to a 2 x 3 aspect ratio.
| | 01:59 | I'll click and drag out my crop in
order to exclude those gray areas. and when I
| | 02:05 | tap Enter or Return, you can see that
I've just trimmed those away. Of course
| | 02:10 | it's all nondestructive, so if I tap
the C key in order to view the Crop tool
| | 02:15 | again, you can see that all the
information is still there, and I can make
| | 02:20 | adjustments and then tap Enter or
Return again to apply that crop.
| | 02:25 | One helpful tip to keep in mind: you
might want to think about shooting the
| | 02:29 | scene a little bit wider than
necessary if you know that you're going to
| | 02:33 | change the perspective, because you
will have to do this cropping after you've
| | 02:37 | fixed the image.
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| Removing color fringing and chromatic aberrations| 00:00 | You might have noticed some color
fringing along the edges of your images.
| | 00:05 | Technically, that's known as chromatic
aberration, and it happens in areas that
| | 00:10 | have a lot of contrast. It's more
pronounced along the edges of your images, and
| | 00:16 | it's more noticeable when you
photograph with a wider angle lens, especially if
| | 00:21 | the quality of that lens is not very high.
| | 00:25 | So let's take a look at what this
chromatic aberration looks like.
| | 00:29 | I'm going to zoom in here and I can
do that with a zoom tool or I can use
| | 00:33 | Command+Option+0 or Ctrl+Alt+0 on
Windows in order to zoom in. And I'll hold down
| | 00:39 | the spacebar. That gives me the Hand
tool. And we can just scroll over to the
| | 00:44 | top-left area of our image.
| | 00:47 | Because this video is going to be
compressed, I can see the chromatic aberration
| | 00:52 | here, but I really want to make it stronger,
| | 00:55 | so I'm going to increase the saturation of the
entire file to make sure that we can see this.
| | 01:01 | So what I'm talking about as far as the
fringing goes is the misalignment of the pixels.
| | 01:06 | So we can see on the straight line
here, on the left side we've got a
| | 01:10 | misalignment of that green axis, and
over here we've got the misalignment of the
| | 01:16 | magenta axis, and that's
what I'm trying to get rid of.
| | 01:19 | In order to do this, we will scoot
over to the Lens Correction panel and
| | 01:25 | then click on Profile.
| | 01:27 | I want to enable the lens profile
correction. That's going to correct any
| | 01:32 | distortion from the lens. And then at
the very bottom, I'm also going to choose
| | 01:37 | to remove the chromatic aberration, and
you'll notice that that misalignment of
| | 01:42 | pixels, that green-to-magenta shift, is now gone.
| | 01:48 | So it's as easy as that to
fix the chromatic aberration.
| | 01:51 | You might find, though, that you're also
seeing the chromatic aberration maybe in
| | 01:56 | the center of your image, in which case
what you might want to do is move over
| | 02:01 | to the Manual tab and turn the defringing on
to either the highlight edges or to all edges.
| | 02:10 | And so you'll just want to look at your
image--make sure that you're looking at
| | 02:12 | it at 100%--and toggle between these
two in order to see which one is correct
| | 02:18 | for your photograph.
| | 02:20 | There you have it, a fast and easy
method to remove those color artifacts from
| | 02:24 | along the edges of your images.
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| Sharpening the details| 00:01 | Almost every image can benefit from
some amount of sharpening in Camera Raw.
| | 00:06 | You'll notice when I move over to the
Detail panel that if you're working on a
| | 00:11 | RAW file, there's actually a default
amount of sharpening applied to your image.
| | 00:16 | This Amount slider will be set to 25.
| | 00:19 | Because we've got a JPEG file here,
the Amount slider is set to zero because
| | 00:24 | Camera Raw is not sure if the camera
has actually already applied sharpening,
| | 00:30 | so it doesn't want to apply sharpening on
top of something that's already been sharpened.
| | 00:35 | On the other hand, if you're working
with your RAW files, Camera Raw is going to
| | 00:39 | assume that it needs a little bit of
sharpening and will set the amount to 25.
| | 00:44 | That amount, that 25, is actually
different, under the hood, based on the camera
| | 00:51 | that you've used to capture your image.
| | 00:53 | Even though you might bring up 10
different images from 10 different cameras,
| | 00:57 | the Amount setting in Camera Raw will
always be set 25, but under the hood, some
| | 01:02 | of those images are getting more or
less sharpening, depending on the quality of
| | 01:07 | the sensor and the camera
that they were photographed with.
| | 01:10 | Let's talk about the different
settings in the Sharpening area here.
| | 01:16 | The amount is how much contrast or how
much sharpening you are going to add.
| | 01:21 | In order to accurately see this,
we want to go ahead and zoom in to 100%.
| | 01:26 | So I'll use Command Option Zero and
then hold down the spacebar in order to
| | 01:32 | move over to the face.
| | 01:34 | In fact, for the tutorial I think I'll
even zoom in one more time using just
| | 01:39 | Command+Plus to make sure that we are seeing
the effects as I move the different sliders.
| | 01:45 | So the Amount controls the amount of contrast
that Camera Raw applies when it finds an edge.
| | 01:53 | If I move this all the way over to
the right, you can see that in this case
| | 01:57 | Camera Raw is finding a lot of little
edges because this is a JPEG file and it's
| | 02:02 | been compressed, so it's actually
sharpening all those little areas of that have
| | 02:07 | already been compressed.
| | 02:08 | If you were working with your own RAW
file, even if you move the Amount to 150,
| | 02:13 | you probably won't see as
much of a drastic change.
| | 02:17 | So the Amount is the amount of contrast.
| | 02:20 | The Radius determines how many pixels
are affected when Camera Raw applies the
| | 02:27 | Amount or the contrast to an edge.
| | 02:30 | If I move this all the way over to 3,
you can see now there are little halos
| | 02:35 | that are starting to appear along edges.
| | 02:37 | For example we've got a halo right
here where one side of the edge is darker
| | 02:42 | along the wood and then along
the wall the edge is lighter.
| | 02:45 | Same with around the pumpkin eye here.
You can see that right around the eye
| | 02:50 | it's getting lighter, whereas the
inside of the eye is getting darker.
| | 02:54 | Obviously, I have applied far too much,
or far too great a value for the Amount
| | 02:58 | slider in the Radius, but I want
to make sure that you can see what's
| | 03:01 | happening, because the next step that
we're going to do is we are going to use
| | 03:05 | either the Detail or the Masking
slider in order to suppress the noise in the
| | 03:11 | less contrasty area.
| | 03:13 | So both Detail and Masking are ways
to suppress; they just have different-
| | 03:18 | looking masks or different
ways of suppressing information.
| | 03:23 | Let's use the Detail slider first, and
I'll move it all the way to the right.
| | 03:27 | You can see that when it's at 100
we're not actually masking any of the
| | 03:32 | detail, say for example, in the wall.
As I move the detail slider to the left,
| | 03:38 | you can see that we're now suppressing
the Amount and the Radius in those areas
| | 03:44 | that have less contrast, but we're
still applying them to the heavier edges or
| | 03:49 | the more contrasty edges.
| | 03:51 | And if I tap the P key, we can toggle
on and off the preview, and you can see
| | 03:56 | that in fact the image does look
sharper, but the edges that we are applying
| | 04:01 | the sharpening to are only
the most predominant edges.
| | 04:05 | If I hold down the Option key and we
start sliding the Detail slider, you can
| | 04:10 | actually get a good visual of the
areas that are being suppressed.
| | 04:14 | So if we move the Detail slider all the
way to the right, you can see that the
| | 04:18 | Amount and Radius are being applied to
all of the edges throughout the image.
| | 04:22 | As I move the slider to the left, you
can see that I'm reducing the amount of
| | 04:26 | sharpening applied to the areas that
have less contrast, like that back wall and
| | 04:32 | the face of the pumpkin, but it's still
being applied to the high-contrast areas,
| | 04:36 | like around the eyes and some of the
straw maybe that's in the scarecrow's neck.
| | 04:43 | Let's go ahead and remove that detail by
moving it all the way to the right again.
| | 04:47 | And now I'm going to use the Masking
slider in order to remove or mask the
| | 04:51 | detail in the less contrasty area.
| | 04:53 | So you can see as I move this over to
the right, I'm eliminating any sharpening
| | 04:58 | from happening in the areas
that are not as contrasty.
| | 05:03 | If we hold down the Option key with
the masking, you can see that where the
| | 05:07 | mask is black is where I'm suppressing the
sharpening; no sharpening is happening there.
| | 05:12 | Where the mask is white, that's
where the sharpening is occurring.
| | 05:15 | So as I move this to the left, you can
see that we are now sharpening the entire
| | 05:19 | image equally in all areas.
| | 05:22 | And if I move the mouse to the right,
we are suppressing the sharpening in the
| | 05:26 | areas that have less contrast.
| | 05:28 | And they're just too different masks
but they're actually really important,
| | 05:33 | because if you look at the mask that's
created with this Masking slider, you can
| | 05:38 | see that it's much more
organic; it's not as sharp.
| | 05:41 | So the way that you want to
suppress the noise when you're working on
| | 05:44 | portraits is by using this Masking
slider. It doesn't look as good, however, on
| | 05:50 | an image like this where you've got a
landscape or you've got a lot of high-
| | 05:54 | frequency detailed areas.
| | 05:57 | In a case like this, I would want to
use the Detail slider and just use it to
| | 06:01 | suppress the sharpening from being
applied in the lower frequency areas.
| | 06:08 | Obviously, this is still too much so
for the final sharpening that I would
| | 06:11 | actually apply to this image, I am
going to bring the Radius way down to maybe
| | 06:16 | near 1 or 1.2, and I'll bring
the Amount slider down as well.
| | 06:21 | And now we can tap the P key to toggle
the Preview on and off, because I don't
| | 06:28 | want to oversharpen at this point; I
want to enough sharpening here to make
| | 06:32 | my image look good.
| | 06:34 | This is considered capture sharpening.
This is not the sharpening that I want to
| | 06:38 | do for my output device. That is going
to be applied either when I export the
| | 06:42 | file, or if I use the option here to
save out my images. Or I could even apply
| | 06:49 | the output shortening after opening
the image in Photoshop, adding layers,
| | 06:54 | making adjustments, and when I am
finally finished with the image, that's when I
| | 06:57 | want to sharpen it in
Photoshop for my output device.
| | 07:00 | So as a reminder, the Detail panel in
Camera Raw is for adding your capture
| | 07:06 | sharpening. The Amount slider is going
to add the contrast to trick your eye
| | 07:11 | into thinking that the edges are sharper.
The Radius determines how many pixels
| | 07:15 | are actually affected.
| | 07:16 | And then you'll use the Detail or the
Masking slider to suppress the sharpening
| | 07:21 | in the areas that have lower frequency.
| | 07:23 | And typically, you'll use the
Detail slider to suppress when you're
| | 07:27 | using sharpening on your landscape
images, and you'll use the Masking
| | 07:31 | slider to suppress the sharpening
in the detailed areas when you're
| | 07:35 | working with portraits.
| | 07:37 | As you can see, adding sharpening to
exactly the areas you want is easy once you
| | 07:42 | know what each of these sliders controls.
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| Making an average photo great| 00:00 | If you have been following along in this
chapter, you've noticed that we've made
| | 00:03 | a number of specific improvements to
individual images using a single control to
| | 00:09 | simply fix a specific problem.
| | 00:12 | But more often than not, when you're
making an image look better, it's really a
| | 00:15 | combination of many of these sliders
that will improve the image dramatically.
| | 00:20 | So while we're starting here, if the
image needed a perspective or correction,
| | 00:24 | I would probably do that first, but in
this case, I am going to skip that and
| | 00:27 | go directly to a crop.
| | 00:30 | So I'll tap the C key to select my
Crop tool, and if I wanted to constrain
| | 00:34 | this to a specific aspect ratio, we can
select that from the list, so let's choose 4 x 5.
| | 00:39 | And then we'll click and drag out the
crop and then reposition it as needed to
| | 00:45 | just kind of crop in a little bit more
on the bicycle and get rid of any other
| | 00:49 | information that doesn't
really add to the image.
| | 00:52 | I'll tap Enter or Return to apply that crop.
| | 00:56 | And now let's set our white balance.
| | 00:59 | We learned that we can do that either by
selecting one of the options here from the list.
| | 01:03 | We could change the Temperature and
Tint slider manually, or we could tap the
| | 01:08 | I key in order to access the White
Balance tool and then click somewhere in
| | 01:13 | your image that you know to be a neutral
value, something like maybe this gray cement.
| | 01:18 | And you can see how that
really warmed up the image.
| | 01:21 | Let's turn on our clipping.
| | 01:23 | If we remember those shortcuts, it's U
for our black clipping, the underexposed
| | 01:27 | portion, or O for our white
clipping--that's the over exposed area.
| | 01:32 | And I can't see I've got a little bit
of an overlay of the blue here underneath
| | 01:37 | the seat, which tells me that that area
is going to go to pure black, and I've
| | 01:41 | got a little bit of red here
in the handlebars of the bike.
| | 01:44 | So as I make my changes here, like to
Exposure and Contrast, I want to keep
| | 01:49 | an eye on those areas.
| | 01:51 | And in fact, I do want to add a little
bit of contrast to my image, to just make
| | 01:56 | it pop a little bit more.
| | 01:57 | Then I have to be careful
about these highlights and shadows.
| | 02:00 | So I am going to bring down the
highlights a little bit and that will remove any
| | 02:05 | of those overexposed specular
highlights there in the handlebar.
| | 02:09 | And I am going to bring up my shadows a
little bit, which will enable me to see
| | 02:14 | a little but more detail
underneath the shadow area of the seat here.
| | 02:19 | If I needed to, I could change my
white and black point but I can see for my
| | 02:23 | histogram that I'm making use of
the full dynamic range of the image.
| | 02:27 | I've got values going all the way down
here to black as well, as values all the
| | 02:31 | way over here in the lighter area of my image.
| | 02:36 | If I want to give it just a little
bit more pop, I might come down to the
| | 02:39 | Clarity slider and just increase
the Clarity to give a little bit more
| | 02:43 | distinction in the edge areas
around the midtones of my image.
| | 02:48 | And if I wanted to increase the
vibrance to also make this stand out a little
| | 02:52 | bit more, I can, or if I was going for
a more old-fashioned look, maybe I would
| | 02:56 | bring that Vibrance down.
| | 02:58 | But in is case I think it looks much
better with the Vibrance set up higher.
| | 03:02 | Then I'll move over to the Detail panel.
| | 03:06 | You can see here that because
this is a DNG file, the Amount is
| | 03:09 | automatically set to 25.
| | 03:12 | If I want to adjust this, I need to
make sure that I zoom in, so I will use
| | 03:16 | Command+Option+0 in order to zoom in
to 100%, and then I can hold down the
| | 03:23 | spacebar in order to reposition
the image to look at different areas.
| | 03:28 | The Amount is the amount of
contrast that I would be adding.
| | 03:30 | Of course the Radius determines how
many pixels, when Camera Raw finds an edge,
| | 03:36 | how many pixels on either side of
the edge it adds that amount to.
| | 03:40 | And then the Detail will suppress it in
areas, because I might really like the
| | 03:45 | sharpening in the back wall, but in the
smoother area, like the bicycle seat, I
| | 03:49 | might want to suppress that amount
and radius, that extra sharpening there.
| | 03:53 | Then in the Noise Reduction area,
because I can't see some noise, especially in
| | 03:57 | the bicycle seat, because remember, in
the Basic panel, I was bringing up the
| | 04:01 | Shadow slider, which introduced noise
into the dark areas, so I'll want to use
| | 04:07 | the Color option here to just
remove some of that color noise.
| | 04:11 | And then I can use the Luminance slider to
remove some of the luminance noise there.
| | 04:17 | I don't want it to get to
smooth, so I am not go too far.
| | 04:19 | Maybe 25 will be just right.
| | 04:22 | When I am finished, I'll zoom out
using Command+0, which will automatically
| | 04:27 | change the view here so that
it is fitting in the window.
| | 04:30 | And I'll use one more shortcut, which is
Command+Option+9 or Ctrl+Alt+9 on Windows.
| | 04:38 | What that does is it takes me directly
to the Preset panel, and that way when I
| | 04:42 | tap the P key to toggle on and off the
preview, it will toggle it on and off for
| | 04:47 | all of the changes that I've
made in all of the different panels.
| | 04:51 | And there you have it.
| | 04:52 | Here is a before, and there's after.
| | 04:54 | You can see that within minutes, you
can apply a few simple nondestructive
| | 04:58 | adjustments in Camera Raw to
really help your image stand out.
| | Collapse this transcript |
|
|
5. Retouching and Creative Techniques in Camera RawUsing the Graduated Filter tool| 00:00 | In an ideal world it would have been
wonderful when I was at this location if I
| | 00:04 | could have stayed a while and actually
waited for the light to come across this
| | 00:09 | black sand and maybe just
illuminate these white rocks here.
| | 00:13 | Well, fortunately, Camera Raw has a
Graduated filter and you can either select
| | 00:17 | it here in the Tool area or just tap the G
key in order to access your Graduated Filter.
| | 00:24 | Most people, when I say Graduated Filter,
they think of a neutral density filter,
| | 00:29 | so they think of a filter that maybe
you've used on your camera in the past that
| | 00:33 | would darken down the sky.
| | 00:35 | And certainly we can use the
Graduated Filter to do just that, but we can
| | 00:40 | also load our Graduated Filter with all of
these different attributes on the right-hand side.
| | 00:45 | So for example, we can change the
Temperature of the Tint, we could change
| | 00:49 | Exposure and Contrast, and we can do all
of these different parameters at one time.
| | 00:55 | You're not seeing anything change
onscreen because all I'm doing is I'm
| | 00:59 | pre-loading the brush, but obviously I
don't want to make all of these changes.
| | 01:03 | My goal here really was to show you
how to reset these, in case you come into
| | 01:07 | this dialog box and yours are set to
something else, because maybe you've
| | 01:11 | used this tool before.
| | 01:13 | In that case, what I want to do is to
reset just a single slider, you would
| | 01:19 | just double-click on the slider. But I
don't want to go to each one of these
| | 01:21 | sliders and do that.
| | 01:23 | So in order to reset everything and
just change the parameters for one of the
| | 01:29 | sliders, you would use
either the minus or the plus icon.
| | 01:34 | So I'll click the minus exposure, and
watch what happens to all the rest of the
| | 01:37 | sliders. They all get reset and the
Exposure slider gets set to a minus amount,
| | 01:43 | which in this case it's in
an increment of a half a stop.
| | 01:46 | If I click the plus, it will go to
plus half the stop. And then of course from
| | 01:50 | here we can always just
change it by moving the slider.
| | 01:54 | So I am going to go ahead and bring that
down to about -1 exposure. Again,
| | 01:59 | nothing is going on in the image area right now.
| | 02:02 | I'm just pre-loading the Graduated Filter.
| | 02:05 | Then the way the Graduated Filter
works is you will click and drag. Where you
| | 02:10 | start, Camera Raw will lay down a green
pin and then as you drag, the distance
| | 02:16 | between the green pin and the red pin is
going to be the gradient, where whatever
| | 02:22 | you load into the filter will fade out.
| | 02:25 | I am going to hold down the Shift key
because that's going to constrain what I
| | 02:29 | draw to a straight line.
| | 02:30 | In case you can't see exactly what's going on,
let's go ahead and really take the Exposure down.
| | 02:36 | I think now you can clearly see at that
the green pin we've got a -4
| | 02:41 | exposure and that slowly fades until
there's no change of exposure by the red pin.
| | 02:48 | If I want to change the angle, all I
need to do is move your cursor over one of
| | 02:54 | the lines, either the red one or the
green one, but move it far away from the pin,
| | 02:58 | because you will have a lot more control
now as you drag and set that angle that
| | 03:04 | you want the Graduated Filter to be applied at.
| | 03:08 | If you want to move the entire
Graduated Filter, meaning that you like the
| | 03:13 | distance between the two pins, you just
simply want to move it, position your
| | 03:17 | cursor on the middle line here
and then click and drag to move it.
| | 03:22 | Let's go ahead and just make this a
little bit shorter, and let's bring
| | 03:26 | the Exposure back up.
| | 03:28 | I just want to make a slight change in
exposure for the sky. Then I might also
| | 03:33 | want to add a little bit of contrast and
I might want to a little bit of clarity
| | 03:37 | as well, just to add some
definition in the clouds.
| | 03:41 | If we scroll down, you'll notice
there's also a Color option. If I click in the
| | 03:46 | blank swatch here, it will bring up
the color picker. And then I can choose a
| | 03:50 | different color to add a tint to the sky.
| | 03:53 | So in this case, I am going to warm it
up just a little bit by selecting yellow.
| | 03:57 | Of course I could do this in
another method as well. I could use the
| | 04:01 | Temperature or Tint sliders.
| | 04:03 | So it's up to you which of the two
ways you use to add color or change the
| | 04:08 | color in your Graduated Filter.
| | 04:10 | So that's really the basics of the
Graduated Filter, but let's do something a
| | 04:14 | little bit more advanced.
| | 04:16 | One of the great things about Camera
Raw is it if you make a change in one area,
| | 04:21 | to maybe say a +1 exposure and
then you make a change in another area to a
| | 04:26 | -1 exposure, if those two areas
overlap, Camera Raw does the math at one
| | 04:32 | time and they basically negate each other.
| | 04:35 | So that's the basics of the Graduated
Filter, but let's do something a little
| | 04:38 | bit more advanced. I want to add some
light down here to draw our attention to
| | 04:43 | the rocks, so I want to create a new
Graduated Filter. And let's go ahead and
| | 04:48 | reset all of the sliders. Since I want
to add light, I want to increase Exposure,
| | 04:53 | so I'll just click on the plus icon.
That resets everything except for Exposure,
| | 04:58 | which now has a plus half stop to it.
| | 05:01 | So I'll position my cursor right about
where the rocks start, I'll hold down my
| | 05:06 | Shift key, and I'll click and drag up
in order to add light to the rock area.
| | 05:12 | I can reposition this, either
tightening the gradient or reposition it
| | 05:16 | completely by clicking on the
line that connects the two dots.
| | 05:20 | I don't think I've made enough
increase in exposure, so let me make that
| | 05:24 | adjustment over here. I think that's a
lot better, but I don't like that it's
| | 05:29 | lightening the foreground.
| | 05:30 | So, what I am going to do is I'm going
to create another new Graduated Filter,
| | 05:36 | and I am just going to put
the opposite amount in Exposure.
| | 05:39 | So I'll click New, and then we'll
just change the plus to a minus here.
| | 05:44 | And again, I'll click and drag up and
you can see that because this Graduated
| | 05:50 | Filter lays on top of the other one,
where I added a positive 1.4 stops and then
| | 05:57 | covered that with this negative 1.4
stops, its changed the tonality of the other
| | 06:02 | foreground back to what it originally was.
| | 06:05 | And now we can freely adjust these.
And I could even go even further with the
| | 06:10 | exposure. If I wanted to go back to the
second Graduated Filter that I drew, all
| | 06:16 | I need to do is select it and then
change that exposure, either making it
| | 06:20 | brighter or darker. And then we can go
back to the last one that I drew and go
| | 06:25 | ahead and make that darker.
| | 06:26 | It's a little distracting with all of
the overlays there, so if I wanted to
| | 06:31 | toggle those off, I come down to the
bottom of my Graduated Filter panel and
| | 06:36 | toggle off or on the overlay. I can
also tap the P key to toggle on and off the
| | 06:42 | preview, to see a before and after.
| | 06:45 | So there you go. With just a few
carefully placed Graduated Filters, we can
| | 06:49 | greatly enhance our images by adding
light to the area that we want to focus
| | 06:54 | the viewer's attention.
| | Collapse this transcript |
| Making local adjustments with the Adjustments Brush| 00:00 | When you need more control than a
Graduated Filter, it's time to master the
| | 00:04 | Adjustment Brush in Camera Raw.
| | 00:06 | Now this is one my favorite tools
because it lets you quickly make changes that
| | 00:10 | can make a huge impact on your image.
| | 00:13 | Before we start making our local
adjustments, I want to make a few
| | 00:17 | global adjustments.
| | 00:18 | I am just going to increase the
Exposure a little bit here and maybe add a
| | 00:22 | little bit of Contrast as well as Clarity.
| | 00:25 | So here we are making changes that
affect the entire image, but now I
| | 00:30 | really want to focus in on some
specific areas and change those locally
| | 00:35 | with the Adjustment Brush.
| | 00:37 | So we can select the brush up here in
the tools or we can tap the K key in order
| | 00:42 | to get the Adjustment Brush.
| | 00:44 | And if you've followed it along with
the last tutorial on the Graduated Filter,
| | 00:48 | you'll notice that as soon as we
selected this local editing tool, we get all
| | 00:52 | sorts of options to load the tool with.
| | 00:55 | In fact, they are the
same options for both tools.
| | 00:57 | I can change Temperature and Tint,
we can change Exposure and Contrast,
| | 01:01 | Highlights and Shadows, add or
subtract Clarity or Saturation, and even
| | 01:06 | selectively paint in Sharpness, Noise
Reduction, Moire Reduction, and even Color Tint.
| | 01:13 | Now there are a few additional tools.
Because this is a paintbrush, we need
| | 01:16 | to be able to control the size of the brush,
the feather, the flow, and the density.
| | 01:21 | So the size of the brush, we could keep
going back and forth, seeing the size of
| | 01:26 | the brush over the image and
then coming back to the slider.
| | 01:29 | But there is a few key
shortcuts that will really help.
| | 01:32 | The first is the right bracket
and the left bracket.
| | 01:36 | So the right bracket makes your
brush larger and the left bracket makes
| | 01:40 | your brush smaller.
| | 01:41 | You'll notice that
there's two circles in the brush.
| | 01:44 | The inner circle, the solid black
circle, any area inside there will be
| | 01:50 | completely affected by
whatever we load into the brush.
| | 01:55 | Then in the area between the two circles,
that's the area that is slowly going to
| | 02:00 | fade so that you won't see like a
straight line or a harsh difference between
| | 02:06 | what's been adjusted and what hasn't.
| | 02:08 | If I want to change that fade range,
that would be done using the Feather slider.
| | 02:14 | Or we can use a keyboard
shortcut for that as well,
| | 02:17 | and that's just adding the Shift key
to the left bracket or the right bracket
| | 02:22 | in order to make a harder edged brush or a
softer edged brush, one that has a feather on it.
| | 02:29 | All right, let's go ahead and
load this up with something dramatic.
| | 02:34 | I am going to go ahead and put a -4
exposure, just to show you the difference
| | 02:38 | of these two brushes.
| | 02:40 | So if I click and paint right now, you
can see that's a very soft-edge brush.
| | 02:45 | If I use the Shift key with the
minus bracket and get a hard-edge brush,
| | 02:50 | we'll see the difference.
| | 02:52 | So you can see how the soft-edge brush,
the one with the feather, is going to be
| | 02:56 | much more subtle, and it's going to
enable us to get a nice transition between
| | 03:01 | what's affected and what's not affected.
| | 03:05 | When I first started painting with the
Adjustment Brush, Camera Raw laid down a
| | 03:09 | pin, and you'll notice that when I
hover on top of that pin, I can see a mask,
| | 03:14 | basically the areas that I've painted.
| | 03:18 | If I don't want this pin, I can simply
tap the Delete key in order to delete it.
| | 03:24 | I don't want my Exposure
set all the way down to -4.
| | 03:27 | In fact, what I want to do is I want to
brighten the horse's eye a little bit.
| | 03:31 | So I am going to set my Exposure to
maybe plus a half stop or so.
| | 03:36 | And then I want to zoom in. I am
going to hold down the Spacebar and the
| | 03:39 | Command key--that'll be the Ctrl key
on Windows--and click and drag over the eye
| | 03:44 | area to zoom to that eye area.
| | 03:46 | I want a smaller brush,
| | 03:48 | So I use the left bracket key.
And I do want a feather on this brush,
| | 03:53 | so let's see what that set to.
| | 03:55 | It's set to 0 right now.
| | 03:57 | Let's go ahead and bring that up to 100.
| | 03:58 | And I will still need even a smaller brush.
| | 04:02 | You'll notice as the brush gets
really small, it's hard to see the feather,
| | 04:06 | because there is just not
enough room to draw that as an icon.
| | 04:09 | So sometimes you will have to check
the Feather slider. And if the brush gets
| | 04:14 | really small then it's just
going to change to the crosshairs.
| | 04:17 | But I'll go ahead and paint right here
in the eye area in order to lighten that.
| | 04:22 | When I let go, we'll see the pin.
If I position my cursor on top of it, we'll
| | 04:26 | see the mask overlay.
| | 04:28 | So that's the area that's going to
be affected, and now we can zoom out.
| | 04:32 | I'll use Command+0, Ctrl+0 on Windows,
to zoom back to fit in window, and then
| | 04:39 | tap the P key to toggle on and off
the change that I have just made.
| | 04:45 | I can also turn on and off the pins by
clicking on the option at the bottom of
| | 04:50 | the Adjustment Brush panel area.
| | 04:53 | If I think that the adjustment that
I've made is too much, we can go in and
| | 04:58 | modify that. We'll scroll up to the top here.
| | 05:02 | I could change the exposure,
either increasing it or decreasing it.
| | 05:06 | I could add some contrast if I wanted to.
| | 05:09 | I could even scroll down, click on
the color swatch, and let's make this a
| | 05:16 | little bit warmer tone.
| | 05:17 | I am just going to add a little bit
of orange in order to make that kind of
| | 05:21 | a browner tone there.
| | 05:23 | And when you add color to an eye,
if you add a brownish tone, it actually can
| | 05:28 | help make the person, or in this case
the horse, a little bit healthier looking.
| | 05:33 | So I think that's a little bit too much,
but we'll just drag that down and click OK.
| | 05:39 | Again, I can show or hide the pin and tap
the P key to turn the preview on and off.
| | 05:45 | So you can see, it's a very subtle
change, but it does make a big difference by
| | 05:49 | allowing us to see into the
horse's eye and kind of feel more of a
| | 05:53 | connection with the horse.
| | 05:55 | If I wanted to add a secondary adjustment--
let's go ahead and show that pin again--
| | 06:01 | before I start changing or loading the
pin with different adjustments, I'll
| | 06:05 | want to make sure that I click the
New button; otherwise, I would just be
| | 06:10 | changing the adjustments
that were applied to this pin.
| | 06:15 | So we'll click New, and this time I
want to just darken down this area of
| | 06:19 | the hair a little bit.
| | 06:20 | Let's add some contrast and again, if
I want to reset all of the adjustments at
| | 06:27 | one time and just add a different
adjustment then instead of double-clicking on
| | 06:32 | all the sliders, I'll just
click on the Plus icon over here.
| | 06:36 | So now I have a +25
contrast. That might not be enough.
| | 06:39 | Let's go ahead and
lift that a little bit more.
| | 06:41 | I also want to take down my highlights
in this area because I know that probably
| | 06:47 | this range of hair is going to fall in
this highlight areas, and that's what I'm
| | 06:51 | trying to darken down.
| | 06:52 | And I want to add some Clarity or
some midtone contrast in those areas.
| | 06:57 | I'm really just guessing at this point
as to what to set the tools to. As soon as
| | 07:02 | I start painting, I'll
actually get a better idea.
| | 07:06 | So, when we painted the eye, I did it
in one fell stroke, but sometimes it's
| | 07:12 | better to build up the adjustment.
| | 07:15 | In order to do that, I am
going to turn down the Flow.
| | 07:18 | So now it's going to take me multiple
paintstrokes over an area to reach like
| | 07:25 | 100% of all of these changes that I've made.
| | 07:28 | So that just gives me a bit more of an
opportunity to slowly build up a change,
| | 07:33 | as opposed to applying it all at once.
| | 07:35 | So let's start painting in the hair
area, and you can see that it's making a
| | 07:39 | change, but it's not making as drastic of a
change because I've got that Flow set down.
| | 07:45 | So that enables me to paint over
different areas multiple times and slowly
| | 07:50 | build up that adjustment.
| | 07:51 | Now if that adjustment isn't quite enough, then
we can return back to all of our settings here.
| | 07:58 | I could maybe take down the Exposure a little.
| | 08:00 | That's probably going to be too much.
| | 08:02 | So I'll leave that set up.
Maybe just add a little bit more contrast before
| | 08:06 | I take down the Exposure and as I do
that, you can see that I'm regaining
| | 08:11 | detail in that area.
| | 08:13 | To toggle off the pins, we can use the
little check mark and then tap the P key
| | 08:18 | in order to see a preview.
| | 08:20 | Now it looks like I have painted a
little bit too much into the sky area here,
| | 08:25 | so then I want to switch, instead of adding
every time I paint, I actually want to erase.
| | 08:32 | When we scroll down, the Eraser tool and
the Add tool are two separate tools, so
| | 08:39 | they can have their own settings.
| | 08:41 | You have to be a little bit careful
when you switch back and forth between
| | 08:45 | painting versus erasing because you
might not realize, for example, that you've
| | 08:49 | got a harder edge brush, or your Flow
might be set differently for the two tools.
| | 08:55 | So I definitely want to add a huge
feather, get a nice soft brush, and bring my
| | 09:00 | Flow down so that I can just paint in
little strokes here to kind of blend
| | 09:06 | that area, that sky area, so that we
don't see that I have actually painted in
| | 09:10 | an adjustment there.
| | 09:11 | And now toggling on and off the
preview with the P key, you can see that I've
| | 09:16 | got it a lot more exact without
changing the sky but only bringing down the
| | 09:21 | highlights in the mane.
| | 09:24 | Finally, I'm going to make one more adjustment,
| | 09:26 | so I'll click the New button. And in this
adjustment I want to add a little bit of clarity,
| | 09:31 | so to reset everything at one time but
just apply the clarity, we'll click on
| | 09:36 | the Plus icon here.
| | 09:39 | Then I'll move down to the mouth area
and use the right bracket to get a little
| | 09:44 | bit larger of a brush here.
| | 09:46 | It's got a nice feather on it. I can
see that. And I am just going to paint
| | 09:50 | over the mouth area.
| | 09:51 | It's just going to add a little bit of
definition, because I really, really like
| | 09:56 | those lines there and I want to accentuate them.
| | 09:59 | Tap the P key one more time to
show a little before and after.
| | 10:03 | You can see how I've kind of added a
little bit of contrast by using that
| | 10:06 | Clarity slider down at the horse's muzzle.
| | 10:10 | It's as easy as that.
| | 10:11 | We've made this image far more
interesting, in my opinion, by making some simple
| | 10:15 | local edits using Camera Raw's Adjustment Brush.
| | Collapse this transcript |
| Retouching blemishes with the Spot Removal tool| 00:00 | Although the Spot Removal tool was
initially designed to remove spots that
| | 00:04 | appear on your image as a result of
having dust on your sensor, it can also
| | 00:07 | be used to make basic corrections
such as removing a blemish or other
| | 00:11 | distracting item in your image.
| | 00:14 | So let's go ahead and zoom in
right here on the girl's face.
| | 00:18 | And although I actually don't think
technically these are blemishes--I think
| | 00:22 | these are actually small little moles or
freckles--we're going to go ahead and remove them.
| | 00:26 | So in order to select the Spot Removal
Brush, you can tap the B key or select
| | 00:32 | the tool from the tools.
| | 00:33 | And over on the right-hand side, you'll
see that there are two different options.
| | 00:37 | You can either set it to Heal or to Clone.
| | 00:41 | When you set the tool to the Clone
option, you're going to be making an exact
| | 00:45 | duplicate of the area that you sample.
| | 00:48 | I actually want to set it to Heal
because I want Camera Raw to automatically
| | 00:54 | adjust the tonality and the colors of
the source area that I pick up and place
| | 00:59 | that on top of the blemish in
order to seamlessly remove it.
| | 01:03 | In order to adjust the size of the brush,
you want to change the Radius slider.
| | 01:08 | You can also change it by using the
left bracket key or the right bracket
| | 01:11 | key in order to make it larger or smaller.
| | 01:15 | And you don't have to actually just
click over an area with a large or small
| | 01:20 | brush, because you'll notice when the brush
gets too small, all you have are the crosshairs.
| | 01:25 | Then it becomes much easier to simply
click on top of the blemish that you want
| | 01:29 | to remove and drag out the circle.
| | 01:33 | Now let's zoom in using Command+Plus or Ctrl+Plus.
| | 01:36 | You'll notice that there are two dots.
| | 01:38 | The red dot is the area that we want to remove;
| | 01:41 | it's the area that we want to heal.
| | 01:44 | And what Camera Raw has done is it's
set down a green dot to sample from, so
| | 01:50 | it's taking the information that's
under the green dot and it's moving it over
| | 01:54 | to the area under the red dot, and
it's seamlessly healing it for me.
| | 01:59 | Now we can change the size of these
dots by simply clicking and dragging, and
| | 02:04 | really, you want to make the
smallest-sized dot possible.
| | 02:08 | When I position my cursor inside the
dot, you'll notice I can also move this.
| | 02:13 | So let's make it just a wee bit larger.
| | 02:15 | I want to make sure it's a little bit
larger than the area that I'm trying to cover.
| | 02:20 | And then we can tap the V key
to hide and show that overlay.
| | 02:26 | So now let's move to this dot right here.
| | 02:28 | Again, I could simply click or I can click
and drag to set the circle size myself.
| | 02:35 | If this green dot is somewhere that I
don't want it, you can just position your
| | 02:39 | cursor inside the green dot in order to
relocate it and to help out Camera Raw
| | 02:44 | pick the source or the area to sample from.
| | 02:47 | I'll click again right here and drag,
and then once more right here, and even
| | 02:55 | over on this area right here.
| | 02:57 | Here I can see that it's selecting
an area that's too dark, so I'll move
| | 03:01 | over the sample area.
| | 03:03 | I'll click again right here and maybe
click and drag right here, just to make
| | 03:08 | sure that the sample size is large
enough, and then move over the area that I
| | 03:13 | want it to clone from.
| | 03:15 | Tapping the V key will toggle the
overlay on and off, and tapping the P key will
| | 03:21 | show the preview of before and after.
| | 03:24 | So the next time that you have some
simple blemishes or distracting elements in
| | 03:29 | your image, give the Spot Healing Brush a try.
| | 03:32 | I think that you'll find that you can
avoid spending time fixing little problems
| | 03:35 | like this in Photoshop and just take
care of them right here in Camera Raw.
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| Exploring a quick portrait retouching technique using Clarity| 00:00 | Let's take a look at another
technique that can save you time by quickly
| | 00:04 | softening skin while
keeping the eyes and lips sharp.
| | 00:09 | In order to do this, we're going to use
the Adjustment Brush, because we want to
| | 00:12 | control exactly where the effect is applied.
| | 00:15 | The first thing we'll do is we'll zoom in,
so I'll use the Spacebar and the Command key--
| | 00:19 | the Spacebar and Ctrl key if you're on
Windows--to zoom in to the girl's face.
| | 00:25 | And then I've got my Adjustment Brush
selected, but you could tap the K key or
| | 00:29 | select it from the tools.
| | 00:32 | I want to make sure that all of the
settings here have been zeroed out except
| | 00:36 | for the Clarity setting, which I want
to drag down to, say, maybe -60 or so.
| | 00:42 | Then let's take a look at our Brush options.
| | 00:45 | I've got a relatively small brush--it's
set to 9--but I actually want it a little
| | 00:49 | bit smaller, so I'm going
to use the left bracket in order to resize this down.
| | 00:55 | I want to make sure that my brush has
a nice soft edge so I'll make sure the
| | 00:58 | Feather is set to a 100%.
| | 01:01 | And let's set the Flow up maybe to around 50%.
| | 01:04 | This means that I'll need to paint at
least twice in each area to get the full
| | 01:09 | effect of the -60 Clarity, but it's
going to ensure that I get nice soft edges.
| | 01:17 | I'll keep the Density at 100
and then we'll click and we'll start
| | 01:20 | painting over the skin.
| | 01:23 | I'm not going to be very careful;
| | 01:25 | I'm going to go ahead and paint right
over the lips and eye as well, because I
| | 01:30 | can always remove that
from the area that I painted.
| | 01:35 | So once I've built up that Clarity--
and I know I've built it up because if I
| | 01:39 | position my cursor over the pin,
we can see that white mask--
| | 01:45 | I need to cut a hole in the mask over
the eyes and the lips because right now
| | 01:50 | this negative Clarity is not only softening
the skin, but it's also softening her eyes.
| | 01:56 | So I'm going to switch, instead of
using the Add option, I'll click to Erase.
| | 02:00 | I'll want to make sure that I have a large
Feather, and let's go ahead and increase the Flow.
| | 02:06 | I'll zoom in by using Command+Plus or
Ctrl+Plus on Windows, use that left bracket,
| | 02:13 | get a little smaller brush here,
and now we can just paint over her eye area anywhere
| | 02:22 | that I want to be sharp because what I'm doing,
remember, is I'm cutting a hole in the mask.
| | 02:29 | So I've already applied the negative
Clarity to this area, but by painting on it
| | 02:34 | with the Erase option here in the
Adjustment Brush, I'm erasing the skin
| | 02:39 | softening from those areas.
| | 02:41 | So again, if I hover my cursor on top
of the pin, you can see that basically
| | 02:45 | I've cut through all of these areas.
| | 02:48 | If I want the mask to show
permanently, I can toggle that on.
| | 02:52 | I could even click here to
change the color of the mask.
| | 02:55 | But for now, white will be just fine.
| | 02:58 | Now I've made a little mistake up here,
so I'm going to switch back to my Add
| | 03:02 | Brush, use the left bracket
| | 03:05 | to make it little smaller, and then just
paint right here to paint out that area of her skin.
| | 03:12 | So let's go ahead and toggle off the
mask and now I'll tap the P key to show us
| | 03:18 | a preview of before and after, and you
can see how just her skin texture is a
| | 03:23 | little bit softer than before.
| | 03:26 | Since the pin is still selected, if I
wanted to make a change to the amount of
| | 03:31 | clarity that I've added, I can go
ahead and just drag the Clarity slider down
| | 03:35 | more to the left, to get softer skin, or to
the right to reveal a little bit more detail.
| | 03:41 | Obviously, I could go all the way to
the right-hand side if this was maybe
| | 03:46 | a weathered fisherman that I was
trying to make look maybe like more
| | 03:50 | intensely weathered.
| | 03:52 | But I don't want that;
| | 03:53 | I want to use this as a nice skin
softener, so I'll move the Clarity down to
| | 03:57 | about maybe 60 or 70.
| | 03:59 | Before we wrap up, I'll just point out
that you can apply a negative Clarity
| | 04:03 | to the entire image.
| | 04:05 | If I return back to the Basic panel--
I'll just use my Zoom tool and zoom out--and
| | 04:12 | then you can see down here
we've got the Clarity slider.
| | 04:15 | If I move the Clarity slider to
the left, you can see how it kind
| | 04:18 | soft-focuses the entire image.
| | 04:21 | But honestly, I want more control over it.
| | 04:24 | I just want it to soften the skin, which
is why we went into the Adjustment Brush,
| | 04:29 | so we could have that control.
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| Converting to black and white| 00:00 | One of my favorite features in Camera
Raw is its ability to completely customize
| | 00:05 | the way that you can convert a
color image to black and white.
| | 00:09 | Unfortunately, if you are in the Basic
panel, your first tendency might just be
| | 00:13 | to come down to either the
Vibrance or the Saturation slider.
| | 00:17 | But really, you don't have any
control other than desaturating the image.
| | 00:22 | So, let's reset that.
| | 00:24 | And instead, we're going to move
over to the HSL and Grayscale panel.
| | 00:30 | I can convert this image to
grayscale and I get a grayscale mixer.
| | 00:35 | But first, I do want to point out,
when I convert this to grayscale, did you
| | 00:39 | notice that it already looks better?
| | 00:41 | That's because Camera Raw is
actually analyzing the image.
| | 00:45 | And if I go to my Preferences here,
you can see that the Default image Settings
| | 00:50 | for converting to black and white
will apply an auto grayscale mix.
| | 00:55 | So, I definitely want to leave that on.
| | 00:58 | In the Grayscale Mix area, I now have
the option to selectively pick a color
| | 01:04 | range and decide how I want that color
range converted to a grayscale value.
| | 01:11 | So, you can see, as I move this to the left,
all of the reds in the image get darker.
| | 01:17 | If I move it to the right, the reds get lighter.
| | 01:19 | So I can control how the red paint on
the top of the houses gets converted.
| | 01:26 | Likewise, I could go to the oranges.
| | 01:28 | You can see there's a lot of orange in
the door and there is a little bit of
| | 01:31 | orange in the background.
| | 01:32 | If I want to darken that down, I can.
| | 01:34 | As for the yellows, I can click
left or right and see what I like.
| | 01:39 | I actually like the way that it is
lightening up the grass in the foreground.
| | 01:43 | And I can add to that with the Green slider.
| | 01:46 | There is not a lot of aqua in the image,
so moving that slider doesn't do much.
| | 01:51 | Likewise, moving the Blue slider
doesn't do a lot, but you can imagine, if you
| | 01:55 | could see the sky in the image,
this would have a tremendous impact.
| | 01:59 | There isn't a lot of purple in the
image, nor is there a lot of magenta, so
| | 02:04 | moving these sliders isn't going
to make that big of a difference.
| | 02:08 | But now, if I tap the P key,
we get a preview of before and after.
| | 02:13 | You can see that I have completely
customized the way this color image got
| | 02:17 | translated into black and white.
| | 02:19 | So to review, I would just stay away
from simply desaturating your image in the Basic
| | 02:25 | panel, but instead convert it
to grayscale using the HSL panel.
| | 02:29 | That way, you have a lot more control
over how each individual color range gets
| | 02:34 | converted to black and white.
| | Collapse this transcript |
| Editing images directly with the Targeted Adjustment tool| 00:00 | One of the most powerful tools that you
can use when converting your images from
| | 00:05 | color to grayscale is the
Targeted Adjustment tool.
| | 00:08 | You can select the Targeted
Adjustment tool or you can tap one of these
| | 00:13 | shortcuts, depending on which
version of the tool you want.
| | 00:15 | There is a Targeted Adjustment tool that
will allow you to change the parametric
| | 00:19 | curve, the hue, saturation,
luminosity of an image, or the grayscale mix.
| | 00:26 | That's the one that we want.
| | 00:27 | As soon as I select Grayscale Mix,
you'll notice that Camera Raw has converted
| | 00:32 | my image to grayscale, and it's
brought up the correct panel for me.
| | 00:37 | The Targeted Adjustment tool allows me
to click in any tonal range, or really
| | 00:43 | color range because Camera Raw is
only displaying this as a black-and-white
| | 00:47 | image, but all the color is
still in the original file.
| | 00:51 | So the Targeted Adjustment tool
allows me to click anywhere in the image,
| | 00:54 | it samples that color, and then
depending on if you drag up or down, it will
| | 01:02 | select the corresponding sliders
and change the way those colors are
| | 01:07 | converted to grayscale.
| | 01:09 | The reason that I like this tool
so much is because of two reasons.
| | 01:12 | One, I don't have to know what
the original color is in the image.
| | 01:16 | If I want to change something, all I
need to do is click and then drag up and
| | 01:22 | down, in order to change it.
| | 01:24 | And the second reason is because the
Targeted Adjustment tool will select the
| | 01:29 | corresponding sliders.
| | 01:31 | So, if I click on a color that is made
up of more than one color, instead of me
| | 01:37 | sitting here and manually seeing which
color is affected, if the color is made
| | 01:42 | up of two colors, it will go ahead
and change both of those sliders for me.
| | 01:47 | So if I click in the green grass,
because I think it is green, well, Camera Raw
| | 01:53 | is going to help me out by also moving
the yellow slider, because the grass is
| | 01:56 | made up of a combination
of both green and yellow.
| | 02:00 | If I click in the background and drag
down, you can see that there is a lot more
| | 02:04 | orange in the dirt area, so it
will modify that color range for me.
| | 02:09 | Another interesting effect might be to
simply decrease some of the colors in the
| | 02:14 | image but not take the image
completely to black and white.
| | 02:18 | If I select one of the other
Targeted Adjustment tools, for example the
| | 02:22 | Saturation Targeted Adjustment tool,
you'll notice that Camera Raw automatically
| | 02:27 | brought me back to Color.
| | 02:30 | Now, when I click and drag down, you
can see that it is changing the saturation
| | 02:36 | in the tonality and colors that I click.
| | 02:39 | So if I wanted to desaturate the red
a little bit and maybe desaturate the
| | 02:43 | yellows a bit, I can go ahead and
just click and drag in that color range.
| | 02:48 | So now I've got not a black-and-white
image, but a desaturated image that kind
| | 02:53 | of gives me a different feel to the
photograph, making it look a little bit more aged.
| | 03:00 | You might also want to try removing all
of the color in all of the color ranges,
| | 03:05 | so for example, in the greens and in
the yellows, but then leave just one color
| | 03:11 | here in order to isolate a subject or
draw the attention of the viewer to a
| | 03:18 | specific part of your image.
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| Creating selective color effects with the Adjustment Brush| 00:00 | Another excellent use of Camera
Raw's Adjustment Brush is to achieve a
| | 00:04 | selective color effect.
| | 00:06 | Typically, the majority of the image
appears as grayscale and only the primary
| | 00:10 | subject remains in color
when you use this technique.
| | 00:14 | Now, there are two different ways that
we can do it, and I'm going to walk you
| | 00:17 | through both of them.
| | 00:18 | So the first way would be to
simply select the Adjustment Brush.
| | 00:22 | You can tap the K key on the keyboard
to select it. And then make sure that
| | 00:27 | all of the sliders are set to 0, except for
the Saturation slider, which we'll take to -100.
| | 00:34 | Now, in this image, it's going to be
quite easy to change the background area to
| | 00:40 | grayscale if we turn on Auto Mask.
| | 00:44 | I'll use the right bracket in order to
get a larger brush, and you can see that
| | 00:49 | in this brush, there are
crosshairs right in the middle.
| | 00:52 | Those crosshairs, I can drag anywhere
in the background, but I don't want to
| | 00:57 | drag them on top of the green leaves,
because if I drag the crosshairs on top of
| | 01:01 | the leaves, it will sample that color
and then try to take that to grayscale.
| | 01:06 | Well, I don't want the leaves grayscale.
| | 01:08 | So let's start painting, and I'm just
going to be sure that I don't put the
| | 01:13 | crosshairs underneath or on top of those leaves.
| | 01:16 | So I can go in between them.
| | 01:18 | I can go ahead, and paint
everywhere else, just being careful that the
| | 01:25 | crosshairs don't go over the leaves.
| | 01:28 | Of course, I can let go and
then start painting again.
| | 01:31 | This doesn't all have to be
done in one simple stroke.
| | 01:35 | You can let go as many times as you want.
And we'll just work our way around the image.
| | 01:41 | Because I've got this Auto Mask turned on,
there might be some areas that I've missed.
| | 01:46 | So let's go ahead and show the mask and
then we can turn off the Auto Mask and
| | 01:51 | just go in and paint in some of these
areas that we might have accidentally
| | 01:56 | skipped over. And I'll use the left
bracket key to get a smaller brush and just
| | 02:02 | paint out over here.
| | 02:04 | Now, I'll do this rather quickly
so we don't waste a lot of time.
| | 02:07 | I think we've got that the way we want it.
| | 02:10 | I will toggle off the mask. And I
might turn on Auto Mask just one more time,
| | 02:14 | because there might be a few areas in here
that I actually want to convert to grayscale.
| | 02:19 | I'm just not sure that you're going to
be able to see them onscreen, because
| | 02:23 | they're almost grayscale to begin with.
| | 02:26 | Once I've got the areas converted
to grayscale, the nice thing about
| | 02:30 | this technique, and doing it this way,
is I've created the mask for that
| | 02:34 | whole background area.
| | 02:36 | So, not only can I change that so that
it appears to be grayscale, because I've
| | 02:41 | got the pin still selected,
we can add additional options.
| | 02:46 | So, for example, if I wanted to take
the exposure down a little bit in the
| | 02:50 | background, I can do that in order to
make the plant kind of pop forward. Or if I
| | 02:55 | wanted to, say, colorize the background,
we could add a color wash by clicking in
| | 03:00 | the color swatch here and then adding
like a tint, maybe a yellow tint or an
| | 03:05 | orangeous tint to the background.
| | 03:07 | It all just depends on what you want to do
to separate the background from the leaves.
| | 03:12 | I actually prefer it without, so
we'll just reset that to 0 and click OK.
| | 03:17 | Now, if I tap the P key, we can toggle
on and off the preview, and you can see
| | 03:22 | that by spending just a few minutes in
here with the brush set to Desaturate as
| | 03:27 | well as changing the exposure, we've
really made a dramatic impact to the image,
| | 03:32 | in that the leaves really look much
more separated from the background.
| | 03:37 | Now, the second way that we can do
this, we'll need to reset the file.
| | 03:41 | So I'm going to hold down the Option key.
| | 03:43 | You notice when I hold down the Option
key on the Mac or the Alt key on Windows,
| | 03:47 | the Cancel button turns to Reset.
| | 03:49 | So I'll go ahead and click Reset.
| | 03:52 | Now, what this technique will do is
it's actually going to take the whole image
| | 03:57 | to appear as if it's grayscale and
then we can selectively just paint in a
| | 04:02 | specific area that we want in color.
| | 04:05 | So to do this, let's go back to the
Basic panel, and the way I did that was I
| | 04:10 | just tapped the Z key.
| | 04:12 | That will put back my Adjustment Brush.
| | 04:14 | You could also tap the K key.
That would toggle off Adjustment Brush.
| | 04:18 | Then we'll click on the Basic panel.
| | 04:20 | You don't want to use the
Saturation or Vibrance sliders.
| | 04:24 | Don't go here; instead come over to HSL
and Grayscale, and just take the color
| | 04:31 | ranges down in saturation to -100.
| | 04:36 | You don't actually have to drag the sliders.
| | 04:38 | I can just click on the far-left side of
the slider in order to bring those all down.
| | 04:43 | Now, it appears as if the entire image
is grayscale, but of course, everything
| | 04:47 | here is nondestructive.
| | 04:48 | So it's just showing me that it's
in grayscale. But I can go back to my
| | 04:54 | Adjustment Brush, and instead of
loading a negative saturation, I'll load in
| | 05:00 | positive saturation, and we'll make
sure to take off that negative exposure.
| | 05:05 | But now, wherever I paint, I'm going to be
painting back in the color from the image.
| | 05:12 | So the HSL panel just simply hid the
color, and now I can use the Adjustment
| | 05:19 | Brush in order to paint in, selectively,
wherever I want that color to appear.
| | 05:24 | Now, the nice thing about doing the
technique this way is that I can now go
| | 05:30 | back to the HSL panel.
| | 05:33 | So I'll tap the K key to get back to
my panels. And if I decide that I don't
| | 05:38 | want the whole background to be solid
grayscale, if I want to bring back some
| | 05:44 | of the colors, I can simply set these
sliders up a little bit to bring back
| | 05:50 | some of that color.
| | 05:51 | It's two very different kinds of
effects that you get. There are advantages
| | 05:55 | of using both of them.
| | 05:57 | You kind of need to analyze what the end
goal is of your image and then pick the
| | 06:02 | technique that will work best for you.
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| Using sepia and split-tone effects| 00:00 | Traditionally, photographers could
use special printing techniques in the
| | 00:03 | darkroom in order to tint a print.
| | 00:06 | Depending on the preference, color
could be added in the shadow area of the
| | 00:10 | image or in the highlights, and it
really depended on the process that was used.
| | 00:15 | So if you're trying to mimic a
traditional sepia tone, which the sepia tone can
| | 00:20 | vary from kind of a red brown to a
deeper purple, you need to add the color in
| | 00:25 | the dark areas of the image.
| | 00:27 | But first, we need to
convert the image to grayscale.
| | 00:30 | So let's click on the HSL Grayscale panel
and then choose to convert this to grayscale.
| | 00:36 | Then we'll click on the Split Toning
panel, and to get the sepia tone color,
| | 00:41 | we're going to want to use the Hue
and Saturation in the Shadows area.
| | 00:46 | There are two ways you can do this.
| | 00:48 | You can either increase your
saturation until you get about the amount of
| | 00:52 | saturation you think you want, and
then you can change the Hue slider; or you
| | 00:58 | can use a little shortcut which is
holding down the Option or the Alt key.
| | 01:03 | When you do this and you move the
Hue slider, you can see a preview of the
| | 01:08 | color that you're selecting at 100%.
| | 01:11 | If you don't hold down the Option or
the Alt key and you move the Hue slider,
| | 01:14 | you won't see any color.
| | 01:16 | So it's the Option or the Alt key that
gives you that full-on 100% Saturation
| | 01:22 | view that's really helpful because that
way, you can choose the color that you want.
| | 01:27 | Then you let go of the Option or the
Alt key and just dial in the amount of
| | 01:32 | saturation. And you can see that the
saturation, the color, is actually being
| | 01:37 | added in the dark areas of the image.
| | 01:40 | If we wanted to achieve a different
effect--maybe we wanted to achieve an
| | 01:45 | antique-looking image--
| | 01:47 | well, an image looks antiqued because
you've added color into the highlights of
| | 01:53 | the image, similar to maybe
the paper fading over time.
| | 01:57 | So I'm going to remove the saturation
from my shadows, and instead hold down
| | 02:02 | the Option or the Alt key, pick a yellow
color, let go of the Option or Alt key,
| | 02:08 | and then dial in the saturation.
| | 02:10 | You can see how the color is being
added in the highlight areas here.
| | 02:14 | It's a very, very different look.
| | 02:16 | Of course, one of the benefits of
working with Camera Raw and working
| | 02:21 | digitally is that you can also
create some really excellent cross-process
| | 02:27 | techniques, in which case, you would
be adding different colors to the shadow
| | 02:32 | as well as the highlights.
| | 02:34 | So let's say, for example, I wanted
to add a bluish tint to my shadows.
| | 02:39 | I've got the Option or the Alt key
held down, I select the color, I let go of
| | 02:44 | the modifier key, and then I just
dial in the amount of saturation.
| | 02:49 | There is one additional feature, and
that is this Balance Option, and it kind of
| | 02:54 | splits the image in half, and you can define
where the shadows cross over to the highlights.
| | 03:02 | So for example, if I move the slider
down to the left, you'll notice that I get
| | 03:05 | a lot more blue and a lot
less yellow in my highlights.
| | 03:10 | If I move the balance over to the right,
I'm splitting it in the other direction.
| | 03:13 | I get less areas that are blue and more
areas that are tinted with that yellow.
| | 03:19 | Of course, these digital effects aren't
exactly like the results that you'd be
| | 03:23 | able to achieve in the traditional
darkroom, but I suppose that there are
| | 03:26 | benefits to not having to work with
some of those chemicals that photographers
| | 03:30 | have had to use in the past.
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| Adding digital film grain texture effects| 00:00 | Another way to mimic the traditional
photographic process is by adding grain to a file.
| | 00:05 | This grain is not the same as the
digital noise that most of us want to
| | 00:09 | remove from our image.
| | 00:10 | Digital noise tends to be harsher
and more structured, whereas the
| | 00:14 | traditional grain that was created by
using more sensitive or higher ISO film
| | 00:19 | was much softer and organic.
| | 00:21 | In order to add grain to this image,
I think I will first convert it to
| | 00:26 | grayscale using the HSL/Grayscale panel,
and I'll also add a little bit of a
| | 00:31 | sepia tone by moving the Saturation slider
and the Hue slider in the Split Tone panel.
| | 00:38 | Then we can move to the Effects panel.
| | 00:40 | Here is where I can change the amount of grain,
adding just a little bit of grain or a lot.
| | 00:46 | We might want to zoom in while we add
this grain, so I'll use Command+Plus in
| | 00:51 | order to just zoom in a bit.
| | 00:54 | You can see now, the amount gets
more or less based on the Amount slider.
| | 01:01 | You can see that the size of the
grain gets smaller or larger, and we can
| | 01:06 | control the roughness of the grain,
either making it very rough and contrasty or
| | 01:12 | making it much more organic by
moving it over to the right side.
| | 01:17 | I'm going to go ahead and set the
roughness down a little bit, as well as the
| | 01:21 | size, and just decrease the Amount.
| | 01:23 | I think there is just a little bit too
much grain being added and losing too
| | 01:27 | much detail in the image.
| | 01:29 | If you're adding grain to your images,
I would suggest that you print those
| | 01:34 | images to get an idea of how much
grain you would add to each image, because
| | 01:40 | the file size of the image and the
destination that you're going to take that
| | 01:44 | image to, it won't change the grain structure,
but it will change how the grain appears.
| | 01:49 | So you kind of want to get
comfortable and do a few experiments to find out
| | 01:53 | exactly the amount of grain to
apply maybe for print versus for screen.
| | 01:57 | One of the nicest aspects about this
technique is that there really is no right or wrong.
| | 02:03 | Adding grain is simply an aesthetic
choice that you make based on the story that
| | 02:07 | you're trying to tell with your images.
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| Adding vignettes and border effects| 00:00 | In order to keep the viewer's eye
within the image, it can be helpful to darken
| | 00:04 | down the edges of the photograph.
| | 00:07 | In order to do this, we'll scoot over to
the Effects panel and move down to Post
| | 00:11 | Cropping Vignetting.
| | 00:12 | You can see that there
are three different styles:
| | 00:15 | Highlight Priority, Color
Priority, and Paint Overlay.
| | 00:18 | The Highly Priority actually enables
highlight recovery when you're darkening
| | 00:23 | down the edges, but it can lead to
subtle color shifts in those areas of your
| | 00:28 | images that become darker.
| | 00:30 | It's really great for working with
photos that have bright areas, such as maybe
| | 00:35 | clipped specular highlights
or really bright puffy clouds.
| | 00:40 | The Color Priority, on the other hand,
minimizes the color shifts, so you won't
| | 00:45 | see any shifts in color in the
darkened areas of the photo, but it doesn't
| | 00:49 | perform that highlight recovery.
| | 00:52 | I do notice, though, that the Color
Priority is often much more subtle than the
| | 00:56 | Highlight Priority, so I tend to
find myself using it a lot more.
| | 01:01 | Once you select the style,
you can then change the Amount:
| | 01:05 | moving the slider to the left
is going to darken the edges;
| | 01:08 | moving the slider to the
right will lighten the edges.
| | 01:11 | So in this case I want to add a darker vignette.
| | 01:14 | We can change the midpoint, but I'm not
sure if we can see exactly what's going
| | 01:18 | on, so let's decrease the Amount all
the way, to make sure that we can see the
| | 01:23 | changes that I make to the other sliders.
| | 01:25 | So we can see the Midpoint.
| | 01:26 | Moving it to the left moves the
Midpoint in towards the center of the image, to
| | 01:30 | the right will only apply
the vignette at the very edges.
| | 01:34 | The Roundness slider; if you
move it to the left, it makes more of a
| | 01:38 | rectangular vignette.
| | 01:40 | If you move it to the right, it makes more
of a circular vignette right in the center.
| | 01:45 | The Feather slider is going to
soften the edge of the effect.
| | 01:49 | If you move it to the left,
you get a very hard edge;
| | 01:51 | if you move it to the right,
you get a very soft edge.
| | 01:55 | Most of the times I like my
vignettes to be very soft-edged, so I'll
| | 01:58 | increase the Feather to 100.
| | 02:01 | I'm also going to set the
Roundness back towards the center point.
| | 02:05 | I'm going to drag the Midpoint a
little bit more towards the center, and I'm
| | 02:10 | really going to back off on the Amount.
| | 02:12 | I just want a slight change.
| | 02:14 | And this is one of those great
places where you can tap the P key to
| | 02:17 | preview before and after to make sure that
you're not going overboard with your vignette.
| | 02:23 | At any point in time, you can also
switch back and forth to try out the other
| | 02:27 | styles, so I can quickly go to
Highlight Priority or to Paint Overlay.
| | 02:32 | The only thing with Paint Overlay is
sometimes it tends to make my image look a
| | 02:36 | little bit muddy, so I usually stick
to Color Priority or Highlight Priority.
| | 02:42 | One of the great things that I will
mention about the Post Crop Vignetting is
| | 02:46 | that if you spent this time to create
the vignette and then you decide you want
| | 02:51 | to crop your image, if I tap the C key
to grab the Crop tool, and drag out a
| | 02:56 | crop--and let's just make it really
drastic here--when I tap the Enter or
| | 03:01 | Return key, you'll notice that the
vignette was just recalculated and applied to
| | 03:06 | only this area of the image.
| | 03:08 | If I tap the P key, there is without the
vignette and there is with the vignette.
| | 03:13 | If I change my mind, tap the C key
again and drag out my crop to a different
| | 03:19 | area, when I tap the Return or Enter
key, it will recalculate it again, so
| | 03:24 | that's why it's called the Post Crop Vignette.
| | 03:26 | The vignette will be applied to
whatever canvas you end up with.
| | 03:31 | One last little suggestion I might
make is that you take a look at your image
| | 03:36 | at different sizes to make sure
that the vignette isn't too strong.
| | 03:39 | So I'm going to use Command+Minus
just to zoom out here, because if I knew
| | 03:44 | that this image was going to end up
very small on the web, I just might want
| | 03:48 | to double-check, because sometimes
vignettes look very different at different sizes.
| | 03:52 | So just make sure that you haven't
overdone it when you're using the vignette to
| | 03:56 | darken down your edges.
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| Saving variations within a single file with the Snapshot command| 00:00 | We've already talked about Camera Raw
being nondestructive, and the next feature
| | 00:04 | really emphasizes that point.
| | 00:06 | We're going to talk about snapshots.
| | 00:09 | Snapshots allow you to save
different versions of the same file without duplicating it.
| | 00:14 | So I can process this file, maybe once
for black and white and once for sepia
| | 00:18 | tone, and keep those separate sets of
instructions within this single document.
| | 00:24 | So let's go ahead and give this a try.
| | 00:27 | The first version that I want to
create is a very high-contrast version, so
| | 00:32 | I'll use my Clarity slider to move
this over to the right to add that Midtone
| | 00:37 | contrast. And I also want to remove
the blue color cast up here, so I'm going
| | 00:43 | to select my Targeted Adjustment tool
for Saturation, and I'll click in the
| | 00:48 | blue area and drag down.
| | 00:50 | Let's say that I like to this effect, but
I also want to try out some other effects.
| | 00:56 | I can go to the Snapshot panel, click
on the New Snapshot icon, and we'll name
| | 01:02 | this one High Contrast.
| | 01:04 | I'll click OK and now I can always
return to this version of my image.
| | 01:11 | But for now, let's go back and we'll
reset the Clarity by double-clicking on the
| | 01:15 | slider. And now I want to convert
this to Grayscale, so we'll go to the
| | 01:20 | HSL/Grayscale panel, and we might also
want to add some noise. Kind of doing the
| | 01:26 | opposite of what I just did a minute ago,
where I was making it really a strong
| | 01:30 | and contrasting image, now I want to
make it a really nice soft subtle image.
| | 01:35 | So I've removed the color, we'll go ahead
and add a significant amount of grain, and
| | 01:41 | maybe even a little post-crop
vignette to just darken down those edges.
| | 01:46 | Then I'll go back to the Snapshot
panel again, click New Snapshot, and we'll
| | 01:52 | call this soft and grainy. Click OK.
Now you can see that I can go back to the
| | 01:59 | High Contrast version or
the Soft and Grainy Version.
| | 02:03 | I can even go to my Split Toning panel
and add some reds in my shadow areas and
| | 02:09 | maybe some yellows in the highlight
areas, see how that looks, and maybe change
| | 02:15 | the balance a little bit.
| | 02:16 | If I don't like this look with the
grain, we can come back to our Effects,
| | 02:21 | just double-click on the Amount slider
to remove that grain, and now go back to
| | 02:26 | the Snapshots, click the New Snapshot icon again,
and we'll call this one Split Tone and click OK.
| | 02:34 | So now I can quickly go back and forth
between these three different kind of
| | 02:40 | processing versions of my image.
| | 02:43 | Now, whichever version you're set on
when you click Done is the version that
| | 02:48 | you will see in Bridge.
| | 02:51 | If I want to change this representation
of the file, all we need to do is open
| | 02:56 | it back into Camera Raw, go back to
the Snapshots panel, pick the other
| | 03:02 | snapshot that we want to preview in
Bridge, and then click Done, and Bridge will
| | 03:08 | update that preview.
| | 03:09 | Of course, you could duplicate your
original image and then apply different
| | 03:14 | settings to each version, but that is
going to take up twice as much space on
| | 03:18 | your hard drive, although I have to
admit, sometimes I will do that, if I
| | 03:22 | think, for example, that I might forget that
I have processed a file in more than one way.
| | 03:28 | But for the most part, I would rather
keep the file size down on my computer
| | 03:33 | by just managing a single image and
having Camera Raw manage the multiple
| | 03:38 | versions of that image.
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|
|
6. Automating Camera RawCopying and pasting settings across files| 00:00 | Once you understand the power of Camera
Raw, then you're going to want to speed
| | 00:05 | up your workflow by learning how to
process multiple files at one time.
| | 00:09 | Probably the simplest way to do this
would be to select your image and open it
| | 00:14 | in Camera Raw. Then you
want to apply any adjustments.
| | 00:18 | We'll add a quick effect
in the Post Crop Vignetting.
| | 00:23 | I'll go ahead and make a white border,
we'll change the roundness so that it's
| | 00:27 | along the edge, it's more of a
rectangle, and I'll decrease the Feather, and then
| | 00:32 | we'll bring in that Midpoint.
| | 00:34 | So I've just made a very
basic change to my image.
| | 00:38 | Now I'll go ahead and click Done and
that will return me back to Bridge, and we
| | 00:42 | can see that vignette has been added.
| | 00:45 | Well, if I want to apply that same
vignette to another image, I don't actually
| | 00:50 | have to go into Camera Raw; all I need
to do is select Edit > Develop Settings
| | 00:57 | and then copy my Camera Raw
settings, or use the keyboard shortcut
| | 01:01 | Command+Option+C or Ctrl+Alt+C on Windows.
| | 01:05 | That copies the settings.
| | 01:08 | Now I simply move to the next image
and return to Edit > Develop Settings and
| | 01:14 | now I can paste the Camera Raw settings.
| | 01:17 | Of course, I may or may not want to
paste all of the settings, so I will get
| | 01:22 | presented with a dialog box where I can pick
all of the different settings in Camera Raw.
| | 01:28 | Now I don't want to go and check on
and off each one of these individually,
| | 01:32 | so if you choose the subset menu, we can
quickly move to just the Post Crop Vignetting.
| | 01:39 | When I click OK, Bridge will paste
those Camera Raw settings from the first
| | 01:44 | image to that second image. Before we
wrap up, I should just mention that you
| | 01:49 | can also remove settings from that menu;
just select Edit > Develop Settings >
| | 01:55 | and then Clear Settings. You will
notice that the vignette disappears, as did
| | 01:59 | the icon which would've
suggested that settings had been applied.
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| Processing multiple files in Camera Raw| 00:00 | Another way that you can speed up your
workflow is to work with multiple images
| | 00:05 | in Camera Raw at one time.
| | 00:07 | Let's go ahead and select both of
these images in Bridge and then click to
| | 00:11 | open in Camera Raw.
| | 00:14 | Notice that when you have more than one
image selected in Bridge, those images
| | 00:17 | are now displayed in a
filmstrip on the left-hand side.
| | 00:20 | Obviously, the one that's selected is
the one with the blue line around it, and
| | 00:25 | is the one that we can see in the Preview area.
| | 00:28 | Let's just make a quick change to this.
| | 00:29 | We'll soften it a bit by decreasing the
Clarity slider and we'll desaturate it
| | 00:35 | by decreasing the Vibrance slider.
| | 00:38 | Once I have this image in the state
that I want it, if I want to apply those
| | 00:42 | same settings to another image, I can
simply select it by holding down the
| | 00:46 | Command key or Ctrl key to select
multiple images in the filmstrip, or in this
| | 00:51 | case, I could have simply chosen to
select all, since there are only two images.
| | 00:56 | Then I'll click Synchronize.
And Camera Raw knows because this first image is
| | 01:02 | the primary image--it's the one with the
blue outline as well as the one that's
| | 01:06 | visible in the preview area--
| | 01:07 | it knows that that's the image that
I want to copy the settings from, and
| | 01:12 | then I want to synchronize or paste
those same settings to the other images
| | 01:16 | that I have selected.
| | 01:17 | In this case, I'm going to uncheck the
Post Crop Vignetting, and I'll click on
| | 01:22 | the Vibrance and the Clarity options.
| | 01:25 | When I click OK, those two changes will
be synchronized between the two files.
| | 01:32 | Then we could choose Done to return to Bridge,
or we could save out the files at this point.
| | 01:37 | Now, if I want to make another
change to these two images, and I return
| | 01:41 | back into Camera Raw, the other way
that I could quickly apply the same
| | 01:45 | effect to multiple images at once
is by selecting them both in the
| | 01:50 | filmstrip and then making my change.
| | 01:53 | So now if we go to Effects and I
add a slight vignette, you will notice
| | 01:58 | that that vignette was
automatically applied to all of the images in the
| | 02:02 | filmstrip that were selected.
| | 02:05 | As a little tip, you'll notice that if
I hold down the Option or the Alt key on
| | 02:10 | Windows, the Cancel button here turns to Reset.
| | 02:15 | If I choose to reset my files right now,
they didn't actually reset to the very
| | 02:21 | beginning, those RAW defaults; instead,
it just reset them to the state that they
| | 02:27 | were in when I brought them
into Camera Raw the second time.
| | 02:31 | Of course, if I wanted to strip all of
the settings, then I could use the flyout
| | 02:36 | menu here and just choose Camera Raw Defaults.
| | 02:40 | For now, I'll leave them as this kind
of desaturated and slightly softer image.
| | 02:46 | I sort of like, however, the effect that
I've applied where I've decreased both
| | 02:50 | the clarity and the
vibrance for these two files.
| | 02:53 | If we were done at this point, I could
go ahead and choose to save the images.
| | 02:58 | You'll notice now I can save
multiple images at one time.
| | 03:02 | In fact, I could even save them, choose
one format, and then choose another if
| | 03:08 | I was going to need to batch process these,
say, as Photoshop files as well as JPEG files.
| | 03:14 | Excellent! Now that you know how to work with
multiple images at one time, you're on your
| | 03:18 | way to becoming much more
productive with Camera Raw.
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| Saving and using the library of Camera Raw presets| 00:00 | As you become more and more familiar
with Camera Raw, you'll probably notice
| | 00:04 | that there are certain effects or
looks that you like to apply to your images
| | 00:08 | over and over again.
| | 00:09 | So let's see how we can speed up that process.
| | 00:13 | I'll select all four of the mushroom
images and then open them in Camera Raw.
| | 00:19 | On the first image, let's
make a few simple adjustments.
| | 00:23 | I'll go to the HSL/Grayscale and
we'll convert this to black and white.
| | 00:28 | Then I'll click on the Split Toning panel,
and we can add a slight sepia tone to the image.
| | 00:35 | And finally, I'll go to my Effects
panel and we'll add just kind of a mild
| | 00:40 | darkening of the edges
with the Post Crop Vignetting.
| | 00:43 | If this is a look that I want to
either achieve consistently, because it's
| | 00:49 | something that I want to print for my
clients, or it's just something that I
| | 00:53 | really like, I'm going to save out a preset.
| | 00:57 | So here in my Preset panel,
I'll click the New Preset icon.
| | 01:02 | But here is where you have to kind of
decide how you're going to create your
| | 01:05 | presets, because there is two kind of thoughts.
| | 01:08 | You can either create a preset for each
individual attribute--so for example I
| | 01:12 | could create a preset to make the
image black and white, I could create
| | 01:15 | another preset to add the vignette, and I
could create another preset to add the sepia tone.
| | 01:20 | What that allows me to do is kind of
mix and match, so I could make a dark
| | 01:24 | vignette and a light vignette, and then
I could quickly swap in between those.
| | 01:29 | The other school of thought is you
could make your preset that contains all of
| | 01:33 | those attributes so that you have a
set look with just a single click.
| | 01:38 | Let's go ahead and do it both ways.
| | 01:40 | The first way is I'm going to just save
first the vignette. So we'll go to Post
| | 01:46 | Crop Vignetting. That's the only option
that's toggled on. And I will call this
| | 01:51 | Vignette, and I will call it Black, and click OK,
and you can see that I have my first preset.
| | 02:00 | Let's create another preset.
| | 02:02 | In this case, I want to create the split toning.
| | 02:05 | So I'll call this ST for
split tone, and then Sepia.
| | 02:11 | There's actually a reason why I'm
starting it with ST, and that is I want to
| | 02:16 | make sure that all of the presets
that I create for toning images are
| | 02:21 | alphabetically in the same area.
| | 02:23 | If I just call one Sepia and then
Cyanotype, I'm going to have a much more
| | 02:27 | difficult time picking those
presets from the panel. So I'll click OK.
| | 02:33 | We have our second preset.
| | 02:34 | I'll make one more. And this is simply
going to keep our grayscale conversion,
| | 02:40 | so this one I'll just call Black and White.
| | 02:44 | Now, let's move to another image
and apply some different settings.
| | 02:48 | In this case, I will use the preset as
a starting point to convert the image to
| | 02:53 | black and white, but then I'll click
on the Split Toning and instead of making
| | 02:57 | a sepia-tone image, I'm going to
actually make it more of a cyanotype.
| | 03:02 | I think that's a little bit strong,
| | 03:04 | so let's back off on the Saturation, then move
over to the Presets, and create a new preset.
| | 03:12 | This time it would be ST for Split Tone.
| | 03:15 | But then I'll call it Cyan.
| | 03:16 | I want to make sure that it's only
keeping track of the split toning, and click OK.
| | 03:21 | And we'll create one more
by going over to our effects.
| | 03:25 | And this time, I'm going to add a
lighter vignette, just so that we can see the
| | 03:30 | difference between them.
| | 03:32 | In fact, let's go ahead
and eliminate the feather.
| | 03:34 | We'll make it rectangular and
just bring in that midpoint.
| | 03:38 | So that's obviously very different
from the black vignette that we applied.
| | 03:43 | You can see a little bit
of sepia tone in that edge.
| | 03:46 | If I don't want that, I should just
simply push the Amount to +100 to make sure
| | 03:50 | that I have a crisp white edge.
| | 03:54 | We go to the Presets again.
| | 03:55 | This time I'll click New.
| | 03:57 | Again, I'm going to start this with Vignette.
| | 04:00 | That way, it will appear near the Black
Vignette, but I'll call this White, and
| | 04:05 | then how about HE for hard-edge vignette?
| | 04:08 | And I only want to keep track
of the Post Crop Vignetting.
| | 04:12 | Now, what this enables us to do is move
to another image and then mix and match.
| | 04:19 | I can see, for example, what this would look
like if I added that cyan split tone on top of it.
| | 04:25 | Now, that's kind of an interesting
effect because I didn't actually take
| | 04:28 | the image to grayscale.
| | 04:29 | What about if I add sepia?
| | 04:31 | See how that's a very
different effect than if I combined the
| | 04:34 | black and white and the sepia together?
And now I can choose whether I want
| | 04:39 | the black vignette or the white
vignette and I can always change my mind and
| | 04:44 | go back to maybe the cyan split tone.
| | 04:46 | So you can see how flexible these
presets are when you save them this way.
| | 04:52 | But again, if you know that you want a
specific look, and you want that look
| | 04:56 | consistently, for example, you
know you want to take your image to
| | 04:59 | black and white, you know you want your
image to have a sepia tone, and you know
| | 05:03 | you want it to have the darker vignette,
then go ahead and apply all of those
| | 05:08 | changes to your image,
| | 05:10 | click the New Preset icon and in this
case, let's start with the grayscale
| | 05:15 | conversion, but let's also include the
Split Toning as well as the Post Crop Vignette.
| | 05:21 | Then we could call this something
different, like B/W + Sepia + dark edge.
| | 05:32 | Then I'll click OK.
| | 05:33 | If we move to our last and final image,
and I want to just apply all of those
| | 05:40 | changes with a single click, all I need
to do is click on the Black and White,
| | 05:44 | Sepia, and Dark Edge preset.
| | 05:46 | So you can see how easy it is to
automate Camera Raw with presets in order
| | 05:52 | to get those special effects or those looks
that you really like applied to your images.
| | 05:57 | In fact, there's one more super
shortcut that I just want to show you. Let's
| | 06:01 | go ahead and click Done, and then I'm
just going to select one of the images--
| | 06:07 | in fact, let's do one that we haven't converted
to sepia--and I'll choose the Edit menu again.
| | 06:13 | And this time, when we go to Develop
Settings, you'll notice that you can see
| | 06:16 | all of those presets that you've created.
| | 06:19 | So in the future, you wouldn't even
need to open your file into Camera Raw if
| | 06:24 | you have a preset that you want to apply;
| | 06:27 | you would simply add it from this list.
| | 06:29 | So I can add the B/W + Sepia + dark
edge, and my image is instantly updated.
| | 06:36 | So, there you have it!
| | 06:37 | Obviously, we just selected one
image to apply that preset, but you could
| | 06:40 | select 10 images or 100 images and
select the preset and apply it to all of
| | 06:46 | those images at once.
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| Using Image Processor to batch process files| 00:00 | Another way to process several
images and save them out in different file
| | 00:05 | formats without having to go through
Camera Raw is by using Image Processor.
| | 00:10 | Now this is typically used after you create and
make all of your adjustments to your raw files.
| | 00:16 | Then in Bridge, simply select all of those
images and choose Tools > Photoshop > Image Processor.
| | 00:25 | This will automatically launch Image
Processor, which is a script that is
| | 00:30 | run through Photoshop. So if Photoshop isn't
running, this will automatically launch it.
| | 00:36 | At the top you can select the
images to process. Because you selected
| | 00:40 | those images in Bridge, Bridge is going to
hand off those eight images to Image Processor.
| | 00:46 | You do have the option to open the
first image to apply settings, but since we
| | 00:50 | have already made the necessary
raw adjustments, we can skip that.
| | 00:54 | Then we can choose to save the files in
the same location or select another folder.
| | 01:00 | Even if you choose Save in the Same
Location, Image Processor is going to create
| | 01:05 | a subfolder based on the
file type that you choose below.
| | 01:09 | So you don't have to worry about saving
over your original files. We can choose
| | 01:14 | to save as JPEG, save as
PSD, or save as TIFF files.
| | 01:18 | And the nice thing is we can
actually select more than one file type at a
| | 01:22 | time and Image Processor will run the
script and create all these different
| | 01:27 | file types at once.
| | 01:29 | Let's go ahead and just choose
Save as PSD and Save as JPEG.
| | 01:33 | If we wanted to, we could resize the
file. I'm just going to leave them at their
| | 01:37 | original size, but if I was going to,
say, email these to someone and I wanted
| | 01:41 | them smaller, this is a very nice feature.
| | 01:43 | I can also change the Quality settings
here. I'll go ahead and set it to 12.
| | 01:48 | That's the highest quality. That's
going to give me the best-looking file but
| | 01:51 | also the largest file.
| | 01:53 | If I wanted to send a smaller file,
I would probably want to reduce the
| | 01:57 | quality down to 10, or maybe 8, but then
the image might suffer a little bit as
| | 02:02 | far as the quality goes.
| | 02:04 | If I knew that I was going to post these to
the web, I might convert the profile to sRGB.
| | 02:10 | As far as my PSD files, again, I have
the option to Resize to Fit, but for now
| | 02:14 | let's just leave them at their original size.
| | 02:17 | Now when I click the Run button, Image
Processor will go ahead and run the script.
| | 02:26 | And if we return back to Bridge,
we can see that there are now two new
| | 02:30 | folders: a JPEG folder and a PSD folder.
| | 02:33 | If we open up the JPEG, there
are my images saved out as JPEGs.
| | 02:38 | And if we navigate to the PSD
folder, there are all of my PSD files.
| | 02:43 | As you can imagine, it can be very
convenient to have the ability to save to
| | 02:47 | these multiple file formats all at one
time, especially when you're working with
| | 02:52 | really high volumes of images, like
hundreds of thousands at a time, and you need
| | 02:56 | to quickly process them.
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|
|
7. Photoshop Interface EssentialsOpening files from Bridge| 00:00 | When people first start using Photoshop
to open their files, they typically go
| | 00:04 | to the File menu and then choose Open.
This brings up the operating system's
| | 00:09 | Open dialog box, and certainly you can
navigate to different folders and you can
| | 00:14 | click on an image and then see
a small preview of that image.
| | 00:17 | But honestly, to open all of your
documents this way and to look through all of
| | 00:21 | your photography would be extremely tedious.
| | 00:25 | So I'm going to go ahead and click
Cancel, and instead I'll use File and
| | 00:29 | then Browse in Bridge.
| | 00:32 | Now, Bridge is a secondary application
that's automatically installed when you
| | 00:36 | install Photoshop or when you install
any of the Adobe Creative Suite products,
| | 00:41 | and the great thing about Bridge is
that it's just a really visually rich media
| | 00:45 | browser. And not only can you see your
images, you can see information about
| | 00:49 | your images, you can enter keywords, you
can filter, make collections, all sorts
| | 00:54 | of things in Bridge.
| | 00:55 | When you want to open up a file,
all you need to do is double-click on the file
| | 01:00 | in Bridge and that will open it into Photoshop.
| | 01:03 | In order to close a file, we'll just
click on the X. And then if we want to
| | 01:08 | return back to Bridge, we can either
choose to Browse in Bridge or use the
| | 01:13 | keyboard shortcut
Command+Option+O or Ctrl+Alt+O on Windows.
| | 01:19 | If you decide not to open a document
from Bridge and you want to return back to
| | 01:23 | Photoshop, you can simply
click on the boomerang icon.
| | 01:28 | And here's a little bonus: if you have
worked on your image in Camera Raw, you
| | 01:33 | will notice that there are
setting icons next to your image.
| | 01:37 | If you want to open this image into
Photoshop but you don't necessarily want to
| | 01:42 | open up Camera Raw because you have
already applied the settings that are
| | 01:45 | necessary to the file, if you hold down
the Shift key when you double-click on
| | 01:50 | the image, you will bypass the Camera
Raw dialog box, and Bridge will hand off
| | 01:55 | or open the image directly into Photoshop.
| | 01:59 | So there you have it, a much more
visually rich experience to opening your files
| | 02:03 | using Bridge than using the operating system.
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| Opening files from Mini Bridge| 00:00 | Another popular way to open files into
Photoshop is through a panel called Mini Bridge.
| | 00:05 | You might have noticed the command for it
under the File menu, Browse in Mini Bridge.
| | 00:10 | You can either access Mini Bridge this
way or if you're in the default workspace
| | 00:16 | for Photoshop CS6, which is the
Essentials workspace, you will notice that in the
| | 00:20 | lower left-hand corner, you
have a tab called Mini Bridge.
| | 00:24 | If you click on that, it will expand
that panel so that you can see all the
| | 00:28 | features and functionality in Mini Bridge.
| | 00:30 | Across the top, there's a path bar where
you can navigate to the exercise files.
| | 00:36 | You can see the contents of your
folders in the larger area below.
| | 00:40 | There are lot of additional icons
across the top. For example, you could
| | 00:44 | navigate backwards and forwards, we
could jump over to Bridge, we could choose
| | 00:49 | to view more than one image in the
slideshow or Review mode, we can also
| | 00:54 | decide how we want to see our images, or how we
want them to sort, by file name or by file type.
| | 01:01 | On the right-hand side, we can choose
to filter our images, and we can also
| | 01:06 | search for a specific image.
| | 01:07 | So you can see, there's a lot of the
same functionality in Mini Bridge in
| | 01:12 | Photoshop, so you don't necessarily have to
jump to Bridge in order to access your files.
| | 01:18 | I think that Bridge is a much larger
interface and so you can see more at one
| | 01:23 | time, but if you know exactly where
your files are and you simply want to grab
| | 01:27 | one of them, Mini Bridge
is an excellent alternative.
| | 01:31 | Let's go ahead and open one of these files.
| | 01:33 | I can either double-click on an image to
open it or I can drag and drop it into
| | 01:38 | this image area to open it.
| | 01:40 | Now if I want to open a
second image, I have two options.
| | 01:45 | If I drag and drop on top of this
first image, then Photoshop will open the
| | 01:50 | document as a second layer
within my original document.
| | 01:55 | So if you want to do that, that's great.
Simply drag and drop. You will get a
| | 01:59 | little place icon. In order to apply
that, we'll click the Checkmark here.
| | 02:04 | What actually happens is that Mini
Bridge places that file as a Smart Object,
| | 02:08 | but we'll be talking about
that in a more advanced lesson.
| | 02:12 | If I wanted to open up a file into
its own separate document, then I would
| | 02:17 | drag that file into this blank area
here next to the tab of another document
| | 02:23 | that's already open.
| | 02:24 | When I release the mouse, then
Photoshop opens that as a secondary document.
| | 02:29 | So you can see now, I have my first
document that has the two layers and I have
| | 02:35 | the secondary document, or the second
instance of the document, which I opened as
| | 02:39 | its own separate document.
| | 02:41 | So as you can see, it's very easy to
navigate and open your files through Mini
| | 02:46 | Bridge without ever having to
leave the Photoshop interface.
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| Customizing the Mini Bridge panel| 00:00 | By default, in Photoshop CS6,
in the Essentials workspace, Mini Bridge
| | 00:05 | is collapsed in the lower left-hand corner.
| | 00:08 | To expand Mini Bridge, single-click
on the tab; to collapse Mini Bridge
| | 00:12 | double-click the tab.
| | 00:14 | If you prefer Mini Bridge to appear
somewhere else and not nested at the bottom
| | 00:19 | with the Timeline panel, you can
click and drag it out in order to float it
| | 00:24 | above the other panels.
| | 00:26 | I'll go ahead and collapse the timeline
so that we have a little bit more space,
| | 00:31 | and then you'll notice I can click
and drag in order to resize Mini Bridge.
| | 00:36 | I can make it as large or as small
as I want. I could even drag this to
| | 00:40 | a secondary monitor.
| | 00:42 | If I prefer, I can dock it with my other
panels on the right, by clicking on the
| | 00:47 | Mini Bridge tab and then
dragging until I see this blue line.
| | 00:52 | When I let go, Mini Bridge becomes
a part of these collapsed panels.
| | 00:58 | If I click on the Mini
Bridge icon, it will expand it.
| | 01:01 | Of course I can shrink this if I think
it's too large, by clicking on the very
| | 01:06 | left-hand corner with the double-headed
arrow and then sliding that to the right.
| | 01:11 | You can see that I can scroll through all
of the documents that are in the folder.
| | 01:15 | If I double-click on an image to open it,
one of the things that I would really
| | 01:19 | like Mini Bridge to do is sort of
autocollapse or just kind of tuck itself away
| | 01:25 | now that I'm done browsing.
| | 01:26 | But by default, it doesn't actually do that.
| | 01:29 | However, what you can do is right-mouse-
click where it says Mini Bridge, or if
| | 01:34 | you've got a one-button mouse on the
Mac, use the Ctrl key and click and then
| | 01:39 | choose to Auto-Collapse Iconic panels.
| | 01:43 | Now if I were to move to the second
image, double-click on it to open it,
| | 01:48 | when I click anywhere else in the
interface away from the Mini Bridge panel,
| | 01:53 | Mini Bridge will automatically
collapse so that I'm left seeing a much bigger
| | 01:58 | area to work on my images.
| | 02:01 | Two quick shortcuts that you should know
about with Mini Bridge. You will notice
| | 02:05 | that in Mini Bridge I have
navigated to the Interface folder,
| | 02:10 | but if we switch over to Bridge for a
moment, you can see that I'm actually
| | 02:15 | viewing a different folder.
| | 02:17 | Let's use the boomerang icon
here to go back to Photoshop.
| | 02:21 | When I returned back, did you notice
that Mini Bridge automatically became in
| | 02:27 | sync with Bridge?
| | 02:30 | If I want to do the opposite, meaning I
want to return back to the folder I was
| | 02:34 | looking at here in Mini Bridge and I
actually want to synchronize Bridge with
| | 02:38 | this folder, I can right-mouse-click or
again, that's on the Mac, Ctrl+Click, and
| | 02:44 | choose Reveal in Bridge, and now the
priority will be to change Bridge in order
| | 02:50 | for Bridge to sync up with what
I was looking at in Mini Bridge.
| | 02:55 | And an advanced user tip: if you
prefer not to use Mini Bridge because you're
| | 03:01 | more comfortable with big Bridge, you
can actually put Bridge into a compact
| | 03:06 | view by clicking on the icon in
the very upper right-hand corner.
| | 03:11 | In compact view, you can see that
Bridge actually floats on top of any of the
| | 03:17 | Creative Suite applications.
| | 03:19 | So even if I click in the background
area here of my image, if I select another
| | 03:24 | tool in Photoshop, Bridge is going to
float on top so that I could access and
| | 03:29 | open additional files.
| | 03:31 | So it's just a different view of Bridge
if you prefer Bridge over Mini Bridge.
| | 03:37 | It's very easy to put Bridge back in
its un-collapsed or its expanded state and
| | 03:43 | that's by clicking on the icon again,
and you can see here that we will move
| | 03:47 | right back to full screen.
| | 03:49 | And there you have it, a lot of
different options for both Bridge and Mini
| | 03:53 | Bridge, so that you can find the files
that you want to work with and quickly
| | 03:56 | get started in Photoshop.
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| Using the Application frame| 00:00 | When you first open Photoshop, one of
the things that might be a little strange
| | 00:05 | if you're on the Mac is that
Photoshop takes over the whole screen.
| | 00:09 | You can't see through Photoshop
to the desktop or to any other open
| | 00:14 | applications behind it.
| | 00:16 | I actually really like this feature
because while I'm in Photoshop, I don't want
| | 00:20 | anything else distracting me.
| | 00:22 | But if you wanted to turn off the
feature, you could go under the Window menu
| | 00:26 | and then select Application Frame.
| | 00:29 | Now, this is a feature that's only on
the Mac, because on Windows, it's just
| | 00:33 | common practice for the
application to take up the full screen.
| | 00:36 | But again, if you're on the Mac and you
want to turn this off, that's how you do it.
| | 00:41 | See what I mean about how distracting
it can be, especially if you have another
| | 00:45 | application open behind Photoshop?
I'm really not sure here what interface
| | 00:50 | belongs to Bridge and what
interface belongs to Photoshop.
| | 00:53 | So I'm going to go ahead and
choose Window again and then turn on
| | 00:57 | my Application Frame.
| | 00:59 | The other reason that I really like
the Application Frame is it allows me to
| | 01:04 | resize Photoshop all as one unit.
| | 01:07 | So if I wanted to make this smaller--
let's say I had a really large monitor
| | 01:12 | and I wanted to set Bridge and
Photoshop next to each other--I can resize the
| | 01:17 | two applications so that they sit
side by side. Or if I had two monitors, I
| | 01:22 | can actually stretch out the Photoshop
application so that it expanded across
| | 01:27 | both of my screens.
| | 01:29 | The other thing that you've probably
noticed, especially if you have used
| | 01:32 | Photoshop in the past, is the
updated interface of Photoshop CS6.
| | 01:37 | It's a much darker interface.
| | 01:39 | If you prefer a lighter interface or
if you even want to take this one step
| | 01:44 | darker, you can choose Photoshop and
then Preferences and then Interface.
| | 01:50 | On Windows, you would go under the Edit menu
and choose Preferences and then Interface.
| | 01:55 | Right at the top, you can choose the different
color themes for your appearance. You can go darker.
| | 02:01 | This is the default. You can go one
step lighter, or you can have a very,
| | 02:05 | very light interface.
| | 02:07 | For now, I'm going to leave
this to the darker interface.
| | 02:11 | I'll go ahead and click OK, and then
let's move over to Bridge because I
| | 02:16 | just want to show you that you
have the same option underneath your
| | 02:20 | Preferences. Underneath General, you
can change the color theme for Bridge
| | 02:25 | as well so that they match.
| | 02:29 | Let's return back to Photoshop
where I want to show you one last tip.
| | 02:33 | In order to do this, we need to
actually open up just any document.
| | 02:37 | So I'll just select File and then
New and accept the default settings.
| | 02:43 | What I want to show you is that this area
that surrounds your image is also customizable.
| | 02:49 | If I right-mouse-click in that area,
or if you hold down the Ctrl key and
| | 02:54 | right-mouse-click, you notice that you can
change the color of the area behind your image.
| | 03:01 | So I'm just right-mouse-clicking and
selecting from one of the options on the list.
| | 03:06 | I'll go ahead and set it back to the
dark gray for now, but it's nice to know
| | 03:10 | that that's also customizable.
| | 03:12 | The other thing that I've noticed is
with the darker interface, it seems to be a
| | 03:16 | little bit easier on my eyes
to work long hours on computer.
| | 03:20 | So even though it's a little shocking
when you first update to Photoshop CS6,
| | 03:25 | I would highly recommend that you kind
of leave the darker interface for a few
| | 03:29 | days and see if you adjust to it, and
I think you'll actually find that you
| | 03:32 | like it better.
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| Managing panels| 00:00 | Because Photoshop has so many different
options, when you're just starting out,
| | 00:05 | it can seem a little bit overwhelming.
| | 00:06 | For example, look at the number of
panels that you can display on the right-hand
| | 00:10 | side--and this isn't all the panels. If
we go under the Window menu, you can see
| | 00:15 | that there are a lot of other
panels that aren't being displayed.
| | 00:18 | Now the panels that have the
check marks next to them, those are actually the
| | 00:22 | panels that are on top and are visible.
| | 00:24 | So for example the Adjustments panel,
we can see right here; if we look at the
| | 00:28 | Color panel, that's on top; and if we come
down to Layers, that's in this bottom grouping.
| | 00:34 | If I were to select a different one of
those panels--for example if I come over
| | 00:40 | here and actually click on Channels
to bring that to the top--then when we
| | 00:45 | return back to the Window menu, you can
see that Channels has the check mark next
| | 00:49 | to it and Layers no longer does.
| | 00:52 | But if I select Layers, it will bring
that to the foreground, or to the top of
| | 00:56 | the stack of panels.
| | 00:58 | If I use the Window menu again and we
select at panel that's not showing or is
| | 01:04 | not nested even--for example the Info
panel--then Photoshop will go ahead and
| | 01:09 | nest that in this second
group of panels right here.
| | 01:13 | In order to close this or collapse it, we
can click on the two arrows right there.
| | 01:19 | You can see that the panels have
multiple different states that they can be in.
| | 01:23 | In this row, we can see the icon state.
| | 01:26 | And if we position our cursor on top
of any of the panels, we will get a tool-
| | 01:30 | tip telling us what panel that is.
| | 01:33 | If I want to expand these panels,
I just need to click on the double arrow.
| | 01:38 | If I want to collapse them, I'll click again.
| | 01:41 | Now if I want to see the icon plus the
name of the panel, I can drag this slider
| | 01:46 | out until I see both the
icon, as well as the name of it.
| | 01:50 | Sometimes I have a hard time figuring
out which panel is which by just looking
| | 01:54 | at the icon, so it's nice to
see this icon plus label mode.
| | 01:59 | Then if I want to expand it again, just
click on the double arrow. Click again
| | 02:04 | in order to collapse it.
| | 02:05 | Let's go ahead and bring these
back down to just the icon view.
| | 02:09 | If I click on a single panel's icon,
it will bring out or display that panel to
| | 02:16 | the left as if it's almost like a set of
drawers. Then I can click on the arrows
| | 02:20 | again in order to collapse them.
| | 02:23 | If you have multiple panels docked
together, like the Colors and the Swatches
| | 02:27 | here, if you want to just close one
of the panels, you can right-mouse-click
| | 02:31 | and then select Close.
| | 02:33 | If you wanted to close both the
Swatches and the Color panel at the same time,
| | 02:37 | then you would close the tab
group. For now I'll leave them open.
| | 02:42 | In order to rearrange your panels,
you can simply click and drag
| | 02:47 | and now the swatches are to the
left of the color. To rearrange again,
| | 02:51 | simply click and drag.
| | 02:53 | You can also move panels from one group to
another. Click on the tab and just drag down.
| | 03:00 | When you position your cursor on top of
another group, you will notice that there
| | 03:04 | is a blue rectangle going all the way
around the group. When you let go of the
| | 03:08 | cursor, Photoshop will nest that panel together.
| | 03:11 | If you drag just down to between two
sets of panels, you'll notice that I don't
| | 03:17 | get the full rectangle;
I just get a solid blue line.
| | 03:20 | If I release the mouse now, I've
actually created a new grouping of panels.
| | 03:25 | If you want to quickly hide all of the
panels in the interface, you can tap the Tab key.
| | 03:31 | In order to bring them
back, tap the Tab key again.
| | 03:34 | If you only want to hide the panels
but leave the tools on the left-hand side,
| | 03:40 | as well as the options across the
top, then you add the Shift key.
| | 03:44 | So Shift+Tab will hide only the panels.
| | 03:48 | Now, when the panels are hidden,
if you position your cursor over to the
| | 03:52 | right-hand side, they'll actually pop up
so that you could select something in a
| | 03:56 | panel, and then when you move your
cursor out of the panel area, they will
| | 04:01 | automatically hide again.
| | 04:03 | In order to bring them back, we'll
hold down the Shift key, tap the Tab to
| | 04:07 | toggle them back into view.
| | 04:09 | If you want to minimize a panel because
you don't want to see the contents yet,
| | 04:13 | you don't want to close it, the
easiest thing to do is just double-click on
| | 04:18 | the name of the panel.
| | 04:19 | So here I'll collapse the
Color panel and the Styles panel.
| | 04:23 | If I want to reveal them again, all I
need to do is double-click to expand them.
| | 04:29 | Most of the panels also have a flyout
menu in the upper right-hand corner and
| | 04:34 | if you select that, you get additional options.
| | 04:37 | For example, if I go to the Panel
Options for the Layers panel, I can actually
| | 04:41 | change the thumbnail size or the
thumbnail contents and additional options.
| | 04:46 | For now, I'll just click Cancel to keep
them at their defaults, but you should
| | 04:50 | know that there are many, many
ways to customize the panels.
| | 04:54 | All right, I am going to set
these back to their default.
| | 04:57 | You'll notice that I've got the
Essentials workspace still targeted.
| | 05:01 | Selecting it again won't actually
reset the panels, but if you choose Reset
| | 05:06 | Essentials then Photoshop will put
all the panels back to their default
| | 05:10 | locations so they will all be in the same place.
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| Switching and saving workspaces| 00:00 | As you become more experienced in
Photoshop, you'll probably notice that you'll
| | 00:04 | use different groups of panels
for performing different tasks.
| | 00:09 | Now by default, Photoshop CS6 has its
workspace set to Essentials, but of
| | 00:15 | course we can change that.
| | 00:16 | In fact, you'll notice that there are
a bunch of different presets that also
| | 00:20 | come with Photoshop CS6.
| | 00:22 | For example, there's a What's New in CS6.
| | 00:25 | You can see that that changes the way
that the panels are displayed, and in fact,
| | 00:29 | Photoshop is only displaying those
panels that have had some type of change made
| | 00:34 | between Photoshop CS5 and Photoshop CS6.
| | 00:39 | In addition, there's a really unique
feature that we can see underneath the menus.
| | 00:44 | Anything that's changed Photoshop
has had highlighted in blue when you
| | 00:49 | select this workspace.
| | 00:51 | So it's really easy to simply look
through all of the different menu items to
| | 00:56 | see what's changed between the versions.
| | 00:59 | Now depending on whether or not you
have Photoshop Extended or the regular
| | 01:04 | version, you may or may not see this 3D menu,
and you may or may not see the 3D workspace.
| | 01:12 | Let's go ahead and take a look
at some of the other workspaces.
| | 01:14 | Here is the Motion workspace, and we
can see the timeline is accessible down
| | 01:19 | here at the bottom.
| | 01:20 | If we change to Painting, we've
got all of our brush presets and our
| | 01:23 | Swatches available.
| | 01:25 | If we move to Photography we've got
our Adjustments and our Histogram, and if
| | 01:30 | we move to Typography, we have both the
Character and Paragraph panels, as well
| | 01:33 | as the Styles panels.
| | 01:35 | So I think you can get a good idea
that you really want to customize what you
| | 01:40 | see, as far as your panels go,
depending on the task that you're working on.
| | 01:45 | I am going to go head and set this back
to Essentials for a moment and I'll just
| | 01:48 | show you the workspace that I like.
| | 01:51 | I typically don't have the Color or
Swatches showing, so I'll right-mouse-click--
| | 01:55 | on the Mac, that would be a Ctrl+Click--
and I will close that entire tab group.
| | 02:01 | I also don't use Styles very often, so
I'll right mouse click and I'll choose Close.
| | 02:07 | That closes Styles but leaves Adjustments open.
| | 02:10 | I might want to put the Paths panel in
with the Adjustments, so I'll click on
| | 02:14 | the tab and drag and drop it
to nest it with Adjustments.
| | 02:19 | If I don't use Channels very often,
I could simply right-mouse-click and close it.
| | 02:24 | You can also pull a panel out to just
have it float if you want, and then you can
| | 02:29 | close it by clicking on the X. There
are a few panels that aren't visible that
| | 02:33 | I'd like to see, one of
those being the Actions panel.
| | 02:37 | So I'll choose to display that, and then I'll
drag my Actions and nest it in with my layers.
| | 02:43 | I'll do the same thing with the History.
| | 02:45 | The reason that I put these three
panels together is that typically
| | 02:48 | they're quite long and so I need a
lot of space and it's easy to go back
| | 02:53 | and forth between them.
| | 02:54 | If I want to rearrange them, I can
just click and drag and put the History
| | 02:59 | second in the list.
| | 03:00 | I also want my Properties panel visible,
but I am going to put it below my Layers
| | 03:05 | panel by dragging it and letting
go at the very bottom of Photoshop.
| | 03:10 | If I wanted to collapse the Paths and
Adjustments because I don't use them very
| | 03:14 | often, I'll just double-click on the tab.
| | 03:17 | So at this point, let's say that this is
a way that I want my panels set up for
| | 03:22 | maybe doing my composite work.
| | 03:24 | Then from the dropdown menu, I would
choose New Workspace and I could save
| | 03:29 | this, for example, as JKost
Composites or my favorite workspace, whatever
| | 03:35 | makes sense to you.
| | 03:36 | Below that, we can see that you can
capture these two other items, your keyboard
| | 03:41 | shortcuts as well as your menus.
| | 03:43 | We'll talk about customizing keyboard
shortcuts in a later video, but just so
| | 03:47 | you know, this menu item was what was
selected in that Photoshop CS6 What's
| | 03:53 | New custom workspace.
| | 03:54 | All right, for now, we'll click Save,
and you can see how easy it is to move back
| | 04:00 | and forth between the different presets.
| | 04:03 | However, one thing might be a
little confusing. If I switch now to the
| | 04:07 | Essentials, you can see that
it stays the way that it was.
| | 04:12 | If I want to get back to the original
Essentials workspace, I need to go ahead
| | 04:16 | and reset the Essentials.
| | 04:19 | And if at any point in time you want
to delete a workspace, make sure the
| | 04:23 | workspace that you want to delete
is not the active one, choose Delete
| | 04:27 | Workspace, and then select the workspace that you
want to delete from the list, and choose Delete.
| | 04:34 | We'll click Yes and now we can
see that that's no longer an option.
| | Collapse this transcript |
| Switching tools using the keyboard| 00:00 | In addition to moving panels,
you'll also spend a lot of time in
| | 00:03 | Photoshop switching tools.
| | 00:05 | Now, every tool has a keyboard shortcut.
| | 00:06 | For example, the Move tool's keyboard
shortcut is V, the Marquee is M, and the
| | 00:11 | Lasso is L. If you don't know the
keyboard shortcut for a tool, simply hover on
| | 00:15 | top of the tool and the tooltip will display it.
| | 00:18 | We can see the Move tool is V, the
Rectangular Marquee tool is M, and the Lasso tool is L.
| | 00:24 | Now, some of the tools have
additional tools nested underneath them,
| | 00:28 | and you'll know which tools these are
because they'll have a little triangle in
| | 00:31 | the lower right-hand corner.
| | 00:33 | So if I click and hold on the
Rectangular Marquee tool, I can then see all of the
| | 00:37 | tools that are nested underneath.
| | 00:39 | If I click and hold on the Lasso
tool, we can see all of the three
| | 00:43 | different Lasso tools.
| | 00:45 | So if I tap M, I quickly go to the Marquee;
| | 00:48 | if I tap V, I go to the Move tool,
and if I tap L, I got to the Lasso tool.
| | 00:52 | But what if I want to access
one of the nested lasso tools?
| | 00:57 | Then I can hold down the Shift key
and tap the L key and we will cycle
| | 01:01 | through all of those tools.
| | 01:03 | If you prefer to tap the L key without
using the Shift key to move through the
| | 01:07 | different lasso tools, you can
change that in the Preferences.
| | 01:11 | I'll select Photoshop and then
Preferences and then General.
| | 01:15 | On Windows you'd go into the
Edit menu > Preferences, and then General, and then
| | 01:19 | uncheck the option to use the
Shift key for the tool switch.
| | 01:23 | Then you can just simply tap the L key
multiple times in order to access those other tools.
| | 01:29 | For now, I'll go ahead and leave this on.
| | 01:31 | You'll also notice that the
toolbar is just a single column.
| | 01:35 | If you want to, you can make it a double
column by clicking on the two triangles here.
| | 01:39 | Honestly, that takes up more space,
so I'll set it back to the single column by
| | 01:43 | just clicking on those two triangles again.
| | 01:46 | Right underneath the triangles,
there is a little grabber bar.
| | 01:48 | The tools don't have to
be on the left-hand side.
| | 01:51 | In fact, you can click and drag them
to float the toolbar anywhere on this
| | 01:56 | monitor, or even on a secondary monitor.
| | 01:58 | You can even dock the tools with your
other panels so that all of your tools and
| | 02:03 | panels are in one location.
| | 02:05 | That might save a little bit of time.
Instead of having to go all the way to
| | 02:08 | the left side of your monitor to get
your tool and then all the way to the
| | 02:11 | right side of the monitor to change
something in a panel, all of your options
| | 02:15 | are closer together.
| | 02:17 | For now we'll reset that by going
under the Essentials workspace and then
| | 02:21 | choosing Reset Essentials.
| | 02:22 | I also want to point out that as you
select the different tools, you'll get the
| | 02:27 | options for those tools across
the top here in the Options bar.
| | 02:32 | This is a really great way of saving
space, because you will only see the
| | 02:35 | options for the tool that you have selected.
| | 02:38 | Now don't worry about learning the
shortcuts for all of the tools right away.
| | 02:42 | You will learn the ones that you need
and soon enough it will be second nature
| | 02:45 | just to use the shortcut key.
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| Customizing the keyboard shortcuts| 00:00 | Shortcuts are an excellent way to
increase your productivity and as you become
| | 00:04 | more comfortable with the application,
you'll learn the ones that you need.
| | 00:08 | But if we look under, say, for example,
the File menu, we can see that some of
| | 00:13 | the options certainly have keyboard
shortcuts, but not all of them do.
| | 00:17 | Just so that you know, this shortcut
right here for Browse in Bridge for
| | 00:21 | example is going to be the Command key--
that's what this icon is--plus the Option
| | 00:26 | key plus O. On Windows it Ctrl+Alt+O.
| | 00:32 | This little arrow icon right here
means to hold down the Shift key.
| | 00:36 | Let's go over to the Layer menu for
a moment and if we scroll all the way
| | 00:40 | down, you'll notice that the command for
Flatten Image does not have a keyboard shortcut.
| | 00:45 | If we want to customize our keyboard
shortcuts to assign one to that command,
| | 00:50 | it's very easy to do so.
| | 00:52 | We'll go under the Edit menu, scroll
all the way down to Keyboard Shortcuts.
| | 00:55 | You'll notice that you can change keyboard
shortcuts and you can also change menu items,
| | 01:01 | but we are going to focus
on the keyboard shortcuts.
| | 01:03 | We can change the shortcuts for our application
menus, for the panel menus, and for the tools.
| | 01:09 | Let's start with application menus
and we'll find the menu for the layers.
| | 01:14 | Then we need to scroll down.
| | 01:15 | There are a lot of options here, but
almost all the way at the bottom you will
| | 01:20 | see the option to Flatten Image.
| | 01:23 | In order to apply a keyboard shortcut,
you click in the blank area to the right
| | 01:27 | and then simply type in the
keyboard shortcut that you want to assign.
| | 01:31 | So for example if I type in
Command+F or Ctrl+F, Photoshop tells me that
| | 01:36 | that keyboard shortcut is already in
use. I can remove it from the Filter >
| | 01:41 | Last Filter menu item if I want to,
but I actually use that quite often,
| | 01:46 | so let's try another keyboard shortcut.
| | 01:48 | How about Command+Option+F or Ctrl+Alt+F?
Well, that's also in use, but I really
| | 01:54 | don't use this command very often,
| | 01:56 | so I'll go ahead and accept that.
| | 01:58 | Basically, we've taken the keyboard
shortcut away from another command in order
| | 02:02 | to apply it to this one.
| | 02:03 | Let's also change the shortcuts for a tool.
| | 02:06 | Now there might be a variety of
different reasons that you want to do this.
| | 02:10 | Usually, when I'm using the brush tools
you can see that all of the brush tools,
| | 02:15 | the Brush tool, the Pencil, the Color
Replace, and the Mixer Brush, they all
| | 02:19 | have the same keyboard shortcuts.
| | 02:21 | Well, instead of toggling through using
the Shift key and tapping the B key in
| | 02:26 | order to get from the Brush tool to
the Mixer Brush tool, I simply assign a
| | 02:29 | different keyboard
shortcut for the Mixer Brush tool.
| | 02:32 | Now we can go through these keys
one at a time. We could try A, but
| | 02:36 | that's already in use.
| | 02:37 | Well, B was the Brush tool, C is for Cropping.
| | 02:40 | So I'll just give you a hint here.
| | 02:42 | There are two letters that aren't in use.
| | 02:45 | The first one is K and the second one M.
So I'll go ahead and assign the K key
| | 02:50 | for the Mixer brush tool.
| | 02:52 | Then we'll scroll down to the bottom,
because I wanted to show you another
| | 02:56 | option down here. Because it's not
just your tools; there are additional
| | 03:01 | features here that you can
assign keyboard shortcuts to.
| | 03:04 | So for example the Foreground Color Picker.
| | 03:06 | Sometimes it just takes a lot of mouse
movement to go from a image all the way
| | 03:10 | down to the bottom of the Tool palette
to bring up the Foreground Color Picker.
| | 03:14 | So I'll assign the N key here in
order to automatically bring up that
| | 03:19 | Foreground Color Picker.
| | 03:21 | We can accept this one, and then you'll
notice that at the top it says that the
| | 03:25 | set, the Photoshop Default Set of
keyboard shortcuts has been modified.
| | 03:30 | I don't want to change the Photoshop
defaults, so I am going to click on the
| | 03:34 | second icon here and I'll save out my own set.
| | 03:37 | So we'll just name this my name and it will
automatically save it in the correct place.
| | 03:43 | So you can see here that under my
username if you go to the Library, to
| | 03:48 | Application Support, in Adobe
Photoshop CS6, to Presets, this is where we are
| | 03:53 | going to save these keyboard shortcuts.
| | 03:55 | And the reason that I point this out is
that you might be running Photoshop on
| | 03:58 | more than one machine and you might
want to grab your keyboard shortcuts from
| | 04:02 | one machine and automatically
load those into the other one.
| | 04:06 | So that's where this file is
going to live. Let's click Save.
| | 04:10 | You can see that the set has now been changed.
| | 04:13 | When I click OK and I tap the K key,
you'll notice that right over here, instead
| | 04:18 | of having my regular brush selected, it
automatically turns to the Mixer Brush.
| | 04:23 | If I tap the N key, I automatically
get the color picker for my foreground
| | 04:28 | color. And if I had a file open
and we used the keyboard shortcut
| | 04:32 | Command+Option+F or Ctrl+Alt+F and I
had a multi-layered document, Photoshop
| | 04:37 | would automatically flatten it for me.
| | 04:39 | Now before we go any further, I am going
to bring back out the keyboard shortcut
| | 04:42 | editor by using Command+Option+Shift+K.
That would be Ctrl+Alt+Shift+K on
| | 04:48 | Windows. And I am just going to change the set
to the Photoshop Defaults and then click OK.
| | 04:55 | So it might seem like a minor thing as
you are just starting to learn Photoshop,
| | 05:00 | but as you master more and more tools,
you'll really want to access those tools
| | 05:05 | and those commands more quickly.
| | 05:06 | So the ability to customize the
interface can really be a benefit to
| | 05:11 | your productivity.
| | Collapse this transcript |
|
|
8. Documents and NavigationWorking with tabbed documents| 00:00 | Let's begin in Bridge and select
these three images to open in Photoshop.
| | 00:05 | Once they're selected, I'll use Command+O or
Ctrl+O on Windows to open them in Photoshop.
| | 00:11 | Now that the three files are open, I can
navigate between the three documents by
| | 00:15 | just clicking on the tab
at the top of the window.
| | 00:18 | If I want to rearrange the order in
which they appear, I can click on a tab and
| | 00:23 | then just drag it to the right to move it.
| | 00:25 | If I want to remove one of my images
from the tabbed area at the top and float
| | 00:30 | it, I can just click and drag
down into the image area and let go.
| | 00:34 | I can do this with multiple documents
if I want to, and in fact, I can even tab
| | 00:39 | two floating documents by just
clicking and dragging one on top of the other.
| | 00:44 | Now you can see that in this floating
window I have these two tabbed documents.
| | 00:49 | If I want to put them all back together,
I simply click on the title bar area
| | 00:53 | and drag it up to the tab area in Photoshop.
| | 00:57 | I really prefer this method of
looking at my images because I always know
| | 01:01 | exactly where to find them.
| | 01:02 | Sometimes when you drag them out and
then you click on another image, the
| | 01:07 | floating document will go
behind the other images.
| | 01:10 | In order to get that back, you can
always go under the Window menu and at the
| | 01:13 | very bottom, it will list your images.
| | 01:16 | So in this case, I would just select
WhiteSands04 in order to bring back
| | 01:20 | that floating document.
| | 01:22 | I'll go ahead and put it with the
others for now. And then I just want to show
| | 01:25 | you that you can close your tab
documents by clicking on the X icon, or you can
| | 01:30 | use the keyboard shortcut Command+W or Ctrl+W.
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| Arranging documents| 00:00 | As you work on different projects, it
can be helpful to see more than one image
| | 00:03 | at a time in Photoshop.
| | 00:05 | Now obviously I can click on the
different tabs here, but I can only see one
| | 00:09 | image at a time when I'm
looking at them in this view.
| | 00:12 | I'll select Window > Arrange and I can
tile all vertically or horizontally, or I
| | 00:17 | can specify exactly how I want them
laid out using these other options.
| | 00:22 | Because I only have three images open,
I don't get the options for 4-up or 6-up.
| | 00:27 | Let's go ahead and select the 3-up vertically.
| | 00:30 | Now I can see all three
of my images at one time.
| | 00:33 | If I select another image by clicking
on the tab, I can then return to seeing
| | 00:37 | just this one image by selecting
Window > Arrange and then Consolidate to Tabs.
| | 00:43 | Now, I probably do this at least 50 times
a day, so what I would do is I would go
| | 00:49 | under the Edit menu, come
down to my Keyboard Shortcuts.
| | 00:53 | Under the Shortcuts For my Application
menus, I would scroll down and find the
| | 00:59 | Window menu, scroll down a little bit
more, and then I'm going to enter in
| | 01:04 | keyboard shortcuts to tile
all of my images vertically.
| | 01:08 | And what I usually use is
Command+Shift+T, because I don't use Edit > Transform
| | 01:13 | again very often. And then I would
accept that, scroll down and enter in another
| | 01:18 | keyboard shortcut for Consolidate
All to Tabs, which I usually use
| | 01:22 | Command+Shift+R. The R just for me is
easy to remember because it's like I'm
| | 01:27 | returning to a single image.
| | 01:29 | I can accept that and if I wanted to
save this, I could click this icon, but for
| | 01:34 | now, we'll just click OK.
| | 01:35 | If we go under the Window menu and
look at the menus here, we can see our
| | 01:39 | keyboard shortcuts have been added to
Tile our images and Consolidate to Tabs.
| | 01:44 | So now I just use Command+Shift+T or
Ctrl+Shift+T and then Command+Shift+R or
| | 01:48 | Ctrl+Shift+R to go back
to the single-image view.
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| Stopping Photoshop from tabbing documents| 00:00 | I really like the fact that every
time I open up a document, it opens the
| | 00:04 | document in these tabbed panels.
| | 00:07 | But if I wanted to float my images,
I could simply click and drag anywhere in
| | 00:13 | this image area and let go in
order to have a floating document.
| | 00:17 | If I wanted to float all of my
documents, I could choose Window and then Arrange
| | 00:21 | and then float all of them in windows.
| | 00:24 | But if I select this and then I open
a new document, that new document is
| | 00:28 | going to be tabbed.
| | 00:29 | And if I'm not careful and I am moving
around one image and I happen to hover on
| | 00:34 | top of another image and let go,
it would tab those as well.
| | 00:39 | So if you want to have your images
always floating and never be in tabs, then
| | 00:44 | you can go to the Photoshop Preferences,
to the Interface Preferences, and you
| | 00:49 | would choose to uncheck the
option to Open Documents as Tabs.
| | 00:54 | Now the next time I open a document,
it would simply be floating in a window.
| | 00:58 | If I never want to accidentally put
two floating windows together and tab
| | 01:03 | them, then I would also want to uncheck the
option to Enable Floating Document Window Docking.
| | 01:09 | Personally, I like my images to be
tabbed, so I am going to leave both of those
| | 01:13 | on and then click OK.
| | 01:15 | If I ever want to put these back
into the tabs, we select Window >
| | 01:19 | Arrange > Consolidate to Tabs, and now I
can quickly move through the images by
| | 01:25 | either clicking on the tabs or I can
use the keyboard shortcut Ctrl+Tab to
| | 01:29 | quickly move through my open documents.
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| Panning and zooming| 00:00 | Since zooming and panning around an
image is one of the most common tasks,
| | 00:04 | there's a variety of different
ways to accomplish this in Photoshop.
| | 00:07 | Let's start by taking a look at
the Zoom tool and the Hand tool.
| | 00:11 | If I tap the Z key, Photoshop will
automatically select the Zoom tool, and if I
| | 00:16 | tap the H key, it will select the Hand tool.
| | 00:18 | I'll tap Z again to
return back to the Zoom tool.
| | 00:22 | Every time that I click with the Zoom
tool by default, Photoshop will zoom in.
| | 00:27 | You can see there's a little
plus in the middle of the icon.
| | 00:30 | If I hold down the Option key or the
Alt key, the plus turns to a minus
| | 00:35 | and now I can go ahead and zoom out.
| | 00:37 | If I click and hold over an area of my
image, Photoshop will continue to zoom in
| | 00:43 | until I let go of the mouse.
| | 00:45 | You can see here I've zoomed in so far
that we're seeing a pixel grid overlay.
| | 00:49 | Now if I want to zoom out, I can click
and drag to the left in order to zoom
| | 00:55 | out, or I can click and
drag to the right to zoom in.
| | 00:59 | This is considered the Scrubby Zoom and
we can see the option in the Options bar.
| | 01:04 | If I uncheck that, what that enables me
to do is actually click and drag around
| | 01:09 | a specific area that I want to zoom in to.
| | 01:12 | But now if I want to zoom out, I can no
longer drag left, so I actually have to
| | 01:17 | use another keyboard shortcut, maybe the
Command+Minus in order to zoom back out.
| | 01:22 | Still, I do like the ability to be able
to drag around a certain area to zoom in,
| | 01:27 | but again, it's that zooming
back out that kind of suffers.
| | 01:30 | So I do like the Scrubby Zoom so that
I can zoom in or zoom out, depending on
| | 01:37 | where I want to navigate to my image.
| | 01:40 | When you do zoom into your image,
you'll notice that on the right-hand side and
| | 01:44 | in the bottom, you've got your scroll
bar so that you can move around your
| | 01:48 | image quite quickly.
| | 01:50 | Another handy shortcut would be to
hold down the spacebar--that will
| | 01:54 | temporarily access the Hand tool--and
now I can move around my image in two
| | 01:59 | directions at one time.
| | 02:02 | You'll notice that when I click and
let go, the image continues to move for a
| | 02:07 | moment. That's called Flick Panning.
If you don't like that, you can choose to
| | 02:11 | turn that off in the Preferences,
underneath the General Preferences, and then
| | 02:17 | disable the Flick Panning.
| | 02:18 | I actually like it, so I'm
going to keep it on and click OK.
| | 02:22 | I think the two most common views are
either fit to screen, where you see the
| | 02:26 | whole image, or 100%, so that you're
looking at every pixel in the image.
| | 02:32 | You can find these underneath the
View menu. Here is Fit on Screen and
| | 02:37 | Actual Pixels, and we can see that the
keyboard shortcut is Command+0
| | 02:41 | and Command+1.
| | 02:42 | So to quickly Fit on Screen, I'll use
Command+0--that'd be Ctrl+0
| | 02:47 | on Windows--and if I want to zoom
into 100% we'll use Command+1.
| | 02:52 | If you don't want to remember
those keyboard shortcuts, you can also
| | 02:55 | double-click on the Hand tool in
order to zoom out to fit in screen or
| | 03:00 | double-click on the Zoom tool to zoom in.
| | 03:03 | So as you can see, there are a
variety of different ways to zoom and pan
| | 03:06 | around your images.
| | 03:07 | You probably won't use them all;
instead, you'll find one that you're most
| | 03:11 | comfortable with and use it over and over again.
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| Cycling through different screen modes| 00:00 | Another way to customize your image
area is by changing the screen mode.
| | 00:04 | By default, Photoshop starts
in just Standard screen mode.
| | 00:09 | The icons for the different screen
modes are right down here at the very
| | 00:12 | bottom of the Tool palette, and you'll
notice that if I click and hold, we get
| | 00:16 | the flyout for not only Standard
screen mode, but also Full Screen With menu
| | 00:19 | Bar and Full Screen.
| | 00:21 | In order to toggle quickly through these
screen modes, we can just tap the F key.
| | 00:26 | So here is Standard screen mode,
and I'll zoom in once or twice using
| | 00:30 | Command+Plus just to show you that the
interface is contained in this image window area.
| | 00:37 | As soon as I tap the F key, you will
notice that the image now floats behind
| | 00:42 | all of the interface.
| | 00:44 | And if I scroll around, you can see that
we actually don't have those scrollbars.
| | 00:50 | It's like it's just
floating underneath the panels.
| | 00:53 | Now, if I use the keyboard shortcut
Shift+Tab, we can actually hide the palettes
| | 00:58 | on the right-hand side, which just
gives us a little but more screen real
| | 01:01 | estate. So a lot of people
like to work in this mode.
| | 01:05 | If I tap the F key, again, now I have
the Full Screen mode, but it automatically
| | 01:10 | hides all of my panels, as well as my
tools and the Option bar and the menus, and
| | 01:15 | this is an excellent way
to may be present an image.
| | 01:19 | I can use Command+Minus to zoom
out and we get a nice black screen
| | 01:23 | around the image area.
| | 01:24 | Of course if I wanted to bring back the
panels for any reason, I could tap the
| | 01:28 | Tab key, even when I'm in this Full Screen mode.
| | 01:32 | If I tab the F key one more time,
it'll toggle me back to my Standard mode.
| | 01:37 | In the Standard mode, I just want to show
you one last option that I really like.
| | 01:42 | I'll use Command+Minus to zoom out,
so that you can see that by default, I've
| | 01:47 | kind of got this little drop
shadow around the edge of my image.
| | 01:51 | If I want to turn that off, we can go
to Photoshop and then Preferences and
| | 01:56 | Interface and then for each of the screen
modes, I can choose what type of border I want.
| | 02:03 | In my case I want to actually turn
this off. I prefer that there's no
| | 02:07 | border around my image.
| | 02:08 | When I click OK, you can see that
that drop shadow no longer appears.
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|
|
9. Digital Image EssentialsUnderstanding file formats| 00:00 | There are a variety of different file
formats that you might run into while
| | 00:03 | you're using Photoshop,
| | 00:05 | so let's talk about the first one, which is PSD.
| | 00:08 | When you open up a document into
Photoshop, Photoshop temporarily puts that
| | 00:13 | document into the PSD file format, and
it allows you to add layers and save
| | 00:18 | channels and do all sorts of things.
| | 00:20 | So I use the PSD file format when I am
saving out kind of my master Photoshop
| | 00:27 | documents, the ones that have multiple layers.
| | 00:29 | They might have type, they might have
adjustment layers, and Photoshop will save
| | 00:33 | all of those in the PSD file format.
| | 00:36 | From there, I will go ahead and save out
my derivatives. Like if I have to send
| | 00:40 | someone a JPEG file, I would save my
PSD with all the layers and then send them
| | 00:45 | the JPEG file, which would be flattened.
| | 00:47 | But before we get to JPEG, let's talk
about TIFF a little bit. The TIFF file
| | 00:51 | format can also save out layers.
| | 00:54 | It can basically save
anything that a PSD file can save.
| | 00:58 | The nice thing about a TIFF file
is that you can place it into other
| | 01:01 | applications beyond the
Adobe Suite applications.
| | 01:06 | So for example, if I was taking my image
from Photoshop and I wanted to place it
| | 01:10 | into InDesign or if I wanted to place
it into After Effects, I'm perfectly fine
| | 01:16 | taking my PSD file into those applications.
| | 01:20 | But if I wanted to take a file into a
different application, maybe Quark for
| | 01:25 | example, then I might want to
actually save that as a TIFF, and probably not
| | 01:29 | necessarily with layers. I'd probably want
to flatten a TIFF file in order to take
| | 01:34 | into that other application.
| | 01:35 | You should just know that the TIFF
file format does actually support layers.
| | 01:39 | All right, when you save your files as JPEG
files, you need to know that two things happen.
| | 01:45 | One, Photoshop will automatically
flatten your image, because the JPEG file
| | 01:49 | format does not support multiple
layers. And the JPEG file format is always
| | 01:54 | compressed and it's compressed using
lossy compression, which means that the
| | 01:59 | JPEG file format throws away a lot of
colors in order to compress the file
| | 02:05 | and make it so small.
| | 02:07 | The JPEG file format is an excellent
way to share your images, but you've got
| | 02:12 | to pick the balance when you're
saving the JPEGs as far as how much you
| | 02:16 | compress the file--the more
compression the smaller the file--but you're also
| | 02:21 | going to lose quality.
| | 02:22 | So you've got to balance the
quality with the compression.
| | 02:26 | As far as the GIF or GIF file format,
that's another flat file format; it
| | 02:31 | does not support layers.
| | 02:32 | It is compressed, but it's
compressed in a different way from the JPEG.
| | 02:37 | The JPEG file format can still have
thousands of colors in it, whereas the GIF
| | 02:41 | file format has a maximum of 256 colors.
| | 02:46 | But as a bonus, it does support
transparency, so you could take an image into
| | 02:52 | another application that supported
transparency and you could actually see
| | 02:56 | through any transparent areas in your GIF file.
| | 02:59 | The PNG file format is also an
excellent file format. It's great for working
| | 03:04 | with other applications like Flash,
or you can use it in applications like
| | 03:09 | Lightroom, if you're creating an
identity plate or a watermark, because the PNG
| | 03:14 | file format, or PNG file format,
supports full alpha channel masks.
| | 03:19 | So the GIF file format only
supports one level of transparency.
| | 03:23 | The pixels are either on or off.
But the PNG file format actually allows you
| | 03:29 | to have 256 different levels of
transparency, so you can have nice subtle
| | 03:34 | areas of transparency.
| | 03:37 | PDF is another file format that you
might want to save your image in if you're
| | 03:42 | going to be distributing it to someone.
| | 03:44 | Anyone can read a PDF file if they
download the free Acrobat reader.
| | 03:49 | And the nice thing about PDF is
that it will allow me to apply security
| | 03:53 | settings, so that if I want to limit the
ability to open or the ability to print
| | 03:59 | the file, I can enter in a password
when I save the document and that way the
| | 04:04 | person who receives the document would
also need to know that password to either
| | 04:08 | open the file or I could allow
anyone to open it, but they might need the
| | 04:13 | password to print the file.
| | 04:15 | And finally, DNG, which we've mentioned before.
DNG is the Digital Negative file format.
| | 04:21 | It's an openly documented, openly licensed
archival format for saving out raw files.
| | 04:28 | So that's a brief overview of the
seven most popular file formats that you'll
| | 04:33 | run across while you're working in Photoshop.
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| Choosing the resolution you need| 00:00 | When you're working in Photoshop,
it's always a good idea to know where your
| | 00:03 | image is going to be displayed,
because if you know where your image is going,
| | 00:08 | then you'll know how large of a
file you will need to work on.
| | 00:11 | In this video, we'll be looking at the
three most common ways of presenting or
| | 00:15 | sharing your images.
| | 00:17 | The three categories are
halftone, continuous tone, and screen.
| | 00:21 | We'll look at halftone first.
| | 00:23 | When we talk about halftone, we are
talking about printing on the printing press.
| | 00:28 | Halftone is not continuous tone, but it
might start as a continuous-tone image
| | 00:32 | such as a photograph, but along the way
it's converted into a halftone pattern
| | 00:37 | for the printing press.
| | 00:39 | This halftone pattern is made up of a
pattern of dots, some large and some small,
| | 00:44 | and you have a series of dots for
each of the CMYK inks so the cyan,
| | 00:49 | magenta, yellow, and black inks.
| | 00:52 | When these dot patterns are printed,
when they're overlaid one on top of each
| | 00:56 | other, they actually create the
illusion of continuous tone, but it's not in
| | 01:00 | fact a continuous-tone image.
| | 01:02 | If you look at anything that's been
printed, like a newspaper or a magazine,
| | 01:06 | especially if you look at it under a
loupe or a magnifying glass, you will see
| | 01:10 | the individual dots.
| | 01:12 | So, what resolution do you need in order
to convert your image from a continuous-
| | 01:17 | tone image in Photoshop in
order to go to the printing press?
| | 01:21 | Well, that depends on the
line screen of the printer.
| | 01:26 | As a general rule of thumb, you need
two times the line screen, or the LPI.
| | 01:32 | And the LPI, or the line screen, is
going to be dependent on the paper that
| | 01:37 | you're going to print to.
| | 01:39 | So for example, when you print a
newspaper, you can't print with a very high line
| | 01:43 | screen; typically, they use 85 LPI.
| | 01:46 | Whereas if you're printing to a really
high-end magazine or book, they might go
| | 01:50 | as high as 300 line screen.
| | 01:53 | So as soon as you know the paper that
you're printing to, then you can work with
| | 01:57 | your printer and come up with
the line screen that you'll need.
| | 02:00 | Then you simply double that, and that would
be the resolution you would want in Photoshop.
| | 02:05 | The second category is continuous tone,
and probably the most common example of
| | 02:11 | that would be an inkjet printer.
| | 02:13 | An inkjet printer usually needs a
resolution in Photoshop between 240 and 360
| | 02:20 | pixels per inch, and this is
sort of an aesthetic choice.
| | 02:24 | What I would recommend is that you
print the same image to the same printer at
| | 02:29 | 240 pixels per inch, and in 300,
and again at 360 pixels per inch.
| | 02:34 | I think you'll find that most people
can tell the difference between 240 and
| | 02:37 | 300 pixels per inch.
| | 02:39 | The 300-pixels-per-inch image will look
as if it's a higher quality. But it kind
| | 02:45 | of drops off after 300 pixels per inch.
| | 02:48 | So you'll have to see if you can see
the difference between the 300- and the 360-
| | 02:53 | pixel-per-inch printout.
| | 02:55 | Another continuous-tone output would
be photographic paper. Maybe you're a
| | 02:59 | photographer and you want to
send some images to the lab.
| | 03:03 | The lab then should recommend a
resolution that they want their images, because
| | 03:09 | they've optimized their printing process,
and they'll know exactly the quality or
| | 03:14 | the resolution of the image that you'll
need to send them to achieve the results
| | 03:19 | that will look good on that photographic paper.
| | 03:21 | Again, it's typically
around 300 pixels per inch.
| | 03:26 | Now, backing up for just one moment to
the inkjet printers, we do call them
| | 03:30 | continuous tone, but they are in fact a
series of dots. But it is not the same
| | 03:36 | dot pattern that we discussed
previously in the halftone pattern that you would
| | 03:41 | use to the printing press.
| | 03:42 | All right, finally let's talk about if
you're going to display or share your
| | 03:47 | images on a screen, like a monitor
or a tablet or maybe a projector.
| | 03:51 | In this case, the actual
resolution of the file doesn't matter.
| | 03:55 | You could have a resolution at 72
pixels per inch, or 96, or 300. That doesn't
| | 04:01 | matter; what matters is the total pixel count.
| | 04:04 | Because each one of these devices can
display a set number of pixels, and you
| | 04:09 | want to make sure that your image is
large enough, or is at the correct size to
| | 04:14 | display properly on that device.
| | 04:17 | Now, in the next video, we'll actually
see examples of how to resize or resample
| | 04:23 | your image to change the resolution
so that you can prepare it for either a
| | 04:27 | halftone or a continuous-tone printer.
| | 04:30 | Or we'll actually change not the
resolution, but the actual pixel count in order
| | 04:35 | to prepare our images for an onscreen display.
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| Understanding Resize vs. Resample| 00:00 | So we need to learn the
difference between resizing our image and
| | 00:03 | resampling the image.
| | 00:04 | To do this, we'll look at
the Image Size dialog box.
| | 00:08 | You can see in the top part, we just
have a simple area for Width and Height, and
| | 00:12 | the Width and Height are calculated in pixels.
| | 00:15 | So these numbers just directly
correspond to how many pixels they are wide
| | 00:20 | versus how many pixels
they are high in the image.
| | 00:23 | In the Document Size below, this is
where it gets a little bit trickier,
| | 00:27 | because in order to calculate the
document size, you need the width and height,
| | 00:32 | plus the resolution.
| | 00:34 | So first let's turn off the
option to resample your image.
| | 00:39 | As soon as I uncheck that, you'll
notice that I cannot actually change the
| | 00:43 | total pixel dimensions.
| | 00:45 | All I can do is I can change the
way that those pixels are distributed.
| | 00:50 | So right now, we can see that we could
print this at 60 x 40 at 72 Pixels/Inch,
| | 00:55 | but 72 Pixels/Inch is a very low
Resolution. I want to go ahead and switch this
| | 01:00 | up to 300 Pixels/Inch so that I can
print this image to my inkjet printer.
| | 01:05 | Well, when I change it to 300 Pixels/
Inch, because I've told Photoshop that it
| | 01:09 | can't add or subtract any other
pixels, with this option here Resample Image
| | 01:15 | turned off, then Photoshop had to use
more pixels, 300 of them, per inch, so it
| | 01:20 | couldn't print this image as
large as it was at 72 pixels per inch.
| | 01:26 | If I click OK right now, you'll notice
that the size of the image in my preview
| | 01:31 | area here, it didn't change because
I'm not adding or subtracting any pixels.
| | 01:36 | Now let's go back to Image > Image
Size, and this time I'm going to tell
| | 01:41 | Photoshop to Resample the Image.
| | 01:44 | Now I can either resample the image
up or I can resample the image down.
| | 01:47 | One of the nice new features in
Photoshop CS6 is that Photoshop will
| | 01:52 | automatically pick the correct
resampling algorithm. It will automatically
| | 01:57 | choose Bicubic Smoother if I make my
image larger, and it will choose Bicubic
| | 02:02 | Sharper if I reduce the size of my image.
| | 02:05 | So I make sure that I leave
that on Bicubic Automatic.
| | 02:09 | Now, if I wanted to print this image
with a maximum width of 10 inches and I
| | 02:14 | enter in 10, you'll notice that this
time that we are in the Image Size dialog
| | 02:19 | box, because I have the option to
Resample Image checked on, I'm actually
| | 02:24 | taking away pixels.
| | 02:26 | My total size used to be 36M, now
it's down to 17, and I had a lot more
| | 02:32 | pixels in my Width and Height area.
| | 02:34 | So by turning on Resample Image, Photoshop
is allowed to take away or make up pixels.
| | 02:41 | If I wanted to print this 20 inches,
now we can see that Photoshop is actually
| | 02:46 | going to have to add pixels.
| | 02:49 | The file that used to be 36M, now I've
told that that I need file that's 68M.
| | 02:54 | So Photoshop will automatically
interpolate up, or add pixels, in order to give
| | 02:59 | me this document size with 20 inches wide, 13.3
inches high, and a resolution of 300 Pixels/Inch.
| | 03:08 | This time when I click OK, you can see
that my document actually got larger,
| | 03:13 | because Photoshop had to
make up those additional pixels.
| | 03:16 | I am going to undo that by choosing Edit
and then Undo Image Size, just so that
| | 03:22 | I can show you the other direction as well.
| | 03:24 | If I go to Image and then Image Size
and we decide that I only need to print
| | 03:29 | this maybe 6" x 4" at 300 Pixels/Inch,
well, again, because I have Resample Image
| | 03:36 | turned on, what used to be a 36M file,
is now going to be just a little over
| | 03:42 | 6M. When I click OK, we can see
that my file actually got smaller.
| | 03:47 | So there you have it. With the Resample
Image option on in the Image Size dialog
| | 03:53 | box, you're allowing Photoshop to
either make up pixels or throw them away.
| | 03:58 | When you don't have that on, then all you
are telling Photoshop that it can do is
| | 04:02 | redistribute those pixels at the
resolution that you specify, and the width and
| | 04:07 | height in the document
area of the Image Size dialog.
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| Working with print sizes and resolution| 00:00 | So the question that I get most
often is, how large can I print my image?
| | 00:05 | Well, let's take a look, by going under
the Image menu and selecting Image Size.
| | 00:10 | In the Image Size dialog box, I am going to
turn off the option to resample the image.
| | 00:15 | We can see that I can print this
image, 9 x 14 at 300 Pixels/Inch.
| | 00:21 | If I want to print this 9 x 12,
which is the common aspect ratio for
| | 00:26 | photographers, if I change this to 12,
you can see that the Resolution went up to
| | 00:31 | 364, because with the Resample Image
option off, I've told Photoshop not to add
| | 00:38 | or subtract any pixels, just rearrange
those pixels in the Document Size area.
| | 00:44 | So now I know, if I turn on Resample
Image, because I only am going to print
| | 00:49 | this to my inkjet printer, which
wants 300 Pixels/Inch, I know that I have
| | 00:54 | plenty of information to
print this image at this size.
| | 00:58 | Now, if I wanted to print this a little bit
larger, let's take a look at what would happen.
| | 01:03 | I am going to change the Width up to 12,
but now you can see that my Resolution
| | 01:08 | has dropped down to 242, and that's kind
of at the bottom range that I would want
| | 01:13 | to print to my inkjet printer.
| | 01:15 | Now if I turned on Resample Image and we
increase this to 300 Pixels/Inch, I can
| | 01:22 | change the Pixels to Percent and now we
can see that Photoshop is going to have
| | 01:26 | to make up a lot of information for
me to print my image at this size.
| | 01:31 | Of course at this point, because I've
already taken the photograph, there are
| | 01:34 | really not a lot of options.
| | 01:36 | If I want to print at this size, I need
to have Photoshop make up that information.
| | 01:41 | So in this case, if I want at print
at 12 x 18 at 300 Pixels/Inch, I would
| | 01:45 | simply click OK and send
this file to the printer.
| | 01:49 | It's not as optimal. If I
were printing it smaller,
| | 01:51 | I would probably get better quality.
| | 01:53 | At this larger size, it might
start to get a little bit soft.
| | 01:57 | But without going back out and
re-photographing this with a larger-format
| | 02:01 | camera, this is what I need to do.
| | 02:03 | So, there you have it. It's always a
good idea to know how large your output is
| | 02:08 | going to be before you capture the
image and work on that image in Photoshop,
| | 02:12 | to make sure that you have enough
information to get the quality print that you need.
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|
|
10. Cropping and TransformationsUsing Undo and the History panel| 00:00 | I honestly believe that one of the most
important features in Photoshop is the
| | 00:03 | ability to undo whatever you've just
done, because just knowing that nothing
| | 00:08 | that you do is permanent allows you to
really experiment and play in Photoshop.
| | 00:12 | What I am going to do now is I am just
going to select a few options. I'll go
| | 00:15 | to Image > Image Rotation, and let's
just flip this canvas horizontally. And then
| | 00:21 | I'll do something else, maybe come
back, and let's go ahead and flip it 180
| | 00:25 | degrees. And I just am trying to build up a
few different things that I've worked on.
| | 00:32 | So I've made those three changes.
If I wanted to undo the last thing that I've
| | 00:36 | done, I can use the keyboard
shortcut Command+Z or Ctrl+Z on Windows.
| | 00:41 | If I use that again, it will toggle
back and forth. Basically, I'm using the
| | 00:45 | keyboard shortcuts to undo and then redo.
| | 00:51 | So Command+Z or Ctrl+Z
just toggles back and forth.
| | 00:55 | If I want to step backwards in time,
then I'll use the Step Backwards
| | 00:59 | command, which in this case is
Command+Option+Z, and then I can use it again
| | 01:05 | to keep going backwards.
| | 01:07 | I could also use
Command+Shift+Z in order to step forwards.
| | 01:11 | If we take a look at our History
panel, we can actually see what's going on.
| | 01:15 | Let's go ahead and click and drag out
the History panel so that it's no longer
| | 01:20 | docked, and we can make it a little bit larger.
| | 01:23 | These are the three
things that I did to my image:
| | 01:25 | we rotated it, we flipped it, and I opened it.
| | 01:28 | So going up the panel goes back in time.
| | 01:31 | If I want to step forward,
then I would step down the panel.
| | 01:35 | If I want to return to the open state,
there is actually two ways that I can do this.
| | 01:39 | I can click on the open state here or
in this area--this is called my snapshot--
| | 01:44 | I could always click there.
| | 01:47 | The advantage of either clicking on
the snapshot or on the open state, as
| | 01:51 | opposed to going to the File menu
and choosing Revert, is when you select
| | 01:56 | Revert, Photoshop actually has to go and
read the file from the hard drive again.
| | 02:02 | But often, your image might actually be
stored in RAM, so clicking Open here or
| | 02:07 | clicking on the snapshot is going to
revert your file much more quickly.
| | 02:12 | One important little safety tip:
right now I have these two other states that
| | 02:18 | are more forward in time--these are
the two states that I did after opening--
| | 02:22 | these are still accessible, but if
you go back in time like we did, and we
| | 02:27 | click on the Open state, the next thing that I
do will actually get rid of these two states.
| | 02:33 | Let me show you. I am going to go to
Image and then we'll go to Image Rotation,
| | 02:38 | and let's flip the canvas vertically.
When I do this, the Flip Canvas Horizontal
| | 02:43 | and the rotate canvas states in History
will disappear and now I'm left with the
| | 02:48 | Open and the Flip Canvas Vertically.
| | 02:51 | So by default, you should know that as
you go back in time in Photoshop and
| | 02:56 | then as you step forward again, if you
step forwards and do something new, that
| | 03:02 | new step is going to replace
all of those intermediate states.
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| Using crop options| 00:00 | There are a variety of different reasons
that you might want to crop your image.
| | 00:05 | Your image might not be at the correct
aspect ratio that you want to print, for
| | 00:08 | example, or you might only want
to use a portion of your image.
| | 00:13 | In order to select the Crop
tool, we'll tap the C key.
| | 00:16 | Once I've selected the Crop tool in CS6,
you'll notice that we automatically get
| | 00:22 | crop handles on the sides, as well as
along the corner areas of the image.
| | 00:27 | I can either click on any of these
handles and start dragging or I can simply
| | 00:33 | click anywhere in my image
to drag out a crop marquee.
| | 00:36 | By default, I can reposition this crop
marquee in any way that I want, by either
| | 00:42 | dragging on the center handles or by
clicking and dragging one of the corner
| | 00:47 | handles, and that's
because my crop is unconstrained.
| | 00:51 | If I need to constrain my crop to a
specific aspect ratio, I can select from any
| | 00:57 | of the presets here on the list
or I could enter in my own values.
| | 01:03 | If I enter in my own values, I can
even save those out as presets if I use
| | 01:07 | those options a lot.
| | 01:09 | For now, we'll select 4 x 3.
| | 01:13 | If I've got a horizontal crop and I
want to quickly flip it to a vertical crop,
| | 01:17 | or vice versa, I can use this icon right
here to rotate the crop, or I can just
| | 01:24 | tap the X key to exchange the
crop vertical to horizontal.
| | 01:29 | There are a variety of
different overlays that I can also view.
| | 01:33 | Right now I've got the Rule of Thirds
displayed, but I can choose between a grid
| | 01:39 | or any of these additional options.
| | 01:41 | And you'll notice down here that I can
cycle through these different overlays by
| | 01:46 | simply tapping the O key.
| | 01:48 | So if tap O again, you can
watch as we cycle through.
| | 01:52 | I'll go ahead and leave it
for now to the Rule of Thirds.
| | 01:55 | There is an additional
option in this dropdown menu.
| | 01:58 | You'll notice that right now we have got it
set by default to always show the overlay.
| | 02:03 | You can also turn this off if you want,
| | 02:05 | but the option that I
like is the Autoshow Overlay.
| | 02:08 | You will notice that right now I don't have
the Overlay when I don't have my mouse down.
| | 02:13 | But as soon as I start dragging to
reposition the crop, I get that overlay.
| | 02:19 | As soon as I let go,
the overlay automatically disappears.
| | 02:23 | If I didn't like this crop and I
wanted to escape out of it, I could tap the
| | 02:28 | Escape key or I could click on
this icon in order to cancel the crop.
| | 02:34 | If I am happy with the crop that I've
made, then I can click the check mark
| | 02:37 | right here or tap the Enter or the
Return key in order to apply that crop.
| | 02:43 | Even after I've applied the crop,
you'll notice that I still have the crop
| | 02:47 | marquee surrounding my image.
| | 02:50 | If I want to get rid of that or hide
that, I can just switch to another tool.
| | 02:55 | Since it's still up, you'll notice I could
also go in and change my crop at any time.
| | 03:02 | If I decide that I want to clear the
aspect ratio, I can use this first icon
| | 03:07 | right here. It basically just clears
out all of my settings in the Options bar
| | 03:13 | so that now I can freely drag the crop
to any aspect ratio, to just select the
| | 03:19 | area that I want to be
revealed in the final image.
| | 03:23 | Finally, because we already applied
the crop one time, I just want to show
| | 03:28 | you that if I hit the Cancel option right now,
we're not going to go back to my original image;
| | 03:35 | we're going to go back to the crop
setting as it was when I started this
| | 03:40 | secondary crop session.
| | 03:42 | So we don't see the full horizontal
image, because I already applied that crop.
| | 03:47 | When I hit Cancel, all we went back to
was that state where I started messing
| | 03:52 | with the crop the second time around.
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| Understanding Hide vs. Delete for the Crop tool| 00:00 | The default settings for the Crop tool
in Photoshop actually allow the Photoshop
| | 00:05 | to delete the crop pixels
after you crop an image.
| | 00:09 | So, let's say, for example, I
reposition this crop over to the right-hand side.
| | 00:14 | If I were to click the check button
right now, Photoshop would actually delete
| | 00:18 | all of the pixels over here to the
left, and although I could use the Undo
| | 00:22 | command to get them back, if I went
forward in time and did a bunch of other
| | 00:27 | edits to this image, those pixels on the
left-hand side, I really couldn't get them back.
| | 00:33 | So, if you want a little added
flexibility, you can uncheck the option to
| | 00:38 | delete cropped pixels.
| | 00:40 | When I do that, you might have
noticed that over here on my Layers panel my
| | 00:44 | background layer turned into
this temporary Crop Preview layer.
| | 00:49 | If I reposition the crop and then I
use the check mark to apply it, you'll
| | 00:54 | notice that Photoshop actually
changed my background layer into a layer, and
| | 01:01 | that's because the background layer
doesn't have a way of holding onto those
| | 01:06 | pixels that it's cropped.
| | 01:07 | So, Photoshop automatically did this for
me, and now, if I use the Move tool, we
| | 01:13 | can go ahead and reposition the crop
within the area or within the canvas size
| | 01:20 | that I cropped the original image down to.
| | 01:23 | Just remember, if you save this file as
a Photoshop file, Photoshop can retain
| | 01:28 | all of that extra information that's
outside of the canvas area, but if you save
| | 01:33 | this file as a JPEG, or any file format
that has to flatten the document, all of
| | 01:39 | those pixels that are outside the
crop are going to be cropped for good and
| | 01:43 | you'll lose that information.
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| Bringing back hidden pixels with Reveal All| 00:00 | If you change the default settings
for the Crop tool so that you are not
| | 00:05 | deleting the cropped pixels,
| | 00:07 | when you click and then apply the crop,
Photoshop is keeping track of that extra
| | 00:13 | data. And sure enough, if I use my Move
tool, when I reposition this layer, we can
| | 00:19 | see that extra data.
| | 00:21 | But I would like Photoshop to be able
to actually extend my canvas size to get
| | 00:26 | all of that information back.
| | 00:28 | The easiest way to do this is simply
select Image and then Reveal All and
| | 00:33 | Photoshop will create a canvas large
enough to show all of that hidden data.
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| Making the canvas bigger with the Crop tool| 00:00 | One of the sort of hidden features
when you're using the Crop tool is its
| | 00:04 | ability to actually add
canvas around your image.
| | 00:08 | So I'll tap the C key to select the Crop
tool. Then I'm just going to zoom out a
| | 00:12 | little using Command+Minus.
| | 00:15 | Typically, when we think of cropping,
we think of moving the crop handles into
| | 00:19 | the image, but you can also drag
the crop handles outside of the image.
| | 00:24 | And by the way, if you ever drag
something incorrectly in the Crop tool, you can
| | 00:28 | always use Command+Z or
Control+Z to undo that crop.
| | 00:31 | For now, I'm just going to drag this
out to the original crop, because now I
| | 00:36 | want to use a keyboard shortcut.
| | 00:37 | That keyboard shortcut is the Option
and the Shift key, or the Alt and the Shift
| | 00:42 | key, in order to drag out additional
canvas size, which you can see by holding
| | 00:47 | the Shift key, we're constraining the
proportions and by holding down the Option
| | 00:52 | key, we're dragging from the center of the image.
| | 00:55 | When I let go, right down here in my
Layers panel, you can see there is a Crop Preview.
| | 01:01 | Depending on whether or not you have
the option to delete cropped pixels,
| | 01:06 | you might see something else, because
when I toggle this on, now we can see
| | 01:10 | what Photoshop is trying to preview
is what this would look like with a
| | 01:14 | background that's white.
| | 01:16 | So if I choose to delete the cropped
pixels, if I were to apply this right now,
| | 01:22 | what I would get would be a flat image
that has white all the way around it.
| | 01:26 | Well, that might not give me the most
flexible workflow, so I'm going to uncheck
| | 01:32 | the option to delete cropped pixels.
| | 01:34 | I'm actually going to add a little bit
more space to my image or a little bit
| | 01:38 | more canvas size, and what this allows
is that when I hit the check mark to apply
| | 01:44 | the crop, you can see that this whole
area around my photograph is transparent.
| | 01:50 | That way I could select the Move tool and
quickly reposition the image on that canvas size.
| | 01:59 | If I wanted to make the background
white, I could simply add a new layer by
| | 02:04 | clicking on the New layer icon at the
bottom of the Layers panel, and then we
| | 02:08 | can fill that with white by choosing Edit > Fill,
and then using White as our Foreground Color.
| | 02:16 | Of course that's going to cover up the
photo because layer 1, this white layer,
| | 02:21 | is on top of layer 0, which is where
our photograph is, but all I need to do is
| | 02:26 | click and drag layer 1 underneath
layer 0 in order to put the white background
| | 02:32 | underneath the photograph.
| | 02:34 | You can see how flexible this is,
because if I want to reposition the photograph,
| | 02:38 | all I need to do is target that layer in
the Layers panel and then using my Move
| | 02:43 | tool, I can reposition it
as many times as I want.
| | 02:47 | If I wanted to add a little bit of
separation between the photograph and the
| | 02:51 | background, I could add an
effect, such as a stroke to the image.
| | 02:57 | In this case, I'll add a stroke
that's relatively large, maybe six or seven
| | 03:01 | pixels. I'll position it the inside,
because I don't want that curved edge.
| | 03:07 | I want a nice straight edge there.
And when I click OK, it now looks like a
| | 03:12 | photograph with a border sitting on a print.
| | 03:16 | When I click OK we see that nice border
that separates the image from the background.
| | 03:22 | So using the Crop tool to actually
add canvas size might not be the most
| | 03:26 | intuitive thought in Photoshop,
but it certainly is a great feature.
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| Making the canvas bigger using the Relative option in the Canvas Size command| 00:00 | As we saw in the last tutorial, you
can certainly add canvas size around your
| | 00:05 | images in the Crop tool, but there
are times when you might want to be a
| | 00:08 | little bit more specific and add, say,
for example, an inch to the side or to
| | 00:13 | the top of your image.
| | 00:15 | If that's the case, then I would
suggest we go to Image and then Canvas Size.
| | 00:20 | We want to add 1 inch to
the left- and right-hand side.
| | 00:24 | Then our total inches for Width would turn to 8.
| | 00:28 | If we wanted to add 1 inch at the top
but maybe 2 inches at the bottom, then I
| | 00:32 | need to change my Height to 7.
| | 00:35 | Now, by default, Photoshop is going to
anchor the original photo right in the middle.
| | 00:40 | Of course, I can change that by
clicking in any of these grid squares.
| | 00:44 | If I do this on a background layer,
which is what I have right now, Photoshop
| | 00:49 | has to fill this additional canvas with a color.
| | 00:53 | I can choose my color right here if I
wanted to change it, or I could select
| | 00:58 | it from the list here.
| | 01:00 | When I select Other, it would
also take me to the color picker.
| | 01:03 | So a more flexible way to do this might
be to cancel out and before using Image
| | 01:09 | Size, turn your background into a layer.
| | 01:11 | The easiest way to do this is to choose
Layer > New > Layer from Background.
| | 01:17 | I'll call this ice, click OK, and now
when I go to Image > Canvas Size, you can
| | 01:26 | see that if I change my numeric values
to 8 and 7, I don't have the option to
| | 01:32 | pick a background color, because
Photoshop will automatically create
| | 01:37 | transparency around the area.
| | 01:40 | There's another option in this dialog box.
| | 01:42 | I can simply add a relative
amount of space around my image.
| | 01:47 | By checking that on, I can now change, for
example, the width and height to 2 x 2.
| | 01:54 | You have to be a little careful here.
Because it's relative, it's going to add
| | 01:58 | 1 inch on each side.
| | 02:00 | So if I wanted to actually add 2
inches on each side, I would need to change
| | 02:05 | these values to 4, but I'm going to just
add 1 inch, so we'll leave it set at 2.
| | 02:10 | When I click OK, you can see that
Photoshop has added an inch of transparency
| | 02:15 | all the way around my image.
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| Using the Perspective Crop tool| 00:00 | In Photoshop CS6, there is a new crop
tool called the Perspective Crop tool,
| | 00:05 | which will allow you to not only
correct the perspective of an image, but also
| | 00:11 | crop the image at the same time.
| | 00:13 | In order to select it, I'll click and
hold on the Crop tool and choose the
| | 00:17 | Perspective Crop tool.
| | 00:19 | Then I can click and drag out my marquee.
| | 00:23 | If there's something in your image
that you know should be straight--for
| | 00:27 | example, I know that the totem pole
shouldn't be getting smaller down here at
| | 00:32 | the bottom--and I'm going to align the
anchor points with the perspective of the
| | 00:38 | object that I'm trying to straighten.
| | 00:40 | I'm just using that as a guide.
| | 00:43 | After I'm done defining the perspective
that I want to create, I can always move
| | 00:48 | the crop either by clicking inside the
crop to reposition the entire crop or I
| | 00:54 | can use any of the
anchor points along the edges.
| | 00:57 | I don't want to use the ones in the
corners, because that'll change the
| | 01:00 | perspective, but along the edges, I
can move these because maybe I want to
| | 01:04 | include a little bit of that background
within the image, and I might not want
| | 01:08 | to include quite as much at the top.
| | 01:11 | When I click the check mark or tap the
Enter button, you can see that not only
| | 01:15 | have I cropped the image, but
I've straightened the perspective.
| | 01:18 | If we use the Command+Z, we can see
the Undo and the Redo and we can see how
| | 01:23 | we've corrected the perspective of the image.
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| Straightening a crooked image| 00:00 | There are several different ways that
you can straighten an image in Photoshop.
| | 00:04 | The first way involves the Crop tool.
You'll notice that as soon as I select it, in
| | 00:09 | the Options bar we have a Straighten option.
| | 00:12 | If I click on that and then click in my
image and drag across the image in the
| | 00:18 | angle that I know that I want Photoshop
to straighten the image, when I let go,
| | 00:22 | Photoshop will automatically straighten it.
| | 00:25 | If I tap the Enter or the Return key,
we can apply that straightening and
| | 00:29 | cropping at one time.
| | 00:31 | One of the things that you might
notice, because I did not have Delete
| | 00:35 | Cropped Pixels turned on, Photoshop
is keeping track of the information
| | 00:40 | outside of the canvas area that I see,
and in fact, Photoshop has turned my
| | 00:45 | background into a layer.
| | 00:47 | Let's go ahead and undo that by using
Command+Z or Ctrl+Z, and I'll show you a
| | 00:52 | second way to crop an image.
| | 00:54 | That's simply by having the Crop
tool selected and positioning your image
| | 00:59 | outside of the crop marquee.
| | 01:01 | Now, when I click and drag,
I automatically get a nice grid overview so that I
| | 01:06 | can align my image, and when I let go
and tap Return or Enter, again, Photoshop
| | 01:12 | will crop and straighten my image.
| | 01:15 | Here's one last super tip.
| | 01:18 | If you happen to have Photoshop CS6 Extended--
let's just undo what we just did a minute ago--
| | 01:25 | if you have the Extended version, underneath
the Eyedropper tool, you'll see a Ruler tool.
| | 01:32 | The icon here is a little ambiguous, so
I'm going to tap the Caps Locks key, so
| | 01:36 | that I get my crosshairs, so I
know exactly where I'm clicking.
| | 01:40 | I'll click on the left-hand side,
drag over to the same location on the
| | 01:44 | right-hand side, where that rope goes
around the totem pole, and when I let go, I
| | 01:50 | can then choose to straighten my
layer in order to straighten my image.
| | 01:54 | You'll see I get a little different result here.
| | 01:57 | Because I'm not using the Crop tool,
Photoshop will automatically add canvas
| | 02:02 | size to build out the canvas to
accommodate the rotated view of my image.
| | 02:08 | You might think it's much easier to
simply do this with the Crop tool, because
| | 02:11 | the Crop tool will crop and straighten
at the same time, but because Photoshop
| | 02:16 | is used by so many different people,
it can be very convenient when you're
| | 02:20 | actually trying to measure things and
use a measurement scale to straighten,
| | 02:24 | using the Ruler tool in Photoshop CS6 Extended.
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| Scaling, skewing, and rotating with Free Transform| 00:00 | Typically, when you use the Crop tool
or you use Image Size or Canvas Size,
| | 00:04 | you're working with the entire image,
but what if you want to work on either
| | 00:09 | just the part of the image or if you want to
work on multiple images in the same canvas area?
| | 00:15 | Well, that's when we are going
to switch over to Free Transform.
| | 00:19 | The first thing that I am going to do is
I am actually going to make a duplicate
| | 00:22 | of the background layer here.
| | 00:24 | And probably the easiest way to do
that is just to select the background and
| | 00:28 | then drag it down to the New Layer
icon at the bottom of the Layers panel.
| | 00:33 | So now I have two identical
copies of the same photograph.
| | 00:38 | It's this top layer that I'm going to be
working on right now, and I want to rename it,
| | 00:43 | so I'll just double-click where it says
Background copy, and I'll call this Distorted.
| | 00:49 | What I want to do is I want to put kind
of a little bit of the distortion on a
| | 00:54 | copy of the background and just make it
a little bit smaller, kind of to get a
| | 00:58 | little picture-in-picture effect.
| | 01:01 | So with this top layer selected in my
Layers panel, I'll choose Edit > Free Transform.
| | 01:08 | I can also go down to Transform if I
want to, and pick specific transformations,
| | 01:13 | like Rotates or Skews.
| | 01:15 | But for now, let's just select Free Transform.
| | 01:19 | With the transformation bounding box,
I can simply click and drag to transform
| | 01:24 | this image, but you will notice that
I'm not maintaining the perspective or the
| | 01:29 | aspect ratio of the original image.
| | 01:31 | So I'll use a quick undo, which is
Command+Z or Ctrl+Z, and this time as I start
| | 01:36 | dragging from the corner, I'll hold down the
Shift key in order to constrain the proportions.
| | 01:43 | I can also hold down the Option key and
drag, in which case I would be dragging
| | 01:47 | from the center of the image.
| | 01:49 | So I just want my image a little bit
smaller, so I'll go ahead and scale it to there.
| | 01:55 | And then if I position my cursor
inside the transformation handles, I can
| | 01:59 | reposition this layer.
| | 02:02 | I could move my cursor outside of the
transformation handles, and you will
| | 02:06 | notice that I get the double-headed arrow.
| | 02:08 | Now if I click and drag, I can rotate
in either direction. You can notice that
| | 02:12 | it's rotating around the center there.
| | 02:15 | It's rotating around this anchor point.
| | 02:17 | I am going to go ahead and undo that
as well, using Command+Z or Ctrl+Z. If I
| | 02:22 | want to access maybe the Perspective
Transformation option, certainly I can go
| | 02:27 | back to the Edit menu and then select
it from the list, but I think a much
| | 02:32 | quicker way would be to use
my context-sensitive menus.
| | 02:35 | So I'll right-mouse-click within the
Transformation handle--or on Mac you could
| | 02:39 | use the Ctrl+Click--and then
choose Perspective from the list.
| | 02:43 | The nice thing about using the context-
sensitive menus is that it also gives me
| | 02:47 | access to flip my image
either horizontally or vertically.
| | 02:51 | But for right now I'll use Perspective,
and then I'll click on the upper-right
| | 02:57 | anchor point and just drag down a little bit
to give the image a little bit of a perspective.
| | 03:02 | Then I'll right-mouse-click again and
choose Free Transform and then just pull
| | 03:07 | in this handle a little bit.
| | 03:10 | Then I'll reposition it so that it
is back in the center of the image.
| | 03:14 | To apply this transformation, I'll go
ahead and click the check mark up in the
| | 03:18 | upper right-hand corner, but it's
really hard to see any difference between the
| | 03:23 | foreground and the background. It's
just very confusing with the two layers.
| | 03:27 | So I want to take the opacity of the
background layer down, but when I click on
| | 03:31 | the background layer, you'll notice
that the opacity is not available.
| | 03:35 | So what I need to do is go to Layer >
New > Layer from Background.
| | 03:41 | I'll go ahead and call this Screened
Back, because that's what I'm going to do
| | 03:46 | to the image, click OK, and then lower
the opacity of that background image.
| | 03:53 | Now when I lower the opacity,
we start to see the transparent checkerboard.
| | 03:58 | I can also turn that off by using my
Preferences, underneath the Transparency & Gamut.
| | 04:05 | On Windows you would go on to Edit
menu and then choose Preferences >
| | 04:08 | Transparency & Gamut.
| | 04:11 | And for my Grid Size, I'll turn that to None.
| | 04:14 | When I click OK, now we can see what
this would look like when it's printed,
| | 04:19 | because Photoshop is displaying it as
if it's a flattened image, flattening all
| | 04:24 | of my layers to white.
| | 04:26 | One last thing that I might want to
add is a simple drop shadow in order to
| | 04:30 | create some separation between
this front image and the back image.
| | 04:35 | I need to make sure that on the Layers
panel I've selected the Distorted layer,
| | 04:39 | and then I'll choose the Drop
Shadow from the Effects menu.
| | 04:45 | Let's move this out of the way. And one
of the nice things about the Drop Shadow
| | 04:49 | is instead of changing the Distance
and the Angle numerically, I can simply
| | 04:53 | position my cursor in the image area and
click and drag to move this drop shadow around.
| | 05:00 | So if I want to drop shadow to drop kind
of farther away from my image and maybe
| | 05:06 | make it a little bit softer than that,
when I click OK, you can see that the
| | 05:10 | drop shadow really helps separate the
front image which has been transformed
| | 05:15 | from the flat original but
screened back copy in the background.
| | 05:20 | So this is one of the more basic
examples of Free Transform, but you can
| | 05:24 | imagine, if you're actually trying
to lay out a design and you are using
| | 05:28 | multiple images or you're trying to
create a composite image that looks
| | 05:32 | realistic using images for more than
one photograph, free transformation really
| | 05:37 | plays a critical role in getting your
images to be the right size and look like
| | 05:43 | they belong in the same scene.
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| Making nondestructive transformations with Smart Objects| 00:00 | If you're doing any design work or
any compositing where you have multiple
| | 00:04 | layers and you're making those layers
or images larger and smaller, you'll soon
| | 00:10 | find out that the Free Transform
command is a destructive command.
| | 00:15 | So here we can see in this file,
I actually have two copies of this totem,
| | 00:19 | one sitting to the right, and I can
turn on the visibility of that layer by
| | 00:23 | clicking on the eye icon in the Layers panel.
| | 00:26 | Now the totem layer, the one on the
left, is the one that's selected, and that's
| | 00:31 | the one that I'll apply the Free Transform to.
| | 00:33 | I'll go ahead and hold down the Option and
the Shift key, and we'll make this a lot smaller.
| | 00:41 | Then I'll tap the Enter or the Return
key in order to apply that transformation.
| | 00:46 | When I applied that transformation,
I told Photoshop to throw away a lot of
| | 00:52 | pixels, so that if I get to this point
and I've changed my mind and I want that
| | 00:56 | layer to be larger, if I use Free
Transform again--this time I'll use the
| | 01:01 | keyboard shortcut, Command+T or Ctrl T--
and I size this image up by transforming
| | 01:08 | it and scaling it while holding down
the Option and the Shift key, you can see
| | 01:12 | that when I apply this transformation,
I've lost a lot of detail in the image.
| | 01:18 | So, how can we avoid that?
| | 01:20 | Well, we can avoid it by turning our
layer into what's called a Smart Object.
| | 01:25 | So let's go ahead and
move to the totem copy layer.
| | 01:30 | I'll choose Layer > Smart Objects and
then convert this to a Smart Object.
| | 01:35 | Then I'll use Free Transform on this
layer and scale it down just as small
| | 01:40 | as the other one was.
| | 01:41 | I'll apply Enter or Return to apply
that transformation, but because it's a
| | 01:46 | Smart Object--and by the way, I know
it's a Smart Object because of the icon
| | 01:50 | I can see here for the
Smart Object in my Layers panel--
| | 01:54 | when I use Free Transform again and I
drag up my image to resize it back up and
| | 02:01 | tap the Enter or the Return key to apply
that transformation, you can see that I
| | 02:05 | haven't lost any detail.
| | 02:08 | So although Smart Objects might make
your image a little bit larger, because
| | 02:13 | when you transform your image smaller,
Photoshop is still keeping hold of all of
| | 02:18 | that higher-res information,
| | 02:20 | I think that the trade-off for having
the flexibility to change your mind at any
| | 02:25 | time and change your layout or change
the size of your image is well worth the
| | 02:30 | trade-off of just a little
bit of an increase in size.
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| Warping images| 00:00 | One of the things that we haven't
talked about is the Free Transform's
| | 00:05 | ability to warp an image.
| | 00:08 | Because we are going to be using Free
Transform, if I don't want this to be a
| | 00:11 | destructive transformation, I should
turn my layer into a smart object before I
| | 00:17 | apply that transformation, just
like we did in the last video.
| | 00:20 | But in order to add something new,
let's go ahead and select two layers on the
| | 00:25 | Layers panel this time.
| | 00:27 | So I'll click on one and then hold down
the Command key and click on the second one.
| | 00:31 | Instead of making these each a smart
object, I am going make them both a single
| | 00:37 | smart object and that's going to allow
me to apply the warp on both of these
| | 00:42 | images as if they are one.
| | 00:45 | So I'll choose layer > Smart
Objects > Convert to Smart Object.
| | 00:51 | You can see on the Layers panel
instead of having two layers, I now have a
| | 00:54 | single layer here, because Photoshop
thinks this is a single layer even though
| | 00:59 | it's a smart object of two layers.
| | 01:02 | When I apply the Edit menu,
Transform and I select the Warp;
| | 01:07 | we can see that both of
these layers will warp together.
| | 01:11 | Obviously, we can do a free form warp
here by just clicking and dragging anywhere
| | 01:15 | in the image or we can select from
the presets here in the options bar.
| | 01:20 | So for example if I wanted to add a
little arch to this, I could do so.
| | 01:25 | If I wanted to come down and add a flag,
and then if I want to change any of
| | 01:29 | the attributes of the flag, for example,
maybe the bend, I can use my scrubby
| | 01:34 | sliders and just click and drag to the left
in order to decrease the amount of the bend.
| | 01:40 | Or I can just click in a numeric value;
| | 01:42 | say for example, 5 or maybe 10 if I
wanted it to be a little bit more of a bend.
| | 01:50 | When I tap the Enter key or the Return
key to apply that transformation, we can
| | 01:55 | see that it's nondestructive, meaning
that if I wanted to undo that, I would
| | 01:59 | still have all of the resolution in the file.
| | 02:03 | In fact, I could come in and transform
this just with Free Transform and make it
| | 02:08 | smaller, and then again, free transform
it again, and make it larger and still
| | 02:13 | not lose any image quality.
| | 02:16 | So, the Warp, because it's part of Free
Transform as long as you turn your layer
| | 02:21 | or layers into a smart object, before
you apply it, it's always nondestructive.
| | 02:27 | And in fact, if we didn't like the warp
at this point, we could return back to
| | 02:31 | the Edit menu, come back to Warp and
then simply remove it by taking off the
| | 02:38 | bend by setting it to 0, and we'll
be right back where we started with
| | 02:42 | absolutely no loss of quality to our images.
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| Preserving important elements with Content-Aware Scale| 00:00 | Sometimes when you take a photograph in
the field it's not until you get home
| | 00:05 | when you realize that maybe the aspect
ratio of the original shot isn't quite
| | 00:09 | what you wanted it to be.
| | 00:11 | Take for example this image.
| | 00:13 | I might actually want to crop down this
image so that it's maybe a 4 x 5 aspect
| | 00:18 | ratio instead of 2 x 3 aspect ratio.
| | 00:21 | Of course the problem with just using
Free Transform to change the aspect ratio
| | 00:26 | would be that it's going to
start squishing all the buildings.
| | 00:29 | Let me show you what I mean.
| | 00:30 | If we go to Edit > Free Transform and I
just start pulling in this side in order
| | 00:36 | to make my image the aspect ratio that
I want it to be, now all of the sudden
| | 00:40 | all of my buildings are squished.
| | 00:43 | So let's escape out of that. And instead of
using Free Transform, I'm going to use
| | 00:48 | the Content-Aware Scale feature in Photoshop.
| | 00:51 | What the Content Aware Scale feature
does is that it tries to analyze your image,
| | 00:58 | and it's going to look from top to
bottom and left to right in your image and
| | 01:02 | it's looking for low-frequency areas,
| | 01:05 | so areas like this that don't have a
lot of detail, as opposed to maybe an area
| | 01:09 | like this where you've got a lot
of detail going through this barn.
| | 01:14 | When I start making this image smaller
by dragging the handle on the left-hand
| | 01:19 | side, you can see that the
buildings aren't really changing.
| | 01:23 | What's changing is the space in between
the buildings. The space right here is
| | 01:27 | being compressed, the space right here,
as well as the space over here on the
| | 01:31 | right side on each side of this red building.
| | 01:35 | Let me show you the difference.
| | 01:36 | If I use the Amount slider here
at the top, right now we're using
| | 01:40 | 100% Content-Aware Fill.
| | 01:42 | But if I move the slider to the left,
we can see what this would look like
| | 01:46 | with Free Transform.
| | 01:47 | You can see if I was just using Free
Transform, all of a sudden the church and
| | 01:51 | some of the other buildings got a lot taller.
| | 01:54 | With using Content-Aware Fill, we can
see that the buildings keep their original
| | 01:59 | perspectives even though I am changing
the aspect ratio of the entire image.
| | 02:05 | So I've used this a lot when I've
photographed a landscape, something similar to
| | 02:09 | this, but then I want to actually use that
image in a square format in one of my composites.
| | 02:15 | In order to apply it, we'll the tap
Enter or Return and if I just toggle Undo
| | 02:21 | and Redo, Command+Z and Ctrl+Z, you
can see the Content-Aware Scale does a
| | 02:26 | much better job keeping the
original buildings than if I had to do this
| | 02:31 | with Free Transform.
| | Collapse this transcript |
|
|
11. Working with LayersExploring layer basics| 00:00 | Photoshop's ability to work with layers
is definitely one of my favorite features.
| | 00:05 | So let's take a look at how we can master the
Layers panel in order to create a composite.
| | 00:11 | I am going to start by selecting
these three images in Bridge and then I'll
| | 00:14 | choose File>Open or we could double-click
in order to open all three images.
| | 00:19 | I know that all three images are open
because I can see the tabs across the top,
| | 00:24 | clicking on any of these
tabs will display that image.
| | 00:28 | I want to combine all three of these
images into a single document and there is
| | 00:32 | a variety of different ways that we can do that.
| | 00:34 | I think the easiest way would
be to click on say the Snow file.
| | 00:38 | I have got my Move tool selected and
I'll click anywhere in the image area and
| | 00:43 | drag on top of the other file
that I want to drop this one into.
| | 00:48 | As soon as I position my cursor on
the tab for the Clouds file, you notice
| | 00:53 | that it popped forward.
| | 00:54 | Now I can release my cursor anywhere
in this area to drop the file, but the
| | 01:00 | thing is, is that the file is now off centered.
| | 01:02 | So I am going to quickly undo that,
return back to the Snow layer by clicking
| | 01:07 | the Tab and this time, when I drag and
drop I am going to hold down the Shift
| | 01:12 | key and that will center the layer
that I'm dropping right on top of the file
| | 01:17 | that I'm dropping it into.
| | 01:19 | Now I no longer need the Snow
layer, so we can close that.
| | 01:23 | And let's take a look at the Water layer.
| | 01:25 | If you don't like dragging and
dropping using the tabs another way to do this
| | 01:30 | would be to show all of your open documents.
| | 01:33 | So I will use Window>Arrange
and then Tile All Vertically.
| | 01:36 | Now in a previous lesson, I assigned
keyboard shortcuts not only to Tile All
| | 01:40 | Vertically which is Command+Shift+T or
Ctrl+Shift+T, I also assigned a keyboard
| | 01:45 | shortcut to consolidate All to Tabs
which is Command+Shift+R in the Mac or
| | 01:50 | Ctrl+Shift+R on Windows.
| | 01:52 | And the reason that I did that is the
often times when I'm creating a composite
| | 01:55 | and I don't know which images I'm going
to use, I want to open a lot of images
| | 02:00 | and then go back and forth between
seeing the composite image and whatever else
| | 02:04 | I have opened to see what other images,
I can bring in to add to the composite.
| | 02:09 | For now, we'll just choose to tile
them all vertically so that I can see both
| | 02:13 | of my open documents.
| | 02:15 | Now, I can either click in the image
area with the Move tool and drag it on top
| | 02:20 | of the Clouds file or if I didn't have
the Move tool selected and I didn't want
| | 02:25 | to take the time to select it, I can
drag from my Background layer and drop it
| | 02:30 | onto my composite image.
| | 02:32 | In this case, I'll hold down the
Shift key again in order to center that.
| | 02:36 | Now I no longer need the Water file open, so I
will target it and then click on the Close icon.
| | 02:42 | Now we can see in the Layers panel, that I
have all three layers in a single document.
| | 02:47 | I have got the Water file, it's stacked on top
because it's the last layer that I brought in.
| | 02:52 | If I want to hide this layer, I can click
on the eye icon to toggle the Transparency.
| | 02:58 | Now we can see the Snow layer underneath.
| | 03:00 | If I want to hide that, I can click on the
eye icon and now we can see the background.
| | 03:05 | I can even hide the Background layer and
then we will see transparency below it.
| | 03:10 | Now let's take a minute and talk about the
Background layer because it's a unique layer.
| | 03:15 | There are at least three things that
you can't do to a background layer that
| | 03:19 | you can do to any other layer, the first thing
is you can't reposition the background layer.
| | 03:24 | Now you want to be careful, just
because the Background layer is visible does
| | 03:29 | not mean that that's the targeted layer.
| | 03:31 | In fact, right now layer 2 is the targeted
layer and I know that because it's highlighted.
| | 03:36 | If I want to target the
Background layer I need to click on it.
| | 03:39 | Now if I wanted to reposition the
Background layer and I have my Move tool and I
| | 03:43 | click and drag, when I let go,
Photoshop is going to tell me that it cannot use
| | 03:48 | the Move tool because the layer is locked.
| | 03:50 | So by default your Background
layers are going to be locked.
| | 03:53 | So any time you open up a photograph,
either a JPEG file from Bridge or a RAW
| | 03:59 | file through Adobe Camera Raw, it's
going to come in the Photoshop as a
| | 04:03 | flattened file, as this background file.
| | 04:06 | So you cannot reposition it.
| | 04:08 | The other thing that you can't do is you
can't change the stacking order so if I
| | 04:12 | wanted to put the Cloud image above
these other two images, you'll notice that
| | 04:16 | in a Layers panel, I can't drag and drop it.
| | 04:19 | And the third thing that's unique about a
background is that it cannot have transparency.
| | 04:24 | So let me click on Layer 1 for
a moment, and make it visible.
| | 04:28 | I am going to hide the Background layer
just to show you that when I select the
| | 04:33 | Eraser tool and I start erasing on
this layer I'm actually erasing to
| | 04:38 | transparency and we can see
that checkerboard behind the image.
| | 04:42 | Now I will undo that, I will hide
that layer, we will return back to the
| | 04:47 | Background and make it visible.
| | 04:49 | And watch what happens when I use the
eraser here, instead of a erasing to
| | 04:53 | transparency, Photoshop
erases to your background color.
| | 04:58 | So again let's go ahead and undo that.
| | 05:01 | So now you know kind of the three key
differences between a background layer and
| | 05:05 | just a regular layer.
| | 05:06 | You can't move it because it's locked,
you can't reposition it and you can't
| | 05:11 | erase to transparency.
| | 05:13 | But it's so easy to convert the
background into a regular layer.
| | 05:17 | Most people think that a layered
document in Photoshop has to have a background
| | 05:22 | layer when in fact it does not.
| | 05:25 | If I choose Layer>New>Layer from
Background, Photoshop will convert the
| | 05:30 | Background layer into a regular layer.
| | 05:32 | The other quicker way to do this is to
simply double-click on the Background layer.
| | 05:38 | I prefer this method because when you double-
click, you get an option to name the layer.
| | 05:43 | So I will go ahead and
name this Cloud and click OK.
| | 05:47 | Now that this is a regular layer, if I
use the Eraser tool you can see that I can
| | 05:51 | erase to transparency.
| | 05:53 | Let's undo that using Cmd+ or
Ctrl+Z. I can also reposition this by
| | 05:58 | dragging it to the top of my layer
stack so now it's above the other two layers
| | 06:03 | and I could also grab my Move tool
and reposition this if I wanted to.
| | 06:09 | For now I will undo that as well.
| | 06:11 | Let's go ahead and take the time right
now to name these other two layers just
| | 06:16 | to keep our Layers panel tidy.
| | 06:18 | The way I would do that is just double-
click on the layer name itself, I will
| | 06:23 | call this one Water.
| | 06:24 | And then I will double-click on the
bottommost layer now and we will call this one Snow.
| | 06:30 | And I'm just happy in the Return key or
the Enter key in order to commit that rename.
| | 06:34 | Alright let's also toggle on the
visibility of the Water layer and the Snow layer.
| | 06:40 | I know that in my final image, I'm
going to want the Cloud layer smaller so I
| | 06:44 | will target that on my Layers panel.
| | 06:46 | But I'm not quite sure how small I'm
going to eventually end up making this layer.
| | 06:52 | So before I start transforming it I am
going to choose Layer>Smart Objects and
| | 06:57 | I am going to convert this to a Smart Object.
| | 06:59 | That way if I transfer it too small and
later change my mind and when I transform
| | 07:03 | it larger, I am not going
to loose any image quality.
| | 07:06 | Now I will select Edit and then Free Transform.
| | 07:10 | If I hold down the Shift key, I will
maintain the proportions of the image
| | 07:14 | and if I hold down the Option or the Alt
key, I can scale this image from the center.
| | 07:19 | So let's make it about that size, I
also want to reposition it, so I will
| | 07:23 | position my cursor inside of the Free
Transform handles and just scoot it over
| | 07:29 | and then tap Enter or Return
to apply that transformation.
| | 07:34 | Now I brought in two options for this
background, either the Water layer or the Snow layer.
| | 07:40 | Let's hide the Water layer for a
minute and look at the Snow layer.
| | 07:43 | I think between the two of these,
probably the Water layer looks a lot
| | 07:48 | better than the Snow layer because
this line going straight across my image
| | 07:52 | is quite distracting.
| | 07:53 | So in order to delete a layer, you
want to make sure that you have that layer
| | 07:57 | targeted in your Layers panel.
| | 07:59 | And then just tap the Delete key. You
could drag it down to the Trash to throw
| | 08:04 | it away, but it will really save time to
just know that Delete will delete that layer.
| | 08:09 | Now let's' toggle on the
visibility of the Water layer.
| | 08:12 | I think that looks good, but I want
to decrease the Opacity of this layer.
| | 08:16 | You will see in the Layers panel,
there's an Opacity slider, I can either enter
| | 08:21 | in a numeric value by swiping here and
just typing in maybe 50% or I can click
| | 08:28 | and use the slider to change the
Opacity of the layer or I can position my
| | 08:33 | cursor on top of the word Opacity and I
get my scrubby sliders where I can click
| | 08:38 | and drag left or right to change the Opacity.
| | 08:41 | So there's a lot of different ways to change
the opacity of the layer on the Layers panel.
| | 08:46 | Now it's difficult to see exactly what
this is going to look like if I were to
| | 08:50 | print it because the
checkerboard here is very distracting.
| | 08:53 | So I am going to turn that off by going
under the Photoshop menu to Preferences
| | 08:58 | and then Transparency and Gamut.
| | 09:00 | You might have already turned this off
in a previous lesson, but I'm going to
| | 09:04 | select None right now and click OK.
| | 09:07 | Now what we are seeing when we've
hidden that transparency is a version of
| | 09:12 | the file almost as if it's previewing like
it's a flattened file and printed on white paper.
| | 09:18 | Alright, one other way that we can
change the Opacity of the layer is by using
| | 09:23 | the numbers across the top of our keyboard.
| | 09:26 | But you have to be a little bit
careful because right now, certainly I can tap
| | 09:31 | like the 5 key and the Opacity for the
layer change to 50%, if tap the 7 key we
| | 09:37 | get 70%, you can type quickly like
you could type 88, and then get 88%.
| | 09:42 | If you want 100% you type 0 and
that will bring you up to 100%.
| | 09:47 | Now the reason that the numeric keys
are changing the Opacity on the Layers
| | 09:52 | panel is because I have the Move tool
selected, you do need to be a little bit
| | 09:57 | careful because if you don't have one
of the top six tools selected and instead
| | 10:01 | maybe you have the paintbrush then
when you tap the 5 key the Opacity for the
| | 10:06 | paintbrush changes not the
Opacity for the Layers panel.
| | 10:11 | So I will just tap 0 in order to reset
the Opacity for the paintbrush and then
| | 10:16 | tap the V key in order to select the Move tool.
| | 10:19 | Now at this point we've done enough work
on this image that I would want to save it.
| | 10:24 | Because there are multiple layers in it,
if I choose File and then Save, we're
| | 10:30 | not going to save over the original
JPEG file that Clouds JPEG file, the name
| | 10:35 | that we can see right here because a
JPEG file can't have multiple layers.
| | 10:41 | So you could do a Save here, we
could also choose Save As either way.
| | 10:45 | That will ask me to rename the file, so
I'll call this WindowSeat and I'll save
| | 10:52 | it into my layers folder and I want to
make sure that for my format, it's going
| | 10:57 | to be a Photoshop format and then I
keep all of my layers because I didn't want
| | 11:02 | to flatten this file otherwise if I want
to make a change to it later it's going
| | 11:05 | to be much more difficult.
| | 11:07 | So I'll click Save, click OK and if I
scoot over to Bridge we can now see our
| | 11:12 | new file right there in our layers folder.
| | Collapse this transcript |
| Loading, selecting, and transforming layers| 00:00 | As you get more comfortable working
with layers, there are some shortcuts that
| | 00:04 | you can use to open multiple
layers at one time into the same image.
| | 00:10 | So let's scoot over to Bridge by
choosing File>Browse in Bridge and I want to
| | 00:15 | select all four of these images.
| | 00:18 | Instead of just opening them each as
individual documents and then having to
| | 00:22 | drag-and-drop them into the composite
that we've already started, I'm going
| | 00:27 | to choose Tools>Photoshop and then I'm
going to load these files into Photoshop layers.
| | 00:33 | Now it's not going to add them into the
opened document, but at least I have all
| | 00:40 | four of these layers now in a single
document so that I can quickly show both
| | 00:45 | documents by tiling them.
| | 00:47 | And then on the Layers panel instead
of dragging each one individually I will
| | 00:51 | select all of the layers by selecting
the first layer, holding down the Shift
| | 00:55 | key and selecting the bottommost layer,
and then dragging and dropping those on
| | 01:01 | top of my composite image.
| | 01:02 | I'll hold down the Shift key before I
release the mouse so that they will be centered.
| | 01:07 | Then, I no longer need
this layer so we can close it.
| | 01:11 | You can see how much quicker that was
than opening each one individually and
| | 01:16 | dragging-and-dropping them.
| | 01:17 | Now if we look at our Layers palette,
let's take a look at what just happened.
| | 01:21 | We dropped in those four layers and
they appeared right here in the layers
| | 01:26 | stack, the reason that they appeared
there was because I had the water layer
| | 01:30 | targeted and whenever you drag-and-drop
layers from one document to another they
| | 01:35 | will always drop right above the
targeted layer or the selected layer.
| | 01:40 | If I want to reposition these, all I
need to do while they're still all selected
| | 01:44 | is click-and-drag them above the Cloud layer.
| | 01:47 | Let's go ahead and select the Logo.psd
layer and I am going to drag that at the
| | 01:52 | very top and just hide its visibility for now.
| | 01:56 | One of the things that you might have
noticed is that all of these layers came
| | 02:00 | in already named and they are
named the same name as the file name.
| | 02:04 | If it bothers you, you could double-click
on any of the names to remove that
| | 02:09 | .JPG extension, but I actually don't
mind it at all because it tells me exactly
| | 02:14 | which file I opened from Bridge.
| | 02:17 | Now I want to transform these images
that I just brought in, the Delta image,
| | 02:22 | and the Ice and the Sand image.
| | 02:24 | But I am not sure again how large I want them.
| | 02:27 | So I want to convert them into smart objects.
| | 02:29 | We can select the menu by going to
Layer>Smart Objects and then Convert
| | 02:33 | to Smart Object, but it's a lot faster if
you simply right-mouse click on the layer.
| | 02:38 | You don't have to target the layer just
right-mouse click on it and then choose
| | 02:42 | Convert to Smart Object.
| | 02:44 | If you don't have a two button mouse,
there will be the Ctrl key and choose
| | 02:49 | Convert to Smart Object.
| | 02:51 | So now all three layers are smart objects,
and they are all sitting right on top
| | 02:54 | of each other, right?
| | 02:55 | If I hide the visibility, we can see the Sand
layer, and the Ice layer, and the Delta layer.
| | 03:00 | Now certainly, I could select one of
these layers and use Free Transform in
| | 03:05 | order to make it smaller.
| | 03:06 | But since I know I want all three layers
to be transformed, why not select them all?
| | 03:11 | So I'll hold down the Command key
and choose Ice and Sand, and then use
| | 03:17 | Cmd+ or Ctrl+T for free transform.
| | 03:20 | I will hold down the Option and the
Shift key to make them smaller and then tap
| | 03:24 | the Enter key or the Return key in
order to apply that transformation.
| | 03:29 | Now most people spend a lot of time
selecting their layers on the Layers panel.
| | 03:34 | But you can imagine if you had say a
hundred layers in your image you are going
| | 03:38 | to have to sit and scroll through the
Layers panel in order to find the layer
| | 03:42 | that you want, so there are some quicker
ways and some shortcuts that we can use
| | 03:46 | to select our layers.
| | 03:47 | First of all we could use our context-
sensitive menus so we could right mouse
| | 03:52 | click anywhere in the image and
wherever we click Photoshop will tell us the
| | 03:56 | name of the layers that appear
below the area that we clicked.
| | 04:01 | So I could go to Cloud or I could go
to my Water layer here, I also have the
| | 04:04 | option to link my layers,
but I don't want to do that.
| | 04:07 | Watch what happens if I click over here.
| | 04:10 | I get just the Water layer and if I
click right here now I have the option to
| | 04:14 | choose the Delta layer, the Ice or the Sand.
| | 04:17 | So I will select in the Sand layer and
you can see on my Layers panel no longer
| | 04:21 | are all three layers selected,
only the Sand layer is selected.
| | 04:24 | Now this is where it gets confusing when
you are just learning Photoshop because
| | 04:28 | I can see the Delta layer, but if I
click here and reposition it, it's not going
| | 04:33 | to move that Delta layer.
| | 04:35 | It's going to move the Sand layer because
that's the layer that's selected in my Layers panel.
| | 04:40 | Now another way that we could quickly
select our layers is to have the Move tool
| | 04:44 | selected and then turn on Auto-Select.
| | 04:48 | Now by default it's going to Auto
select a group but we can change that so that
| | 04:52 | it auto selects a layer.
| | 04:54 | Now no matter what layer I click on,
Photoshop will automatically select that layer.
| | 04:59 | So it's selected the Cloud layer, or
the Water layer, or the Delta layer.
| | 05:04 | The only thing that's difficult in
this case is if there is a layer directly
| | 05:07 | under the Delta layer, for example
that Ice layer if I wanted to target that
| | 05:12 | then I would need to use the context-
sensitive menus or right mouse click.
| | 05:16 | But otherwise this is a great way to
quickly move around your image and as long
| | 05:20 | as the layer is visible,
Photoshop can auto-select it for you.
| | 05:24 | So I will just reposition this one
over here, and let's take a look at one
| | 05:28 | other shortcut because some people don't like
to have Auto-Select layer turned on all the time.
| | 05:33 | We can toggle that off and as long as
we have that Move tool selected, we can
| | 05:38 | temporarily toggle the Auto-Select
functionality by holding down the Cmd key
| | 05:45 | and then clicking on an image.
| | 05:46 | As soon as I let go with the Cmd
key or the Ctrl key on Windows, then I
| | 05:50 | toggle off that functionality.
| | 05:53 | But now I've got the Ice layer
selected so we could scoot it over here.
| | 05:57 | Now I would like to have all three of
these layers actually be aligned and
| | 06:02 | evenly distributed, and there is
a number of ways you can do that.
| | 06:06 | One of the ways you could do it would
be to turn on the View menu, come down to
| | 06:10 | Show and turn on your Smart Guides,
but this really only works if all of your
| | 06:16 | layers are of the same size.
| | 06:18 | You can see now as I start
repositioning my layer in the image, Photoshop tries
| | 06:24 | to draw the guides to tell
me when my images are aligned.
| | 06:29 | So that's one way to do it.
| | 06:31 | If you prefer to leave your Smart
Guides off, which I'll turn off by simply
| | 06:35 | selecting the option again, then we
can use the Alignment and Distribution
| | 06:41 | options with a Move tool.
| | 06:43 | Right now they're all grayed out
because I only have one layer selected, but
| | 06:47 | if I select all three of these layers,
now not only can I align them, I can
| | 06:51 | also distribute them.
| | 06:53 | So let's align them all along the left
side and then we will evenly distribute
| | 06:58 | them based on their centers.
| | 07:00 | So now I have an even space in between
them and they're all aligned along the left.
| | 07:06 | At this point since we've done a number
of things to our image, I am going to go
| | 07:09 | ahead and do a quick File.
| | 07:11 | I will do a Save As, so that I can save
this as a separate image from the last
| | 07:17 | one and we'll just call it WindowSeat01.
| | 07:20 | I'll save it to my layers folder as a
Photoshop document with layers and click Save.
| | 07:25 | I will click OK to maximize the compatibility.
| | 07:29 | What this does is, it saves not only
the layered document but inside that
| | 07:33 | layered document it saves like a
flattened version of the document so that if
| | 07:38 | you were to place this image into
say a non-Adobe application and if that
| | 07:44 | application didn't understand layers
at least it could use that flattened
| | 07:48 | version that's inside the same
file in order to show you a preview.
| | 07:54 | So I like to keep this turned on.
| | 07:56 | You also need to have this turned on
if you're using Lightroom and you want
| | 08:00 | Lightroom to show you, your Photoshop documents.
| | Collapse this transcript |
| Organizing layers using layer groups| 00:00 | As we work with more and more layers,
one of the things that tends to happen is
| | 00:04 | your Layers panel will get out of control.
| | 00:07 | So there is a variety of different
ways we can organize our layers, and I
| | 00:11 | really use a lot of what are called layer
Groups in order to put multiple layers together.
| | 00:17 | Not only the groups help organize but
they also allow you to do other things.
| | 00:21 | For example, I can select a group and
move all of the images in a group at one
| | 00:25 | time or change the opacity.
| | 00:27 | So there is a lot of advantages to groups.
| | 00:29 | So let's go ahead and add a group.
| | 00:32 | Now at the bottom of the Layers panel,
you can either click on the Folder icon
| | 00:37 | to add a group, but then you have to
drag each individual layer into the group
| | 00:42 | and sometimes when you do that,
it can change the stacking order.
| | 00:46 | So what I prefer to do is simply
select the layers that I want to put into a
| | 00:50 | group and then I can either drag those
layers on top of the Group icon or I can
| | 00:56 | just use the keyboard shortcut Cmd+
or Ctrl+G on Windows and it puts all of
| | 01:01 | those images into a group.
| | 01:03 | Now by default it closes the group, it
makes it nice and tidy but we can use the
| | 01:07 | Disclosure Triangle right here to
show the contents of that group.
| | 01:11 | And of course I'll want to rename this group.
| | 01:13 | Maybe this will be Small Images so that I
know what's in that group when I do close it.
| | 01:20 | Now I also want to put the Cloud
layer and the Logo layer into a group.
| | 01:24 | Let's go ahead and toggle on the
visibility of that so we can see it and then I
| | 01:28 | will use the same keyboard shortcut
Cmd+ or Ctrl+G, but you'll notice that
| | 01:32 | something happened here.
| | 01:34 | Photoshop actually changed the stacking order
of these layers when it put it into the group.
| | 01:40 | I had one layer below the Small
Images group and one layer above the
| | 01:44 | Small Images group.
| | 01:45 | Well in order to put them all into one
folder, Photoshop had to pick somewhere
| | 01:49 | to put the group so it put it on top.
| | 01:52 | But you can see if I have my Move tool
selected and I now reposition this, my
| | 01:58 | Cloud layer is above the Small Images layer.
| | 02:01 | So I am going to want to
change that stacking order.
| | 02:04 | I am going to click on the Small Images
group, and I am going to drag it on top
| | 02:09 | of group one, not on top, on top.
| | 02:12 | If I let go now, you can see there is a
highlight all the way around that group one.
| | 02:16 | This will drop my Small
Images group into group one.
| | 02:20 | So you can actually nest groups, but
that's not what I want in this case.
| | 02:23 | So I am going to move my cursor a
little bit higher, until I just get
| | 02:26 | that single highlight.
| | 02:28 | Now when I release my mouse, you can
see that my Small Images group is on top
| | 02:33 | of the other group.
| | 02:34 | It's not inside of it.
| | 02:36 | Okay, so now my Cloud layer has
been moved behind my Small Images or
| | 02:41 | underneath my Small Images.
| | 02:43 | But my Cloud layer is looking very small.
| | 02:46 | It's a good thing that I converted it to
a smart object because at this point in
| | 02:49 | time I'm going to use Free Transform,
and I am going to transform it a little
| | 02:53 | bit larger, maybe scoot it over to the
left here and you can also use your Arrow
| | 02:59 | keys to nudge your images up and down,
and if you add the Shift key you will
| | 03:03 | move those images in a larger amount.
| | 03:07 | All right, I've got it where I want, so
I'll tap Enter or Return and now I want
| | 03:11 | to move all of these small
images over to the right a little bit.
| | 03:15 | So I will just click on the Small
Images group with my Move tool selected
| | 03:20 | and scoot that over.
| | 03:21 | I might also want to just move it up a
little, so again I'm just using my Arrow
| | 03:25 | keys to nudge those images up and I
want to move my Logo into place, so I will
| | 03:30 | target that layer on the Layers
panel, using my Move tool, and we will
| | 03:34 | reposition that right over there.
| | 03:37 | As the final thing, I want to decrease
the Opacity of the Water layer, so we will
| | 03:41 | target the Water layer because
I have that Move tool selected.
| | 03:45 | We will go ahead and just tap maybe
the 5 key, I think that's a little too
| | 03:48 | light, let's try 7 for 70.
| | 03:51 | That could even still be
too light, how about 80.
| | 03:54 | I think that looks just great.
| | 03:55 | So I will take one last
look at my Layers panel. Oh!
| | 03:58 | I see one more thing that I just
want to tidy up before we save this.
| | 04:01 | I will name this group, Cloud with
logo and tap the Enter or the Return key.
| | 04:09 | We can hide those layers by clicking
on the Disclosure Triangle and now my
| | 04:13 | design is the way I like it, my Layers
palette is nice and organized and this
| | 04:18 | also means that if I needed to hand
this off to someone else, it's going to
| | 04:21 | be very easy for them to make any changes,
if necessary, because I've been so organized.
| | 04:28 | And I know it may seem like a little
bit extra work to organize your Layers
| | 04:32 | panel and rename all your layers in your groups.
| | 04:34 | But it's really great if you're
working in like a collaborative environment
| | 04:38 | because by taking this extra time if
someone else needs to open this file and
| | 04:42 | make some changes it's going to be really
easy to see which layers they need to work on.
| | 04:47 | So at this point I will do another
quick File>Save As because we are going to
| | 04:53 | use this in another tutorial later on.
| | 04:55 | I'll call it WindowSeat2 into the
layers folder as a Photoshop document with
| | 05:00 | layers and click Save.
| | Collapse this transcript |
| Merging, rasterizing, and flattening layers| 00:00 | So as your documents contain more and
more layers, those file sizes for those
| | 00:05 | documents will increase
sometimes quite dramatically.
| | 00:08 | So people are always asking me, when
would you want to merge your layers down,
| | 00:13 | or when would you want to flatten your image.
| | 00:15 | Honestly, I think that the
flexibility that you get by keeping all of your
| | 00:20 | layers separate far outweighs the
benefit of any decrease in size.
| | 00:26 | So let me show you just two things.
| | 00:28 | When I go here to my small images,
these images over here to the right,
| | 00:33 | remember, we converted those into Smart Objects.
| | 00:36 | So that means that Photoshop is
holding onto a lot of information.
| | 00:41 | In fact, if I want to see the original
Delta image, I can just double-click on
| | 00:47 | the thumbnail for the Smart Object and
Photoshop will bring up that image in its own window.
| | 00:54 | So I'll click OK here and now
we can see I have a new tab.
| | 00:57 | This is the Delta.psb file.
| | 01:01 | This is the Smart Object that's
contained inside of this WindowSeat02 file.
| | 01:06 | So let's click back on the Delta and
let's just go to Image>Image Size and
| | 01:11 | see how large this is.
| | 01:13 | So we're talking 1200 pixels x 1200
pixels, so really it's not that large,
| | 01:18 | but you can imagine if this was a much
bigger file, then this would be a bigger number.
| | 01:23 | So when I click OK here and we close
this. Well, if I want to see how many of
| | 01:29 | those pixels I'm actually using, I
can choose Edit and then Free Transform.
| | 01:36 | And up here in the Options Bar we can
see that I've scaled this down to 24%
| | 01:42 | of the original image.
| | 01:43 | So Photoshop is actually keeping
track of a lot more data than is actually
| | 01:48 | being used in this image.
| | 01:50 | Let me cancel out of here and
we'll talk about our options.
| | 01:55 | So my option would be to rasterize this
layer, which would then throw away all
| | 02:00 | of the extra information.
| | 02:03 | If I rasterize the layer though, and
then I want to scale this up, I'm not going
| | 02:08 | to have the image data there to provide
me with the quality that I would want.
| | 02:13 | So if there's any doubt in your mind
that you might need to scale up these
| | 02:17 | images later, I would suggest
that you do not rasterize them.
| | 02:21 | But if you know for a fact that these
images are not going to change size, then
| | 02:26 | we could right-mouse click on the
layer and choose Rasterize layer, or you
| | 02:31 | could use the layer menu and then choose
Rasterize and you could rasterize the Smart Object.
| | 02:38 | You'll notice here you could also
rasterize the layer or all of your layers.
| | 02:43 | I'll go ahead and choose Smart Object.
| | 02:45 | You can see that the icon changed
here on the Layers panel, so that's no
| | 02:49 | longer a Smart Object.
| | 02:50 | And if we do use Free Transform, you
can see here that the quality is not going
| | 02:56 | to be good when I sample it up.
| | 02:59 | I'm going to Undo the Free Transform
and in fact, I'm going to go back one step
| | 03:03 | further, I'm going to step backwards so
that I still have my Smart Object here.
| | 03:09 | So the other question that people ask me is
when would you merge your layers together?
| | 03:14 | Well, certainly if these three layers
are not overlapping, I could select all
| | 03:19 | three layers in my Layers panel, and if
I were to choose Merge layers, Photoshop
| | 03:25 | is going to do two things.
| | 03:26 | It's going to merge them down to a single
layer and it's also going to rasterize them.
| | 03:31 | So I would see a decrease in file size,
because I'm no longer holding onto those
| | 03:36 | Smart Objects and it's going
to put them all in one layer.
| | 03:39 | But again, you're going to
lose some flexibility here.
| | 03:42 | This makes it much more difficult if I want
to swap the position of two of these layers.
| | 03:47 | Right now, they're on the same layers,
so I'd have to select one and use the
| | 03:51 | Move tool and move it around, whereas,
if we just Undo that Merge layers, you
| | 03:55 | can see if I want to reposition the Ice
layer, I can just scoot it up, now it's
| | 04:01 | underneath the Delta layer, but that's okay.
| | 04:03 | I'll grab the Delta layer
and just scoot that down.
| | 04:06 | So if you want to maintain that level
of flexibility where you can make changes
| | 04:11 | like that, I would suggest that
you don't merge your layers together.
| | 04:15 | Finally, what about flattening your image?
| | 04:18 | So I think flattening your image, well,
of course it's going to eliminate any
| | 04:22 | ability to move around individual
layers and it's also a little bit dangerous,
| | 04:27 | because if you're not paying
attention and you go to layer and you Flatten
| | 04:31 | your Image and now you do a Save, well,
you're going to save over your layered document.
| | 04:38 | So instead of flattening it and then
trying to do a Save As, I will Undo my
| | 04:43 | Flatten Image and I'll simply choose
File>Save As, and in the Save As dialog
| | 04:50 | box, I can choose to Flatten the Image.
| | 04:52 | For example, if I'm going to save this
as a JPEG file, well, a JPEG file can
| | 04:56 | have layers anyway, so it's going to
automatically Flatten the document.
| | 05:01 | But here's the key difference.
| | 05:02 | It doesn't flatten the document you have open.
| | 05:06 | It's going to flatten the
document that you're doing a Save As to.
| | 05:10 | So I would rename this and typically I
would put the word Flat on my flattened
| | 05:15 | documents just to tell me very quickly
if I'm looking at them, say in Bridge,
| | 05:20 | that this is the flattened version.
| | 05:21 | I also know it's the flattened version,
because it's got the .jpg and JPEG
| | 05:25 | files can't be layered.
| | 05:27 | So when I click Save, you'll notice
that Photoshop is going to save out a copy
| | 05:33 | of the flattened version.
| | 05:35 | It's not going to replace what I'm seeing here.
| | 05:38 | So we'll click Save, I'll pick my JPEG
Options, but I'm left with my layered
| | 05:44 | document as my open document.
| | 05:46 | If we switch over to Bridge, we can see
that here is the copy of my image that's
| | 05:52 | flattened and saved as a JPEG.
| | 05:55 | But if we return back to Photoshop,
I'm still working on my layered
| | 05:59 | Photoshop document.
| | 06:01 | So there you have it.
| | 06:02 | If you want to maintain the most
flexible workflow, I would recommend that you
| | 06:05 | don't rasterize your layers
and you don't merge them down.
| | 06:09 | Instead, keep all of the different
elements in your composite on separate layers
| | 06:14 | so that it gives you the
flexibility to change your mind later on.
| | Collapse this transcript |
|
|
12. Selections and Layer MasksUsing the Marquee and Lasso tools| 00:00 | A lot of the time when you're working
in Photoshop, you're going to want to
| | 00:03 | make changes to an isolated section of an image,
and selections and masking help us do this.
| | 00:10 | Probably, the most common selection
tools in Photoshop are the Marquee tools
| | 00:14 | and the Lasso tools.
| | 00:16 | You can access the Marquee tool by
tapping the M key and the Lasso tool
| | 00:20 | by tapping the L key.
| | 00:21 | Let's start with the Marquee tool and
I'm going to open a New document at the
| | 00:26 | Default Photoshop Size.
| | 00:29 | We'll zoom in to fill the screen with
white to make sure that we can see the
| | 00:33 | selection or the marching
ants that we're going to draw.
| | 00:36 | With the Marquee tool selected, if you click-
and-drag out, you'll drag out your selection.
| | 00:42 | If you position your cursor inside of
the selection and click-and-drag, you
| | 00:46 | can reposition the selection and
you're not moving any of the pixels
| | 00:51 | underneath the selection.
| | 00:52 | You're only moving the marquee.
| | 00:55 | To deselect, you can click anywhere
inside or outside of the selection with
| | 01:00 | the Selection tool.
| | 01:01 | If we want a square, we can click to
start dragging the marquee and hold
| | 01:06 | down the Shift key.
| | 01:08 | That will constrain our selection to a square.
| | 01:11 | Likewise, if we were dragging with
the Elliptical Marquee tool, it would
| | 01:14 | constrain our selection to a circle.
| | 01:17 | If I want to drag a selection from the
center, I can hold down the Option or the
| | 01:22 | Alt key and then start dragging.
| | 01:24 | You can see here how the selection
is dragging from the center outwards.
| | 01:29 | Of course, we combine that with the
Shift key and get a perfect square.
| | 01:34 | If we wanted to add to this selection,
we can either hold down the Shift key or
| | 01:39 | we can select the second
icon in the Options Bar.
| | 01:42 | Now if I click-and-drag out, I can add
this additional area to my selection.
| | 01:49 | I can click-and-drag
again to add additional area.
| | 01:53 | If I wanted to subtract a portion of the
selection, I can select the third icon.
| | 01:57 | You'll notice that each time I select
one of these different icons, the actual
| | 02:01 | icon in the image area changes.
| | 02:04 | Here I have the crosshairs with the minus
(-) which is telling it's going to subtract.
| | 02:07 | If I choose the second icon, then I get
the crosshairs with a plus (+) telling
| | 02:10 | me that I'm going to add to my selection.
| | 02:13 | So let's go ahead and subtract
out this area from the selection.
| | 02:17 | I can click-and-drag again
to subtract out that area.
| | 02:22 | What we're doing when we create these
selections is we're creating a mask, so
| | 02:26 | that if we do something to our image,
whatever we do will only happen within the
| | 02:32 | selection or within those marching ants.
| | 02:34 | For example, if I go to the Edit menu
and I choose Fill, I can fill this with a
| | 02:39 | color, maybe yellow.
| | 02:42 | Click OK and OK again, you can see
that the whole canvas wasn't filled;
| | 02:47 | only the area inside the marching ants
or inside of the selection was changed.
| | 02:53 | Now in order to deselect with this
third icon selected, I can't just click in
| | 02:58 | this area because Photoshop is expecting
me to click-and-drag, but I can use the
| | 03:03 | keyboard shortcut Cmd+ or Ctrl+D,
or I can use the Select menu to Deselect.
| | 03:09 | If you accidentally deselect a selection,
you can use the Select menu again in
| | 03:14 | order to Reselect it.
| | 03:16 | For now I'll leave it deselected
and I'm going to switch over to the
| | 03:19 | Elliptical Marquee tool.
| | 03:21 | If I wanted to punch a hole in this
rectangle here, I could click-and-drag in
| | 03:27 | order to create a circle. Watch how I drag.
| | 03:30 | I'll start my point of origin up
in the corner here of the rectangle
| | 03:34 | and click-and-drag.
| | 03:36 | If I hold down the Shift key,
we'll get a perfect circle.
| | 03:39 | What I wanted to show you was that
when you draw with the Elliptical Marquee
| | 03:43 | tool, you're not going to
start drawing from here.
| | 03:46 | You want to imagine that there are
parallel lines here to the top and to the
| | 03:50 | side and you need to start
your point of origin there.
| | 03:54 | If we want to add another circle,
we can select the second icon and
| | 03:58 | click-and-drag in order to add another circle.
| | 04:01 | Again, hold down the Shift key to constrain it.
| | 04:05 | At this point if I like the selections
but they're just a little bit too large,
| | 04:09 | I would want to transform them.
| | 04:11 | However, you don't want to use the Edit
menu, Free Transform because this would
| | 04:16 | transform the pixels.
| | 04:18 | Instead, we'll go under the Select
menu and we'll choose Transform Selection.
| | 04:23 | Then I can hold down the Option and the
Shift key to transform from the center,
| | 04:27 | reposition them, and when I tap Enter
or Return, you'll see that none of the
| | 04:32 | pixels were transformed,
| | 04:34 | only the selection marquees.
| | 04:36 | So I can select Edit and then Fill, and
we could fill this with another color,
| | 04:41 | or in this case White, in order to
punch a hole through the rectangle.
| | 04:46 | If we wanted to draw some free-form
lines, then we can select the Lasso tool.
| | 04:51 | You'll notice that as I draw, I can
create any kind of shape that I want.
| | 04:57 | If I want a sharp-edged shape, then
I'll move over to the Polygon Lasso tool.
| | 05:04 | I'll click once to deselect and now if I
click, click, click, and click, you can
| | 05:11 | see that Photoshop is drawing straight
lines in between each one of my clicks.
| | 05:17 | When I'm finished, I can either double-
click to close the selection or I can
| | 05:21 | position my cursor over the start of the
selection, I get the little circle that
| | 05:25 | tells me that it would close
that selection and I can click.
| | 05:28 | So the Marquee tools are excellent
for drawing your geometric shapes.
| | 05:33 | The Lasso tool is much
better for free-form shapes.
| | 05:36 | And of course, you can use any of these
in combination with each other to make
| | 05:40 | more complex selections.
| | Collapse this transcript |
| Combining selections| 00:00 | In this image I want to select not
only the window frame, but also the little
| | 00:05 | archway above it, so that I can darken
it down a little bit and make it look
| | 00:09 | like the window and the archway are
receding back into that brick wall.
| | 00:14 | Now in order to do this I'm going to
use a combination of both the Elliptical
| | 00:18 | Marquee tool as well as the Rectangular
Marquee tool. I think I'll go ahead and
| | 00:22 | start with the Elliptical Marquee tool
and I'm going to pretend that there's a
| | 00:25 | straight line going right across the
top of this arch here, as well, there's a
| | 00:29 | straight-line sticking right up from the
edge of the window and that's where I'm
| | 00:34 | going to start dragging the point of
origin for my Elliptical Marquee tool.
| | 00:38 | And notice as I drag that out, I've
got it pretty well on top of the arch.
| | 00:44 | Now I might want to make
a slight change to this.
| | 00:47 | In order to change your point of
origin while you're dragging out your
| | 00:51 | selection, as long as your mouse is
still down you can hold down the Spacebar
| | 00:56 | and actually change where the selection is.
| | 01:00 | So, I'm just going to scoot it over
just to wee bit to the left there, then I
| | 01:04 | will let go of the Spacebar
and then I can continue dragging.
| | 01:08 | So, you can see that just by holding
the spacebar, that's going to help you to
| | 01:12 | change the point of origin from
which you can start your selection.
| | 01:18 | Now if the selection went too far and it
was overlapping the brick area, I would
| | 01:21 | change to the Marquee tool, and in fact,
I'm going to do that anyway, because I
| | 01:26 | want to add the rest of this
window frame to this selection.
| | 01:31 | In order to do that I need to make
sure that I have the second icon selected,
| | 01:34 | that's the Add to Selection, and then I
will click right on top of these marching
| | 01:40 | ants here and drag down in
order to select the window frame.
| | 01:45 | Again, if I didn't start the selection
in the right place, I can hold down that
| | 01:49 | Spacebar while I'm still drawing the
selection, align it properly, let go of
| | 01:53 | the Spacebar and then continue dragging or
refining out the selection on the right-hand side.
| | 01:59 | All right, so now we've got the window
as well as the arch selected, but I don't
| | 02:04 | actually want each
individual windowpane selected.
| | 02:07 | So, there are two different ways that I
could subtract each one of those panes.
| | 02:12 | I could grab the Rectangle Marquee tool
and change the option to Subtract From,
| | 02:17 | and then I could subtract all of these,
1, 2, 3, 6, 9, 12 window frames, but
| | 02:22 | there is actually an easier way to do this.
| | 02:25 | I'm going to subtract all of the panes
at once using the Marquee tool set to the
| | 02:30 | Subtract From and then I'm going to add
back in all of the dividers by clicking
| | 02:37 | on the Add to, and then just dragging
really small selections. Again, if I need
| | 02:42 | to, I can hold down that Spacebar if I
didn't start at the right spot, click and
| | 02:46 | drag again, and one more time for the
horizontal line, and then all I have to do
| | 02:52 | is drag the two for the vertical lines
and I will have all of those windowpanes
| | 02:58 | removed from my selection.
| | 03:01 | Now that I have this selection, I know
that we haven't really talked much about
| | 03:05 | Adjustment layers, but I'm going to
add the first adjustment layer, which is
| | 03:10 | Brightness and Contrast Effect.
| | 03:13 | As soon as I click this icon in
my Adjustment panel, Photoshop will
| | 03:17 | automatically add the adjustment, but
the marching ants are gone and that's
| | 03:21 | because Photoshop turned that selection
into a mask, and we'll talk more about
| | 03:27 | masks in a minute. I just wanted to
show you that if I do decrease the
| | 03:31 | brightness of this area, you can see
that it looks like the window, as well as
| | 03:37 | the arch on top of it, looks like it's
actually recessed back into the wall.
| | 03:41 | So you see that it helps to look at the
area that you want to select and sort of
| | 03:47 | break it down into its basic shapes
that way you can use a combination of the
| | 03:52 | selection tools like the Rectangular and
Elliptical Marquee tool in Photoshop in
| | 03:56 | order to make what initially looks like
a complex selection, but in fact is just
| | 04:01 | made up of a few simple shapes.
| | Collapse this transcript |
| Converting a selection into a layer mask| 00:00 | We need to take a minute to talk about
the fundamentals of masking and using
| | 00:04 | layer masks in Photoshop.
| | 00:06 | So let's start with a very simple illustration.
| | 00:09 | I'm going to select my Rectangular
Marquee tool and I want to make sure that
| | 00:13 | this first icon is selected, so that I
can create a new selection and then I'll
| | 00:18 | just click and drag, kind of like I'm
dragging an edge, except that of course,
| | 00:23 | I'm selecting the inside of my image.
| | 00:25 | Because what I want to do is I want to
create a vignette, but I wanted it to
| | 00:29 | be a nice soft edged vignette and I wanted it
to be really flexible in case I change my mind.
| | 00:33 | So, now that I have my selection made,
| | 00:36 | even though I'm on a background layer
Photoshop is smart enough to know that if
| | 00:41 | I click the mask icon to add a layer mask,
Photoshop will automatically turn the
| | 00:47 | background into a layer and add that
layer mask, and we can see that this mask
| | 00:53 | is now hiding the photograph in this outer area.
| | 00:57 | If we want to look at the mask, we can
hold down the Option key or the Alt key
| | 01:02 | that's what the mask looks like.
| | 01:04 | Wherever a mask is white in Photoshop,
you can see the information on that
| | 01:08 | layer, meaning that when I toggle back
on the visibility, where the mask as white,
| | 01:13 | I'm seeing the photograph.
| | 01:14 | Where the layer mask is black around
the edges, that's where the photograph is
| | 01:19 | hidden, but I don't really like that
it's such an abrupt change between seeing
| | 01:24 | the photo and then the white border.
| | 01:26 | What I'd like to do is soften that.
| | 01:28 | Now in the past, a lot of times people
would make a selection and then add a
| | 01:32 | feather to that selection in order to soften it.
| | 01:35 | Well, we can do the same thing today,
but we can do it in a non-destructive
| | 01:39 | manner and that's by using the Properties panel.
| | 01:42 | You want to make sure that you have
the mask selected, then click on the
| | 01:46 | Properties panel. You can see that
we're targeting the mask, this is what the
| | 01:50 | layer mask looks like, and down
below that there's a feather slider.
| | 01:55 | If I click and drag that to the right,
you can see as I increase the number of
| | 01:59 | pixels in my feather, we're
getting a nice soft edge.
| | 02:03 | So I'll just keep increasing that
until I like the vignetting effect.
| | 02:07 | Now let's take a look at what's
happening with the mask. I'll go ahead and
| | 02:11 | Option or Alt click on the mask itself,
so that we can see it, and then we'll
| | 02:16 | look at the Properties panel.
| | 02:17 | You can see as I move the Feather slider,
the mask is getting harder or softer
| | 02:23 | along the edge. It's almost like I'm
blurring the whole mask and it really is
| | 02:28 | quite nice, because it is
completely flexible. Right?
| | 02:32 | If I save this Photoshop file and I
come back to it next week or next month,
| | 02:36 | I can always come back in here
and change the feather Amount.
| | 02:40 | We'll go ahead and set that maybe
around 10 and we'll click OK in order to see
| | 02:45 | what that looks like.
| | 02:46 | Now in the last video we spent some
time making a more complex selection around
| | 02:51 | the window and the archway.
| | 02:53 | Well, I saved that selection into this
file and we can quickly access it by going
| | 02:57 | to the Select menu and then choosing
Load Selection, I want to select the
| | 03:02 | Window, click OK and now
we have the marching ants.
| | 03:06 | What we didn't do in the previous
movie was we didn't soften the edge, we
| | 03:11 | added an adjustment.
| | 03:12 | In fact, we added the Brightness and
Contrast Adjustment and we moved the
| | 03:16 | brightness to the left to make it look
as if the window was receding into the
| | 03:20 | brick wall, but had we looked closely,
had we zoomed in to 100%, I'll use
| | 03:26 | Cmd+1 to do that.
| | 03:28 | You might notice that there is a harsh
edge around my selection, so I can tell
| | 03:34 | what areas were changed and what areas were not.
| | 03:37 | Now that we know about the Properties
panel and about the way layer masks work,
| | 03:42 | we can soften that edge
non-destructively just like we did with the vignette,
| | 03:46 | I'll make sure that the layer mask with
Thumbnail is selected and then we'll use
| | 03:50 | our Properties panel, you can
see that the Mask is targeted.
| | 03:54 | If the Brightness and Contrast
Adjustment layer is targeted, this is what the
| | 03:58 | dialog would look like, so be sure that you
target the mask and then we can add a feather.
| | 04:04 | Now in this instance we're not going to
need nearly as large of a feather, as we
| | 04:08 | did with the vignette, because we
don't want the feather so soft that some of
| | 04:13 | the brick on the outside
of the window is changed.
| | 04:15 | So, I would say a feather of
around 1 or 2 should be sufficient.
| | 04:20 | Now if we Option or ALT click on the
mask for the Adjustment layer, you can
| | 04:24 | see that we've just softened up all
of those edges, so that it doesn't look
| | 04:29 | like we've just simply kind of cut out
one area and made a change to it.
| | 04:34 | It's going to be much more seamless and people
won't know that that area has been manipulated.
| | 04:40 | The important thing to know here
is that when you're working with masks,
| | 04:45 | wherever the mask is white, you're
going to see the content in that layer or
| | 04:49 | in the case of an adjustment layer,
wherever the mask is white, you're going to
| | 04:53 | see the effects of that adjustment,
and wherever is the mask is black,
| | 04:57 | Photoshop is going either hide the contents of
the layer or it's going to hide the adjustment.
| | 05:02 | And all the layer masks work this way,
it doesn't matter if you put a layer mask
| | 05:07 | on type or on a shape layer or on a
photograph. White will always show the
| | 05:11 | contents on the layer and black will
always hide the contents of the layer, and
| | 05:16 | then in order to change the edges of
any of your masks, all you need to do is
| | 05:21 | target the mask in the Layers panel
and use the Properties panel to add your
| | 05:26 | non-destructive feather.
| | Collapse this transcript |
| Using the Quick Selection tool| 00:00 | Another excellent way that you can make
selections is by using the Quick Select
| | 00:04 | tool, especially in a case like this
where we're looking at a quite an organic
| | 00:09 | shape, so we really can't use the
marquees, we could try to draw with the lasso,
| | 00:13 | with the magnetic lasso, but this is
going to be far easier because the Quick
| | 00:16 | Select tool is smart.
| | 00:18 | Wherever this circle is, that's the
area that the Quick Select tool is looking
| | 00:23 | and the crosshairs in the
center are actually the hotspots.
| | 00:26 | So wherever you click and drag those
crosshairs, Photoshop will sample that
| | 00:31 | color that you drag over and then it's going
to add to the selection based on that color.
| | 00:37 | Now we can see here that it's
selected a little bit too much.
| | 00:40 | So let's zoom in, I will use Cmd+
or Ctrl+1 in order to zoom in, and now
| | 00:46 | in this area here, where it's selected too much,
I actually needed to take away those colors.
| | 00:51 | So I am going to hold down the Option
key or we could select this third icon
| | 00:55 | here to subtract from our selection.
| | 00:58 | So in this case, holding down the
Option or the Alt key and just clicking in
| | 01:02 | this area will subtract those
values from my initial selection.
| | 01:07 | Now when I get to an area like this,
this is a really small area and I really
| | 01:12 | don't think that Photoshop is going to be
able to tell a difference. We can try it.
| | 01:15 | I will hold down the Option key
and I'll click right in that area.
| | 01:18 | Now I will see the shadow area
there in the boot are too similar.
| | 01:21 | So I will quickly undo that using
Cmd+ or Ctrl+Z and I will just grab my
| | 01:25 | Lasso tool, because I
want to make a subtraction.
| | 01:29 | I will hold down the Option key and
I'm going to toggle on my Cap Locks key
| | 01:33 | because right now I happened to know
that the hotspot is at the tip of that
| | 01:37 | black arrow, but you might not know that.
| | 01:39 | So the Cap Locks key is going to
change my cursor to the crosshairs,
| | 01:44 | holding down the Option or the Alt
key to subtract, and I usually start
| | 01:47 | further away from my selection.
| | 01:49 | I don't need to start right in the
middle of it, because if I start over here, I
| | 01:53 | can start drawing my line and I know
where it goes, and then I probably have a
| | 01:57 | better chance of making a good selection.
| | 02:00 | So I will just come down this way and
follow the line of the boot and there we go.
| | 02:05 | All right, if I needed to make a
slight adjustment to this selection, I can
| | 02:10 | refine the edge of the selection by
clicking on the Refine Edge button.
| | 02:16 | Now this will appear if I've got like a
Lasso tool or I have got my Quick Select
| | 02:20 | tool, but I can also go into the Select
menu and choose Refine Edge or use the
| | 02:25 | keyboard shortcut, Ctrl+Shift+R. Now
the Refine Edge option works really well
| | 02:30 | with both hard-edged and soft-edged objects.
| | 02:34 | So in a later tutorial, we are going
to select a very furry dog and also use
| | 02:39 | this, but for right now, I'm just
going to use the Adjust Edge option.
| | 02:44 | So the Smooth slider, that's going to
help get rid of any of those kind of
| | 02:48 | jaggy areas that you see.
| | 02:50 | Let me turn that down again, so that's
with Smooth set to 0, we can see this
| | 02:54 | anti-aliasing and this jaggy edge.
| | 02:57 | As soon as I start scooting up with the
Smooth amount, it's going to smooth out that edge.
| | 03:02 | So I don't know, put it
somewhere around 75 or so.
| | 03:05 | Now I can add a slight Feather to this as
well just to, again, sort of smooth out that edge.
| | 03:11 | I don't want to go too far here.
| | 03:12 | You can see what happens if I add
like 50 pixel feather and it gets a very
| | 03:16 | soft edge, I actually just want to
add one, maybe like 1 or 1.5 pixels,
| | 03:21 | somewhere around there.
| | 03:22 | Now you can see a little bit
of a softening of the edge.
| | 03:25 | And what that's going to allow me to
do is it's going to allow me to use this
| | 03:28 | Shift Edge option in order
to kind of eat into the boot.
| | 03:33 | It's going to move the edge of my
selection inwards towards the actual object.
| | 03:38 | So I will just start scooting that over
and I think you can see what I mean by
| | 03:41 | it, it just kind of
moves that edge a little bit.
| | 03:44 | Now that's too far.
| | 03:45 | So let's just back off maybe
around 60 or so should be good.
| | 03:48 | So you can see how Refine Edge would
really help if you have selected an object
| | 03:54 | but there is like a halo around the
object where you're still selecting a little
| | 03:58 | bit too much of the background.
| | 04:00 | Use Refine Edge in order to shift the
edge of your selection into your object,
| | 04:06 | so that you eliminate that halo.
| | 04:07 | All right, I will click OK and then if
we want to see what this looks like with
| | 04:12 | a mask, at the bottom of the Layers
panel, I will click the Mask icon.
| | 04:16 | Even though this is a Background
layer, Photoshop is smart enough to know
| | 04:20 | that if I click on the Mask icon, it
will turn the background into a layer
| | 04:24 | and add that layer mask.
| | 04:26 | And so as easy as that, I can
remove that background, that distracting
| | 04:30 | background so that now we focus
our attention right here on the boot.
| | Collapse this transcript |
| Selecting soft-edged objects using Refine Edge| 00:00 | In order to select a soft-edged object
like this dog, we can go ahead and start
| | 00:05 | with a Quick Select tool, but when we
go to Refine Edge we are going to need to
| | 00:09 | make some adjustments.
| | 00:11 | So we can select the Quick Select tool
in the toolbar, we can tap the W key and
| | 00:15 | I am just going to start by clicking
in this head area and then following down
| | 00:20 | the back of the dog, grabbing some of
the tail, and then coming back over here
| | 00:25 | to make sure that we have both of his
paws and the right-hand side here as well
| | 00:29 | as both of the eyes.
| | 00:30 | Okay, so I have selected a little bit
too much down in the foreground, I can
| | 00:34 | either switch to the Subtract from
Selection tool or we can just hold down the
| | 00:38 | Option or the Alt key and remove this area here.
| | 00:42 | I am going to go up a
little bit higher there, okay.
| | 00:44 | So if you know that you're going to use
Refine Edge and you know that you have a
| | 00:48 | soft-edged object, you want to make
sure that you select all of the object and
| | 00:54 | not too much of the background.
| | 00:55 | So for example, in the tail area here
I'm not going to worry about that area.
| | 01:00 | I don't want to select it, because if I
select it with the Quick Select too much
| | 01:05 | of the background would be selected.
| | 01:06 | Same with the little fringe hair over
here on the right-hand side in the stuff
| | 01:10 | on the top of his head.
| | 01:12 | So at this point, I'll choose
select and then Refine Edge.
| | 01:16 | Now Refine Edge has many different views.
| | 01:19 | I can choose to see the area that I
have selected against White or Black.
| | 01:24 | I can see a red Rubylith overlay if I want.
| | 01:26 | I could just see Marching Ants. I can
look at layers below it if I wanted to, if
| | 01:31 | I was actually going to composite
this dog on a different background.
| | 01:34 | In this case I'm not.
| | 01:35 | What I wanted to do in this project as I
simply want to make the dog stand out more.
| | 01:39 | If we see here on the Reveal
layer, the dog and the background are
| | 01:43 | so similar in color I'd really like to
de-saturate the background so that the
| | 01:47 | dog stands out more.
| | 01:49 | So for now let's go ahead and look
at this On White, because I think
| | 01:51 | that's going to be the easiest for us to see,
especially after this lesson is compressed.
| | 01:56 | So the first thing that I want to do
is I want to show the radius and then I
| | 02:00 | want to increase the radius
here in the Edge Detection area.
| | 02:05 | Now let's take a look at
what Refine Edge is doing.
| | 02:08 | This area of the dog was completely selected.
| | 02:10 | I am telling the Refine Edge to show me
the Radius, the Radius that's 5.8 pixels
| | 02:16 | along the edge of the selection so
that Photoshop knows where my transition
| | 02:21 | areas are along the dog.
| | 02:23 | It's going to look in this radius and
it's going to try to decide what is dog
| | 02:28 | and what is background based on colors
and tonality. It's taking all of the
| | 02:33 | colors and tonality that I have
selected that are inside the dog it's using
| | 02:37 | those to try to distinguish
the dog from the background.
| | 02:41 | That's why I mentioned that you didn't
want to select too much of the background.
| | 02:44 | If Photoshop thinks that all those
colors and tones in the background are really
| | 02:47 | part of the dog it's going to have a
much harder time deciding which areas you
| | 02:52 | want and which areas you want to mask.
| | 02:54 | Now that we understand the concept of
what I'm trying to do, I am trying to tell
| | 02:59 | Photoshop what the transitional areas
are, I am going to turn on the Smart
| | 03:03 | Radius and that just kind of is another
hint to Photoshop that says that there
| | 03:08 | might be some harder-edged areas and
some softer-edged areas here, and so it
| | 03:13 | should make its decision based on that.
| | 03:15 | And then we will turn off the Show
Radius option, and I'm actually going to zoom
| | 03:19 | in, let's zoom in to 100% and I will use
the Spacebar in order to relocate where
| | 03:26 | the dog is sitting here in my screen.
Now I have the option to use the
| | 03:30 | Refine Radius tool to kind of override
the refine edge that Photoshop is
| | 03:36 | automatically creating.
| | 03:38 | So if I know for example, that there
are hairs that are sticking out that the
| | 03:42 | Refine Edge has cut off, then I can click-
and-drag with the Refine Edge tool and
| | 03:48 | tell Photoshop to recalculate those areas.
| | 03:51 | Now it's done a better job getting the
hairs outside, kind of the stray hairs of
| | 03:56 | the dog, but it is accidentally gone
too far in and we can see that it thinks
| | 04:00 | that there is a hole in the dog right here.
| | 04:03 | So I am going to switch to my Erase
Refinements tool and I'm going to paint over
| | 04:07 | this area to tell Photoshop and to tell
Refine Edge, no this is absolutely dog,
| | 04:13 | you cannot make a mask, do not cut into
the dog that far. And then you can see
| | 04:18 | I've got that whole area back.
| | 04:19 | Now we can go all the way around the
image but what I want to show you is
| | 04:23 | especially down here in the tail area.
| | 04:26 | I am going to switch back to the Refine
Radius tool and I am just going to paint
| | 04:30 | over that tail area, where we didn't
quite select enough of it, and when I let
| | 04:35 | go you can see how it's now a much softer edge.
| | 04:39 | It also looks like Refine Edge kind of
ate up into the tail, like it took away
| | 04:44 | too much of the tail.
| | 04:45 | But don't forget, what we are seeing
here is the mask and it's hard for us to
| | 04:50 | see at this area here that's
only maybe 5%, 10% or 15% selected.
| | 04:55 | So when I was first using this
tool, this really concerned me.
| | 04:59 | I was afraid that this would not
be a good mask, but in fact it is.
| | 05:02 | Let's just go ahead and just trace
kind of right around the dog here and I am
| | 05:06 | going to go up a little further to get a
few more of those stray hairs. And then
| | 05:10 | remember, if you see any holes where you
know there should be solid dog you can
| | 05:14 | either select the Erase Refinements
tool or you can hold down the Option or the
| | 05:19 | Alt key, that will toggle the Erase
Refinements and the Refine Edge tool and
| | 05:24 | then we can just paint those back in.
| | 05:25 | All right, so I am not going to worry
about this area down here, because this
| | 05:29 | area is too much in the shadows.
| | 05:31 | When I make my change I don't think we
are going to be able to tell that that
| | 05:34 | mask isn't quite as accurate.
| | 05:36 | But I just want to make sure we have
the paws here, and I think there are a few
| | 05:39 | more hairs here, I might
just want to trace over again.
| | 05:43 | All right, oh, it got into the ear,
I'll hold down the Option key, say, no,
| | 05:47 | that's definitely dog, do not make a mask there.
| | 05:50 | All right, once we've gone
through and refined this I'll click OK.
| | 05:53 | We can't really tell the difference just
based on the marching ants, but what we
| | 05:58 | will do is we will go ahead
and add our Adjustment layer.
| | 06:02 | Remember when we add our Adjustment
layer Photoshop is going to automatically
| | 06:05 | take this selection, let's zoom out here,
it will take this selection of the dog
| | 06:10 | and automatically convert it into a mask.
| | 06:13 | But we started off this project with
the idea that we want to de-saturate the
| | 06:17 | background, I don't want to de-saturate the dog.
| | 06:20 | So before I add the mask I can go
into the Select menu and I can choose
| | 06:25 | to Inverse my selection so that
the dog is not selected but the
| | 06:29 | background is selected.
| | 06:31 | Then using my Adjustments panel I'll
come down to my Hue/Saturation adjustment
| | 06:36 | layer, I'll click to add that.
| | 06:38 | You can see there is no more marching
ants because Photoshop has taken that
| | 06:42 | selection and automatically created a
mask for me, where the mask is white
| | 06:47 | we will see the adjustment, where the
mask is black it's going to hide the
| | 06:51 | adjustment, and I'll just use the
Saturation slider to de-saturate that
| | 06:56 | background and make the dog kind of pop,
make it separate the dog from the background.
| | 07:01 | I think that's a little bit too
de-saturated there, so I'll just leave it
| | 07:05 | maybe around -45 and then click anywhere out
here in order to have that panel auto-collapse.
| | 07:12 | And if we zoom in to 100%, I will use
Cmd+ or Ctrl+1, and we look at the
| | 07:17 | mask that was created, look what a
great job it is done around the hair, there
| | 07:21 | is still color in this hair but
the background is de-saturated.
| | 07:25 | Likewise down the back, we can see in
the tail there it looks great and then
| | 07:29 | down here I might have wanted to
spend another minute just touching up that
| | 07:33 | mask, but here's the great
thing, we can always do this now.
| | 07:37 | If we look at the mask, if I hold down
the Option key or the Alt key and click
| | 07:41 | on the mask, we can see that I might
want to clean up this little area right
| | 07:45 | here and I might want to clean up this area.
| | 07:47 | So the area in my image up here is
too gray, meaning that the effect is
| | 07:53 | happening or being applied to that area,
so I need to paint with the opposite color.
| | 07:58 | I am going to tap the B key, the B key
is going to give me my Brush and because
| | 08:03 | my colors are set to their default,
I've got white as the foreground color and
| | 08:07 | black as the background color.
| | 08:09 | Now watch what happens when I start
painting with white, when I paint with
| | 08:13 | white, remember, where the mask is
white we can see that adjustment.
| | 08:17 | So let's undo that, we will undo the Brush tool.
| | 08:20 | I am going to tap the X key, the
X key will exchange my foreground
| | 08:25 | and background colors.
| | 08:26 | It's the same as tapping
this double-headed arrow.
| | 08:29 | So now that I'm painting with black I
can come down here and just fix that
| | 08:33 | mask right there because where the
mask is black I'm not going to be
| | 08:38 | de-saturating the area.
| | 08:40 | Now there was that one other area along
here, I can't actually see where that is
| | 08:44 | without viewing the mask.
| | 08:46 | So again, Option+ or Alt+Click on
the mask, we can see that this area is
| | 08:50 | black that's the mistake, so I
don't want to paint with Black, right?
| | 08:54 | Let's unto that, I want to tap that X
key again to exchange my foreground and
| | 08:58 | background color, and now I will
paint with white to hide that mistake.
| | 09:03 | So it's interesting to me that the
mask looks a little bit rough here.
| | 09:07 | We could spend hours trying to refine
the edge of this mask right here, but
| | 09:12 | honestly, if we click on the image and
we can't see any mistakes in the image
| | 09:17 | that's really what counts. If we
can't see that it's being saturated or not
| | 09:21 | being saturated, if visually the image
looks good, then I don't really care what
| | 09:25 | the mask looks like. Excellent!
| | 09:27 | Let's zoom out.
| | 09:28 | I think you can see that even though
this is a really complex selection, I mean
| | 09:32 | this dog has little stray hairs
everywhere, but using the quick select and then
| | 09:36 | combining that with the Refine Edge
tool can get us an excellent selection.
| | Collapse this transcript |
| Touching up a layer mask with the Brush tool| 00:00 | A lot of times when you're making a
selection in order to change just a portion
| | 00:05 | of your image, the Selection tools will
get you 90% of the way there and then it
| | 00:10 | becomes much easier to simply refine
the mask with a paintbrush and this is a
| | 00:15 | perfect example of that scenario.
| | 00:18 | So I'm going to tap the W key that will
give me my Quick Select tool and I want
| | 00:22 | to select the jacket.
| | 00:24 | So we'll start up here in the collar
and click and drag and so far it seems
| | 00:28 | to be doing a decent job because there's
contrast between the jacket and the background.
| | 00:33 | It does an okay job down here, but then
when I get to the highlight area because
| | 00:38 | the wall is so bright and the highlight
on the jacket is so light, it's just not
| | 00:43 | going to be able to make the selection to
the precision that I need. But that's okay.
| | 00:47 | I am going to get the selection
like 85% or 90% of the way there.
| | 00:51 | Now in order to subtract this area
that I don't want selected, I'll hold down
| | 00:54 | the Option or the Alt key.
| | 00:56 | We can trim that back and we
can trim this area back too.
| | 00:59 | Now if I zoom in to 100% by using
Cmd+1, use the Spacebar in order to move
| | 01:04 | around, you can see that this actually does
need quite a bit of work still. But that's okay.
| | 01:09 | I am going to go ahead and add
the adjustment that I want to make.
| | 01:12 | In this case, I want to
add some color to the jacket.
| | 01:15 | So I'm going to use the Hue/Saturation
adjustment layer and that's this icon
| | 01:20 | right here in the Adjustment panel.
| | 01:22 | So I click on that and
then I'll choose to Colorize.
| | 01:25 | Now, I'm going to apply a lot of
Saturation to begin with because if I only
| | 01:30 | apply a small amount, it's going to
be hard for me to see where in the mask
| | 01:35 | I need to refine it.
| | 01:36 | So let's really move the Saturation
up and we can choose any color we want.
| | 01:41 | I know that I'm going to
eventually make the jacket blue.
| | 01:43 | So we might as well start there. All right!
| | 01:46 | Now I'll click away from my Properties
panel and because I have set my panels to
| | 01:50 | Auto-Collapse, as soon as I click
anywhere away from the panel that panel will
| | 01:56 | automatically collapse, so
that I can see more of my image.
| | 01:59 | Now we are on the Hue/Saturation
adjustment layer's mask.
| | 02:03 | If I wanted to see the mask, I could
hold down the Option or Alt key and click
| | 02:07 | and there is the mask, and you can see
I really need to make some refinements
| | 02:11 | over here on the right. All right!
| | 02:13 | Let's click on the Eye icon so we can
see our image and I'll tap the B key in
| | 02:17 | order to select the paintbrush.
| | 02:19 | I'll use the Spacebar to move down my
image and I need to check my foreground
| | 02:24 | and background colors.
| | 02:25 | You can see that I'm painting with
black as my foreground color and I want to
| | 02:29 | exchange the foreground and background
so I'll tap the X key or I could click on
| | 02:33 | the double-headed arrow here because I
need to paint with white if I want to add
| | 02:38 | the blue to the collar area right here.
| | 02:40 | So I'm just going to carefully
paint right around that edge.
| | 02:44 | Now if I paint too far, all I
need to do is tap the X key.
| | 02:48 | That sets my paintbrush to paint with black.
| | 02:51 | And since black hides an adjustment, I
can remove the adjustment from that area.
| | 02:55 | I can also remove it from up here where it's
just painting too much on the wall. All right!
| | 03:01 | Now I'll hold down the
Spacebar and move down a little bit.
| | 03:03 | You can see that I've got too much paint here.
| | 03:06 | Now one of the things that you will
notice is when you're using a mouse or even
| | 03:10 | if you're using a tablet, it's just more
natural to paint in certain directions.
| | 03:14 | So I'm going to hold down, I am not going to
tap, but I am going to hold down the R key.
| | 03:19 | The R key gives me, temporarily, my
Rotation tool where I can rotate the canvas.
| | 03:26 | Now I am not rotating the pixels here.
| | 03:29 | It's like I've got a piece of paper
that I'm painting on and I'm moving
| | 03:32 | the paper on the desk.
| | 03:33 | So I am going to click and drag to
the left because for me it's much more
| | 03:39 | comfortable or much easier to paint
left to right than it is up to town.
| | 03:43 | So again, I will just hold down the R
key that temporarily gives me the Rotate
| | 03:48 | Angle tool and when I let go, I'm
immediately taken back to the Brush tool.
| | 03:53 | Now if you actually tap the R key, you
will be on the Rotate View tool in which
| | 03:57 | case all you need to do is tap the B
key to come back to the Brush tool.
| | 04:01 | For me this is just much easier to paint
going in this direction left to right than
| | 04:07 | it is to paint going up and down.
| | 04:09 | Now in this area, I can see
that the mask falls short.
| | 04:12 | So again, I'll tap the X key.
| | 04:14 | That's going to exchange my foreground
and background color and I'm just going
| | 04:18 | to paint right along this edge.
| | 04:20 | Paint up in here and paint down here.
| | 04:23 | You can see wherever I am painting in
the mask with white, I'm able to see that
| | 04:28 | adjustment that I've applied, that
colorization, that blue tint. Looks like we've
| | 04:33 | missed an area over here as well, and
let's use the Spacebar to move down.
| | 04:38 | Looks like I missed this area with that
initial selection. I've missed this corner of
| | 04:43 | the jacket as well. And then looking
closely, it looks like I've selected too
| | 04:47 | much here, so tap that X key,
switching back and forth between painting with
| | 04:51 | black and painting with white, and
we'll just eliminate that. All right!
| | 04:55 | I think we've got it all.
| | 04:57 | So what I'll do is this time I will
actually tap the R key, that's going to
| | 05:01 | switch me back to the Rotate View
tool and then I'll just click Reset View.
| | 05:05 | So I didn't actually change any pixels
when I was using the Rotate View tool,
| | 05:10 | it just made the display differently,
so that I could paint in a more
| | 05:13 | comfortable position.
| | 05:15 | Now I'll use Cmd+ or Ctrl+0 to zoom back.
| | 05:19 | I like what I see, but the
effect is far too strong.
| | 05:22 | So I can click on the icon for the Hue/Saturation
adjustment layer here in my Layers panel.
| | 05:28 | If I double-click on it, it will
automatically pop up the Properties panel where
| | 05:32 | I can then bring down the Saturation
and just make that a much milder effect.
| | 05:37 | I could also just darken the jacket a wee bit.
| | 05:40 | You want to be careful because, look,
if you move this slider over too much to
| | 05:44 | the left, it just starts to look all flat.
| | 05:46 | So I don't want to move it
very much, just maybe -5.
| | 05:50 | The other thing that I just noticed
when I did that do you see this hard edge
| | 05:53 | on the left-hand side?
| | 05:54 | I need to soften that a little bit.
| | 05:56 | So let's bring this back to, like I said,
maybe -5 and then let's switch over.
| | 06:01 | I don't want to effect the
adjustment now, I want to work on the mask.
| | 06:05 | So I'll click on the Mask icon in the
Properties panel and then I'll make sure
| | 06:09 | that the Mask is targeted
in my Adjustment layer.
| | 06:12 | Now unfortunately, when I did
that, the panel popped close.
| | 06:15 | So let's go ahead and double-click on
the mask here that will open back up the
| | 06:19 | Properties panel and then I'm just
going to add a slight Feather, so that we
| | 06:23 | don't get that harsh edge on the left-hand
side there, may be one or two pixels.
| | 06:28 | Of course, I want to go in to 100% so
Cmd+ or Ctrl+1 in order to zoom to
| | 06:34 | 100% just to check what I'm doing and
tap the H key to get me the Hand tool or
| | 06:39 | we could use the Spacebar and just move
around the image and check one more time
| | 06:43 | to make sure that that nice soft
feather didn't actually change the mask in any
| | 06:49 | way that is detrimental. Okay!
| | 06:51 | So I like that.
| | 06:52 | We'll go ahead and use Cmd+ or Ctrl+0
to zoom all the way back out and you
| | 06:57 | can see that sometimes instead of
struggling, using one of our kind of
| | 07:01 | automated Selection tools, just use
the tool to get as far as you can, 80% or
| | 07:05 | 90% of the way there, and then you can
simply click on the Mask and paint with
| | 07:10 | your paintbrush using either black or
white to paint in or to paint out the
| | 07:15 | effect and you can refine that Mask
until it perfectly matches the area that
| | 07:20 | you're trying to affect.
| | Collapse this transcript |
| Changing the opacity, size, and hardness of the painting tools| 00:00 | Since the Paintbrush is such a
powerful tool, we need to talk about how to
| | 00:04 | quickly change its attributes so
that you can paint more effectively when
| | 00:08 | you're changing your masks.
| | 00:10 | If you've got the brush selected, up
in the top in the Options Bar we have a
| | 00:14 | Brush Preset picker and you can click
on that in order to change the Size, or
| | 00:19 | the Hardness of your brush.
| | 00:21 | We also have a Brushes panel, if you
select the Window menu and then choose
| | 00:25 | Brush, you'll notice that we
have a ton of options up here.
| | 00:29 | But let's keep this simple.
| | 00:30 | I'm going to close this panel, and
we're going to learn some essential keyboard
| | 00:34 | shortcuts to make changes to our brush.
| | 00:37 | Now if I want to access the Preset
picker without going all the way to the
| | 00:41 | upper-left of my monitor, I can simply
click anywhere in my image area with the
| | 00:45 | right mouse click, or the Ctrl+Click
on Mac in order to access my
| | 00:50 | context-sensitive menus.
| | 00:51 | Now I can quickly change the
Size and the Hardness of my brush.
| | 00:55 | I can tap the Enter key or the
Return key to hide that context-sensitive
| | 00:59 | menu once I'm finished.
| | 01:01 | But there are other ways that are even quicker.
| | 01:03 | I can use the Right Bracket
key to get a larger brush.
| | 01:07 | I can use the Left Bracket
key to get a smaller brush.
| | 01:11 | If I want to change the hardness of
the brush, if I hold the Shift key and I
| | 01:15 | click on the Right Bracket key, I'm
going to get a harder-edged brush.
| | 01:18 | If I hold the Shift key and
click on the Left Bracket I'll get a
| | 01:21 | softer-edged brush.
| | 01:23 | Although the problem with that shortcut is,
visually I don't really see much of a change.
| | 01:28 | I can glance up here and the icon will
change and get a little softer or harder,
| | 01:32 | but my favorite way to change the size
of the brush is to hold down the Option
| | 01:37 | and the Ctrl key on the Mac, on
Windows it would be the Shift key and the Alt
| | 01:42 | key, and you would click-and-drag
left or right, and you can see that that
| | 01:47 | changes the diameter.
| | 01:48 | We can see that in the pop-up right here.
| | 01:50 | It's really handy, especially if you
know that you want a specific size brush.
| | 01:54 | It gets even better though, because if I
keep those keyboard shortcuts down and I
| | 01:58 | drag up or down, you can see that
I'm changing the hardness of the brush.
| | 02:04 | Now there's an interesting listing
here, this third one for Opacity.
| | 02:08 | But it doesn't seem to matter if I
move up and down or left or right, I can't
| | 02:11 | change that Opacity and
that's because it's a preference.
| | 02:15 | In order to toggle the
Opacity is the option here.
| | 02:19 | We need to go to Photoshop>Preferences
and then General.
| | 02:22 | If you're on Windows you'd go onto the Edit
menu and then select Preferences>General.
| | 02:26 | This is the option that we need to uncheck.
| | 02:29 | The option is to vary the Round Brush,
and that's what we're working with.
| | 02:33 | We've got a Round Brush.
| | 02:34 | This option says to Vary the Hardness
based on the HUD, that's Head-Up Display,
| | 02:40 | what we were using the keyboard
shortcut to access, on that vertical movement.
| | 02:45 | If I turn this off, instead of varying
the brush hardness, we're going to vary
| | 02:50 | the brush's opacity.
| | 02:52 | So I'll click OK, hold down Option+Ctrl
or Shift+Alt on Windows and now when I
| | 02:58 | drag up and down you can see I can
dynamically change the opacity of the brush.
| | 03:04 | So there you have it, a number of
different ways to quickly change the size of
| | 03:08 | the brush, the hardness and the opacity.
| | 03:11 | You don't have to use all
of the different shortcuts.
| | 03:13 | Just find the one that you
like best for your workflow.
| | Collapse this transcript |
| Blending images with a gradient layer mask| 00:00 | In order to achieve the effect where
one photograph slowly blends into another,
| | 00:07 | we're going to use a layer
Mask with a Gradient tool.
| | 00:09 | So I'm going to select these two images
in Bridge, I'll go to Tools>Photoshop
| | 00:14 | and then Load the Files into Photoshop
layers, that's going to open up each one
| | 00:18 | of these images from Bridge. We're
just going to put them both into the same
| | 00:22 | document, so you can see here I have my
Spacers and underneath them I've got the Window.
| | 00:26 | Now to create this nice soft transition
between these two images, I'm going to
| | 00:31 | select my Gradient tool, we can choose
it from the toolbar or you can tap the G
| | 00:35 | key on your keyboard.
| | 00:37 | Now by default, your gradient tool
goes from your foreground color to your
| | 00:40 | background color, but right now if we
draw the gradient, the gradient would take
| | 00:44 | the place of the photo on the layer.
| | 00:47 | So, I'm going to click on the Add layer
Mask icon at the bottom of Layers panel.
| | 00:51 | As you can see the mask starts off as white.
| | 00:54 | Anywhere that the layer mask is
white, I can see the photograph.
| | 00:57 | So I need to make sure that we're all
starting in the same place, so tap the D
| | 01:02 | key on your keyboard.
| | 01:03 | What that does is it sets the default
foreground and background color, so that
| | 01:07 | we're all dragging the gradient
that goes from white to black.
| | 01:11 | Now since white will show and black will
hide, if I start my gradient at the top
| | 01:16 | by clicking and then dragging down, and
I can hold down the Shift key to get a
| | 01:21 | straight line here at 90 degrees, when
I let go of the Gradient tool, you can
| | 01:26 | see that the gradient goes from white to black.
| | 01:29 | It shows the spacers at the top and then
slowly blends into the windows down below.
| | 01:34 | If I hold down the Option or the Alt
key, we can click on that mask, there is
| | 01:37 | that gradient mask that we drew, click
on the eye icon to toggle back on the
| | 01:41 | visibility of the layer.
| | 01:42 | Now we can redraw this
gradient as many times as we want.
| | 01:46 | If I want it to be a more abrupt gradient,
I might start somewhere closer to the
| | 01:50 | center, and click and drag out
just a short line with the gradient.
| | 01:54 | Now you can see the transition
happens much more quickly.
| | 01:57 | I can also drag from left to right if I
want to, we could drag down at an angle.
| | 02:01 | We can drag the gradient as many times
as necessary, until you get the exact
| | 02:06 | blending that you want between the two images.
| | 02:09 | We can even switch over to
different types of gradients.
| | 02:11 | If you'd prefer a Radial Gradient, we can
select that, click in the center and drag out.
| | 02:17 | Now if that's the opposite of what you wanted,
| | 02:19 | if you wanted to hide the center
portion, all we need to do is tap the X key.
| | 02:25 | That will exchange our foreground and
background color and then redraw out the gradient.
| | 02:30 | If we select the fourth
gradient from the list here this is the
| | 02:33 | Reflected Gradient.
| | 02:34 | If I click in the center and drag out,
this gradient goes in both directions.
| | 02:39 | If we look at our layer and we look at
the mask over here you can see that it
| | 02:43 | started in the center as black and went
to white on the right, but then was also
| | 02:47 | reflected to white going the other way.
| | 02:49 | So, you can see there's a ton of
different possibilities available by using
| | 02:53 | the different styles of the gradient,
when you're drawing in a mask to blend
| | 02:57 | two images together.
| | Collapse this transcript |
|
|
13. Tone and Color with Adjustment LayersIntroducing adjustment layers| 00:00 | Adjustment layers are a nondestructive
way to make adjustments in Photoshop.
| | 00:06 | You can see that we have an Adjustments
panel dedicated to them, and each one of
| | 00:10 | these little icons is a
different Adjustment layer.
| | 00:12 | As we roll over the icon, we can
either see a tool tip if we hover, or you'll
| | 00:16 | notice that the name changes right up here.
| | 00:19 | So I don't want you to be confused with the
adjustments that are found under the Image menu.
| | 00:23 | When you select Image>Adjustments,
although a lot of the same names and the
| | 00:28 | same adjustments are listed here,
these are going to be permanent changes.
| | 00:33 | So, for example, if I decide to do
something like change the levels in my image,
| | 00:38 | and I'll explain what this dialog box
does in a minute, but any change that I
| | 00:42 | make here, when I click OK, the
pixels in my image have been changed.
| | 00:47 | The only way to get back to where
they were before is either to select Undo
| | 00:53 | right now, Cmd+ or
Ctrl+Z or revert the file.
| | 00:56 | So it's a very destructive way of
editing, and I prefer to use the Adjustment
| | 01:01 | layers because then I can
always change my mind later.
| | 01:04 | Not only can I change my mind, I can
toggle them on and off, so I can make them
| | 01:08 | visible or hide them, I can decrease
their strength, I can mask them, and I can
| | 01:13 | even blend them with other layers.
| | 01:15 | So I'm going to add an Adjustment
layer using the Adjustment panel and we'll
| | 01:19 | choose the Levels Adjustment.
| | 01:21 | Now, the Level Adjustment looks very
similar to the histogram in Adobe Camera
| | 01:26 | RAW, and in fact they are one and the
same, and that this histogram right here
| | 01:31 | is a visual representation of all
of the pixel values in the image.
| | 01:35 | The darker values are on the left, and it
goes to the lighter values on the right.
| | 01:39 | So I can immediately tell that this
image does not have pixels that covers the
| | 01:44 | entire dynamic range.
| | 01:45 | There are no true black pixels in
this image, and there are no true white
| | 01:49 | pixels in this image.
| | 01:50 | If I want to extend the dynamic range
of the image, I click on the triangle
| | 01:54 | and move it to the right until it's just under
where that first pixel shows up on the histogram.
| | 02:01 | Then, I can do the same
thing for my white point.
| | 02:03 | I'll click-and-drag until that little slider
is right underneath the first pixel in my image.
| | 02:09 | There's an additional slider in the center.
| | 02:11 | This will change the Gamma of the image.
| | 02:13 | If I move it to the left,
my whole image gets lighter.
| | 02:16 | If I move it to the right,
the image gets darker.
| | 02:19 | You can see that by just making that
small change in Levels, the image is
| | 02:23 | really popping because we've got a
bigger dynamic range, and we've added
| | 02:26 | contrast to our image.
| | 02:28 | In fact, let's toggle on and off this
adjustment layer by clicking on the Eye
| | 02:32 | Icon next to the Adjustment
layer in the Layers panel.
| | 02:35 | Now, if I were to save out this image,
if I were to revisit it tomorrow or
| | 02:40 | the next day or next week, I can always
come back in here and make additional changes.
| | 02:45 | So let's say for example that I
feel that I've made the image too dark.
| | 02:48 | If I double-click on the Adjustment
layer icon, that will automatically display
| | 02:53 | my Properties panel.
| | 02:54 | Now, I can make my adjustment by moving the
slider to the left to lighten it up a bit.
| | 02:58 | I'll click on the Properties Tab in
order to automatically hide that panel.
| | 03:03 | There are other things that I can
change about this Adjustment layer.
| | 03:05 | For example, I could back off on the Opacity
a little bit if I thought it was too strong.
| | 03:10 | I could change the Blend modes which
we talked about in another video, or I
| | 03:14 | could paint in the mask so that the
adjustment only occurs or is only visible
| | 03:20 | in part of the image.
| | 03:21 | And if I decide at any point in time
that I don't like the adjustment, all
| | 03:25 | I need to do is select that layer in the
Layers panel, tap the Delete key to delete it.
| | 03:30 | So you can see that Adjustment layers,
because they're nondestructive, and
| | 03:34 | because you can go back and re-edit
them at any time, they are much, much
| | 03:38 | more powerful than using the destructive
edits underneath the Image>Adjustments menu.
| | 03:42 | So we'll stay away from here, and
instead, we'll use our Adjustment panel.
| | Collapse this transcript |
| Starting with a preset| 00:00 | Since now we know that we're not going
to use the Image Adjustments menu and
| | 00:04 | instead we're going to use the
Adjustments layer, let's go ahead and add one so
| | 00:09 | that we can take a look at the Options.
| | 00:11 | A lot of these Adjustment layers have
Presets at the top that will be displayed
| | 00:15 | in the Properties panel.
| | 00:16 | The Presets are really a great place to
start, if you're not sure what you want
| | 00:21 | to do with that panel.
| | 00:23 | You might not know, for example that in
the Hue/Saturation adjustment layer, you
| | 00:27 | can turn your image into a Cyanotype.
| | 00:29 | When you select that Preset you can
then look at the slider Settings for
| | 00:33 | Hue, Saturation, and Lightness and
you'll notice that there is a Colorize
| | 00:37 | option that's turned on.
| | 00:38 | You may never have even noticed that
that Colorize option was there unless
| | 00:42 | you tried some other Preset.
| | 00:44 | We can go and increase our Saturation
or increase it a lot, I think we'll just
| | 00:48 | stay with the simple increase, we could
see what Old Style looks like, it looks
| | 00:52 | like it's been faded a bit, we could
give it a Red Boost to really pop the Red
| | 00:57 | or make it look like Sepia.
| | 00:58 | You'll notice that every time you
select a new Preset the New Preset Settings
| | 01:03 | are replacing the old ones.
| | 01:05 | And if you change these sliders and you
decide that there is a combination that
| | 01:09 | you really like, you can use the fly-out
menu to actually save your own presets.
| | 01:14 | As soon as I select Save Preset we'll
call this Color Shift and Photoshop will
| | 01:19 | automatically save those
settings in the correct folder.
| | 01:23 | In this case it happens to be in my
User folder in the Library, Application
| | 01:28 | Support, Adobe, CS6,
Presets and Hue and Saturation.
| | 01:32 | The reason I point this out, is if
you create the preset on one machine and
| | 01:36 | you want to take it to another machine, it
might be handy to know where that preset lives.
| | 01:40 | I'll go ahead click Save and then you'll
notice that Preset appears in my dropdown menu.
| | 01:45 | So viewing the Presets that ship
with the product might introduce you to
| | 01:49 | different ways to use those
adjustments that you might not think of and then
| | 01:53 | when you discover effects that you like,
you can go ahead and save those out as
| | 01:57 | Presets and share them with your friends.
| | 01:59 | So be sure to explore all of the
different adjustment layers that have Presets,
| | 02:04 | because they might show you different
ways that you can use those adjustment
| | 02:08 | layers that you might not have thought of.
| | 02:10 | And when you discover effects or
different settings that you like, be sure to
| | 02:14 | save them as Presets, so that you
can apply them to different images.
| | Collapse this transcript |
| Improving tonal quality with Levels| 00:00 | If in your workflow, you're starting
off in Bridge with your Raw files, and
| | 00:05 | you're taking them through Adobe Camera
Raw, you want to make sure that you're
| | 00:09 | making all of your global
adjustments to tonality and to color there.
| | 00:14 | But if for some reason, you're either
not able to use Adobe Camera Raw or you
| | 00:18 | find yourself later in Photoshop trying
to make these kinds of adjustments maybe
| | 00:23 | on a smaller selected area, it's
important to know how they work.
| | 00:28 | So let's take a look at one of the most
important adjustments and that's Levels.
| | 00:33 | We're going to scoot over to Photoshop
and to explain how Levels works, I'm
| | 00:38 | going to create a new document and I'm
just going to use the Default Photoshop Size.
| | 00:44 | Then, I'm going to tap the G key to
access my gradient, and make sure that I've
| | 00:48 | the Linear Gradient selected.
| | 00:50 | I'll also tap the D key
to get my default colors.
| | 00:53 | I'm going to drag a gradient from the
left to the right side, while holding down
| | 00:58 | the Shift key in order to
draw a straight gradient.
| | 01:01 | Then I'll reveal my Histogram panel
by choosing Window, and then Histogram.
| | 01:07 | You can see in my Histogram that I
have values going all the way across
| | 01:10 | from left to right.
| | 01:12 | So typically, this would be the dynamic
range of the image and every image has a
| | 01:16 | histogram that's unique, because the
histogram is a direct correlation of the
| | 01:21 | number of pixels at every color
value in your image being mapped to this
| | 01:28 | histogram from darks on the
left to whites on the right.
| | 01:31 | Let's set some color
samplers inside of our image.
| | 01:35 | The color samplers are nested
underneath the Eyedropper tool, and they allow me
| | 01:40 | to place a sampler to take a
measurement of a value, in a specific location.
| | 01:46 | I'll put one on the left side
here and put one on the right side.
| | 01:51 | We can see on the right side,
we have our values up near 255.
| | 01:55 | Those are the highlights in my image and then
on the left side, the values are down near 0.
| | 02:00 | Now let's apply a Levels
Adjustment layer to this image.
| | 02:04 | On my Adjustments panel, I'll click to
add the adjustment, and we can see that
| | 02:08 | same histogram here as we
saw in the Histogram panel.
| | 02:12 | Now watch what happens when we
move our black point into the right.
| | 02:17 | You can see that everything to the left
of this slider is being pushed to pure
| | 02:23 | black and I can see that right here in my image.
| | 02:26 | In fact, if we lay down another color
sampler right about here, and then we
| | 02:30 | look at the measurement of our number 3
color sampler, sure enough, I've taken
| | 02:35 | all those values that used to have a value
of around 73, and I've remapped them all to 0.
| | 02:41 | Let's switch back to the Properties
panel for a minute, and I'll do the same
| | 02:45 | thing with the Highlight slider.
| | 02:47 | I'll move that slider into the left,
you can see this whole right side of my
| | 02:52 | gradient now is pure white, and sure
enough, if I set down another color
| | 02:56 | sampler, we can see that
whatever value was 164 is now 255.
| | 03:01 | So what we need to learn from this is
that if we move the Black slider or the
| | 03:07 | White slider too far in on our
histogram, we're going to be clipping our dark
| | 03:12 | values or our light values
to pure black or pure white.
| | 03:16 | And that means where you used to have
detail in your shadow area, you're no
| | 03:20 | longer going to have detail.
| | 03:22 | Likewise, where you're used to have
detail in your highlights, we're going to
| | 03:25 | push those to pure white.
| | 03:27 | Alright, so let's close this image
without saving it, and see what this looks
| | 03:32 | like with a real photograph.
| | 03:34 | I'll double-click on the BlueDragon
and we'll add a Levels Adjustment layer.
| | 03:38 | We can see that the histogram
is very different for this image.
| | 03:41 | It does not cross over the
entire dynamic range of the histogram.
| | 03:45 | So that tells me that there are no values in
this image that are being pushed to pure white.
| | 03:50 | I can move this slider over to the
left until it's just under the first
| | 03:54 | value here that's mapped in the image, and I
can do the same thing with the Black slider.
| | 03:59 | What that does is it tells Photoshop to
increase the dynamic range, to make sure
| | 04:04 | that this photo has the black as black,
and the white as white in the image and
| | 04:09 | it will extend that
histogram all the way from 0 to 255.
| | 04:14 | Let's go ahead and show our Histogram panel.
| | 04:16 | I'm actually going to pull it
out so that it's not docked.
| | 04:19 | In that way, it'll just stay floating
for right now and then we can toggle the
| | 04:23 | Eye icon next to the Levels
Adjustment layer and you can watch how the
| | 04:28 | Histogram gets spread out.
| | 04:31 | Right now, it's only covering this area,
but when I toggle on the Adjustment
| | 04:35 | layer, we have values that are extending
over the entire dynamic range of the histogram.
| | 04:41 | So if you hear people referring to
images that look flat, that's usually because
| | 04:46 | they were photographed on a less
contrasty day and there aren't values that go
| | 04:50 | all the way from the deepest black
in the histogram to the deepest white.
| | 04:55 | Let's return back to the Properties
panel for one moment, just to show you
| | 04:59 | that the middle slider, that's going to
change the gamma or the midpoint of your image.
| | 05:04 | If I move it to the left,
the image gets lighter,
| | 05:06 | if I move it to the right, the
image is going to get darker. And we can
| | 05:10 | watch the Histogram update in the
Histogram panel, as we move these slider
| | 05:14 | in the Properties panel.
| | 05:16 | But you should know that the Levels
Adjustment layer only has this single
| | 05:20 | slider to control the entire range of
midtones, and as we'll see in the next
| | 05:24 | lesson, we have a lot more control
over those midtones, when we use a Curves
| | 05:29 | Adjustment layer.
| | Collapse this transcript |
| Increasing midtone contrast with Curves| 00:00 | As I've mentioned before, if your
workflow starts in Bridge and you're opening
| | 00:04 | your raw files or your JPEG files into
Adobe Camera Raw, you want to make as
| | 00:09 | many of your global adjustments and
corrections to your tonal values and your
| | 00:14 | color values in Camera Raw.
| | 00:16 | You want to do that at the
beginning of your workflow.
| | 00:18 | If however you find yourself in
Photoshop, and you need to make another
| | 00:22 | correction, especially if you need to
make a local correction, then Photoshop has
| | 00:26 | a ton of powerful tools in
order for you to do that.
| | 00:30 | I think one of the most powerful tools
has got to be the Curves adjustment layer.
| | 00:35 | I'll click on that in the
Adjustments panel in order to add it.
| | 00:38 | Now the Curves adjustment layer
does many of the same adjustments that
| | 00:41 | your Levels adjustment layer does, but the
Curves adjustment layer is much more powerful.
| | 00:46 | If you wanted to set your Black
point and your White point using curves,
| | 00:50 | you would use the blank triangle in
the lower left and the white triangle
| | 00:54 | in the lower right.
| | 00:55 | So I can immediately see that
this image is lacking in the blacks.
| | 01:00 | There are no black values that are
darker than this point in my Histogram.
| | 01:05 | So I'm going to click-and-drag on
that Black slider, until it just reaches
| | 01:09 | underneath the first area in my Histogram.
| | 01:12 | Now one of the things that I didn't
mention when we were talking about Levels is
| | 01:16 | that you can see a preview of exactly
the values that you're going to clip to
| | 01:21 | either pure black or pure white.
| | 01:23 | If you hold down the Option key on the
Mac or the Alt key on Windows and you
| | 01:28 | start dragging this slider.
| | 01:30 | Now it might be a little confusing at
first, because what you might see is not
| | 01:35 | pure black, you might see these other
colors, and that's because all of your RGB
| | 01:39 | images that you open in Photoshop are
made up of three different channels.
| | 01:44 | So what this visual reference is showing you
is that one of those channels is being clipped.
| | 01:50 | As you see more colors then more
of the channels are being clipped.
| | 01:54 | It's not until you actually see black
overlaid on top of your image, that all
| | 01:59 | three channels are being clipped at once.
| | 02:01 | So you definitely don't want to go so far
that you see black, and then it's up to you.
| | 02:06 | It's really an aesthetic question, as
to whether or not you want to clip your
| | 02:10 | image in any of the channels.
| | 02:12 | So I want to show you on the Highlight side
of the Histogram, we can do the same thing.
| | 02:17 | If I hold down the Option or the Alt
key, by default the whole window turns
| | 02:21 | black and then as I started moving the
slider to the left we can start seeing
| | 02:25 | the areas that are going
to be clipped to pure white.
| | 02:28 | So obviously we want to back off on that.
| | 02:30 | Now we've set the dynamic range of the image
by setting our black point and our white point.
| | 02:35 | Now if you remember the Levels dialog box,
| | 02:37 | there was one slider in the center
that you could move to lighten your image,
| | 02:42 | or darken your image.
| | 02:43 | And certainly you can do that in Curves,
but the power of Curves is that you can
| | 02:48 | have up to 16 different points along
this curve, to really refine exactly what
| | 02:54 | values you want your image to be mapped to.
| | 02:57 | So for example I might want to increase
my midtones, but I might want to keep my
| | 03:02 | highlights down a little bit.
| | 03:04 | So I'll add a second point on the curve
and just pull down in my highlight area.
| | 03:08 | Remember this is the lighter area of my image.
| | 03:11 | Then I might also want to increase my
shadows, so I could click-and-drag up on
| | 03:16 | this point of the curve, or if I
want to decrease my shadows I could
| | 03:19 | click-and-drag down.
| | 03:20 | So as you can see, you have a lot more
control in curves, but you do have to be careful.
| | 03:26 | Let me delete these points that
I've added by simply clicking on them and
| | 03:30 | tapping the Delete key, or you can click
and just drag it out of the curve area.
| | 03:35 | Say you want to add an S curve to your image,
to give your image a little bit more contrast.
| | 03:40 | So you put a point on the curve and
drag this in down, and then you place
| | 03:43 | another point on the other
side of the curve and drag it up.
| | 03:47 | What you have to keep in mind is
that wherever the slope of your curve is
| | 03:52 | greater you're going to be adding more contrast.
| | 03:54 | But wherever the slope of the curve
decreases, you're actually going to be
| | 03:59 | lessening the contrast, because there
is only a certain number of values that
| | 04:03 | you have to manipulate.
| | 04:05 | So if you're increasing the contrast
between some values, well, you have to
| | 04:09 | decrease the contrast between other values.
| | 04:11 | So it's always a trade-off.
| | 04:13 | I just want you to make sure that as
you're moving the curve in one area, even
| | 04:17 | though you might be looking at the
midtones and looking at the midtones in your
| | 04:20 | image, you need to be
careful of the entire image.
| | 04:23 | Especially right now these highlight
areas, because they are going to start to
| | 04:27 | lose detail and they'll start to look flat.
| | 04:30 | If you really go too far,
you can see what I mean.
| | 04:32 | I'll pull these down a little, see how
I've just lost all the detail in this area.
| | 04:37 | So I'll go ahead and delete that point and
we'll pull-down this other point right here.
| | 04:42 | If we want a toggle this on and off, we
can click on the Eye icon, so there is
| | 04:46 | before and there is after.
| | 04:48 | We can see how adding that contrast
really made this image more dramatic, it
| | 04:52 | really actually changed
the whole tone of this image.
| | 04:56 | Now I think I've gone a little too far,
so if I like the effect, but I want to
| | 05:01 | lessen it, instead of going back into
my curve I could change the Opacity of
| | 05:06 | this adjustment layer to just back off of it.
| | 05:09 | If I like the effect in one area, but
it's too strong in another area, the
| | 05:14 | other huge benefit of making this an adjustment
layer is that the adjustment layer has a mask.
| | 05:19 | So if I tap the B key, the Brush tool,
and I'm painting with black as my
| | 05:24 | foreground color, then anywhere that I
paint in this mask I will hide that adjustment.
| | 05:30 | But that obviously hid
too much of the adjustment.
| | 05:33 | So I'll undo that, and I'm going
to decrease the Opacity of my brush.
| | 05:38 | I might decrease it all the
way down to maybe 25% or so.
| | 05:42 | That means that I can
click once and drag the brush.
| | 05:46 | To hide 25% of the effect, I can click
again to hide a little bit more and I can
| | 05:51 | slowly paint in and out the effect,
where I wanted to show or be hidden.
| | 05:57 | So now you can see as I toggle the
eye icon on and off, my shadows aren't
| | 06:01 | getting quite as dark, but I'm still
keeping all of that contrast where I want
| | 06:06 | to keep it in my foreground subject.
| | 06:08 | One final shortcut, I know we
haven't talked about Blend modes yet, but
| | 06:12 | sometimes when you make large changes
to your image using either Curves or
| | 06:17 | Levels, you'll notice
that you get a color shift.
| | 06:20 | Usually those colors become more
saturated, and in this case I actually like
| | 06:24 | that it brought out the green here.
| | 06:25 | But if you don't want that, if you want
your colors to remain truer to what they
| | 06:29 | were at the beginning, you can change
the Blend mode right here to Luminosity
| | 06:35 | and that restricts the curve to only
affect the tonal values in your image, and
| | 06:41 | not make any changes to the color values.
| | Collapse this transcript |
| Removing a color cast with Auto Color| 00:00 | As I've mentioned before, if your
workflow starts in Bridge and goes through
| | 00:03 | Camera RAW, you have probably already
eliminated any color casts in your image.
| | 00:08 | However, it's always nice to know how
you would do that in Photoshop, maybe
| | 00:11 | you're starting with a PSD file
that won't open in Camera RAW.
| | 00:15 | So let's take a quick look at how
Photoshop can automatically correct a color shift.
| | 00:20 | Now, we know we have the Image menu and
we do have Auto Tone, Auto Contrast, and
| | 00:25 | Auto Color listed here.
| | 00:26 | However, if we use these options,
that's going to be a destructive edit, and we
| | 00:30 | want to use the non-destructive edits.
| | 00:33 | But, when we come over to our Adjustment
panel, it doesn't look like we actually
| | 00:36 | have these auto options.
| | 00:38 | Well, in fact we do, if you use
either the Levels or the Curves Adjustment
| | 00:43 | layer, we can navigate and
find these auto commands.
| | 00:47 | So let's use a Curves Adjustment layer
since we know that that's more powerful
| | 00:50 | than Levels, and over here on the
right side, there's an Auto button.
| | 00:54 | Sure enough, if I click that Auto button,
Photoshop will try to auto-correct the image.
| | 00:59 | But, different images have
different color casts for different reasons.
| | 01:03 | So it would be really nice if I had a
choice of a few different auto corrections.
| | 01:08 | Well, if I hold down the Option key or
the Alt key and click on Auto, you'll see
| | 01:13 | that I get not only the three options
that are listed in the Image menu, but I
| | 01:17 | get an additional option, this
Enhance Brightness and Contrast.
| | 01:21 | If I select the first option, and then
leave my cursor on top of it, we'll get
| | 01:25 | the tool Tip that actually tells me,
the first option is Auto Contrast.
| | 01:29 | The second option right here is going
to be Auto Tone, and the third option
| | 01:34 | right here is going to be Auto Color.
| | 01:37 | Now, the nice thing about these
different autos is that you can also combine
| | 01:42 | them with the Snap Neutral Midtone option.
| | 01:45 | So I'll check that on, and you can see
that that really neutralized this image.
| | 01:50 | So, for this image, this is a great
combination, but let's see if we can get it
| | 01:54 | any better, I'll try the Enhance
Brightness and Contrast, but I don't like
| | 01:57 | that, it's too warm.
| | 01:59 | So then I'll try the Enhance Per
Channel with the Snap Neutral Midtones and I
| | 02:03 | think that's the winner here.
| | 02:04 | This is the combination that
gets rid of that yellow cast.
| | 02:09 | It sets my black and my white point
correctly, so that I can see detail in this
| | 02:13 | front column, but also
detail in the shadow area here.
| | 02:17 | So we'll click OK and then to toggle
before and after, I can click on the Eye icon.
| | 02:22 | So that was before, and that's after.
| | 02:24 | As you can see, with all of those
different choices, it's a real quick way in
| | 02:28 | Photoshop to correct your color.
| | Collapse this transcript |
| Changing the color temperature with Photo Filter| 00:00 | Sometimes in order to change the entire
mood of a photograph, all you need to do
| | 00:05 | is make a subtle change in color.
| | 00:08 | In Photoshop, in the Adjustments panel,
we have an option to add a Photo Filter.
| | 00:13 | Now, in the past, photographers would
carry around a pack of filters which were
| | 00:18 | different colors, so that they could
change the mood of the image as they
| | 00:22 | recorded it on film.
| | 00:23 | So you can see at the top we have a
variety of Warming Filters as well as
| | 00:27 | some Cooling Filters.
| | 00:28 | You notice that the second I selected
this blue Cooling Filter, the whole mood
| | 00:33 | of the image really changed.
| | 00:35 | We can also select from any of these
Presets here, or we can click where it says
| | 00:40 | Color, and then click on the Color
Swatch to bring up the Color Picker.
| | 00:43 | Now, I can change this color to any
specific color that I want, and let's go
| | 00:48 | ahead and bring it down maybe
towards a sepia tone color. I'll click OK.
| | 00:53 | Then, we can change the
Density or the Amount of color.
| | 00:56 | So I'm moving this to the right,
we're going to get more and more color
| | 00:59 | introduced to our image.
| | 01:01 | Right here, we have a
Preserve Luminosity Option.
| | 01:04 | By default, Photoshop is trying to keep
all of the different tones or the shades
| | 01:09 | of gray in this image.
| | 01:10 | But, if I uncheck this, you can see
now that what was white up here, my
| | 01:15 | highlight area, is now being darken
down with this color, because Photoshop no
| | 01:19 | longer is preserving the luminosity.
| | 01:22 | Let me also take a minute to point out
some additional options down here at the
| | 01:26 | bottom of the Properties panel.
| | 01:27 | Now, all of these options are available
regardless of which adjustment you're using.
| | 01:32 | This first option allows you to
clip an adjustment to a specific layer.
| | 01:37 | Now because I only have this one Background
layer, it doesn't necessarily make sense here.
| | 01:42 | But, I could clip the Photo layer
to just a single layer underneath it.
| | 01:46 | Next to that I have the option to
view the previous state if I wanted to by
| | 01:51 | simply clicking on that icon.
| | 01:53 | You notice if I click on it, it
temporarily turns this back to the previous
| | 01:57 | state, or toggles it back on.
| | 01:59 | I can also reset all of the values in
this dialog box by clicking on the Next
| | 02:04 | icon, but I actually like what
we've done, so I'll leave that alone.
| | 02:07 | We can toggle the visibility of this
Adjustment layer with this Eye icon, or we
| | 02:12 | could trash or delete this Adjustment layer.
| | 02:14 | But again, I like what we've done, so
we'll click away in order to hide the
| | 02:18 | Properties panel, and there you have it,
a very quick yet flexible way to add
| | 02:23 | maybe a special effect or a completely
different mood to your image by changing
| | 02:27 | the quality of light.
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| Shifting colors with Hue/Saturation| 00:00 | When people want to change a color in
an image, I think their first instinct is
| | 00:05 | that they need to select that color, when in
fact, there is a much easier way to do this.
| | 00:09 | And that's with the Hue and
Saturation Adjustment layer.
| | 00:12 | I will go ahead and select
that on the Adjustment panel.
| | 00:15 | You can see that we can change the Hue, the
Saturation, or the Lightness of any of our colors.
| | 00:21 | But by default, it's set to Master, so
when I change the Hue, all of the colors
| | 00:27 | in the image are changed.
| | 00:28 | If I want to reset that, I can double-click
on the word Hue to reset that slider.
| | 00:34 | Now instead of affecting all of the
colors in the image, I prefer to select a
| | 00:39 | color range, so I can use the
dropdown menu here to isolate and only adjust
| | 00:44 | one color at a time.
| | 00:46 | I will start with the reds and we
can see that by moving the Hue, we are
| | 00:49 | only targeting the reds.
| | 00:52 | If we look down below, there are
two rainbows or strips of color.
| | 00:56 | The top one are the originating colors
and then the bottom strip will show you
| | 01:00 | what you have remapped those colors to.
| | 01:03 | And in between the two white bars here,
that area gets adjusted 100%, and in
| | 01:09 | between the white bars and the gray
bars, that's the fade range where the
| | 01:13 | colors start being less and less
affected, because without that fade range
| | 01:18 | there would be an abrupt transition
and you would definitely be able to see
| | 01:22 | what was changed and what wasn't.
| | 01:24 | So not only can we change the Hue, we
could also change the Saturation and we
| | 01:30 | could change the Lightness values.
| | 01:32 | When you're using the Lightness slider
however, I would recommend that you don't
| | 01:35 | go too far because the image
will tend to get flat. All right!
| | 01:40 | Let's reset this by clicking on the
Reset button down here at the bottom of the
| | 01:44 | Hue/Saturation panel.
| | 01:46 | Now in order to show you this next
feature, I want to use the Eyedropper tool
| | 01:51 | here, but when I use the Eyedropper
tool and I click in the image area, the
| | 01:55 | panel would automatically hide.
| | 01:57 | So I am going to right-mouse click
where it says Properties and I am going to
| | 02:01 | turn off the option to Auto-
Collapse the Iconic panels.
| | 02:05 | That way I can show you this feature
and we can watch interactively as the
| | 02:08 | colors move without the
Properties panel auto-collapsing.
| | 02:12 | So I am going to select
blue as my range to start with.
| | 02:16 | But now because I have this Eyedropper
selected, if I click in the blue area of
| | 02:21 | my image, we will notice that this area
that's been affected might have a subtle shift.
| | 02:26 | You can see how it's just moved
over to the left a little bit.
| | 02:29 | So what I've done is I've redefined
the blue range and I've told Photoshop
| | 02:34 | whatever blue I click on, that should
be the center color that I am adjusting.
| | 02:39 | So this will enable you to not just
pick a generic blue range, but a specific
| | 02:44 | range based on a color in your image.
| | 02:46 | So now we can change our Hue slider if
we want to, we can change our Saturation
| | 02:51 | making it more or less saturated,
and change our Lightness value.
| | 02:55 | If we want to extend the range, we
can either extend the range that's been
| | 03:00 | affected 100% or extend the fade range.
| | 03:04 | We can do that by clicking on the white
bar and then moving it over, or we can
| | 03:08 | click on this little gray
dot and scoot that over.
| | 03:11 | So that extends the fade range, and now
this whole distance here between the two
| | 03:16 | white bars are being completely changed by
the changes that I've made above. All right!
| | 03:21 | Let's go ahead and bring those back in, I
don't really want all of those colors affected,
| | 03:25 | I want the narrower blue range to be affected.
| | 03:28 | But you can see it's very customizable.
| | 03:31 | Not only can I use the Eyedropper to
choose a specific color, I can also then
| | 03:36 | expand or reduce the range that I want affected.
| | 03:39 | Now once you understand how this panel
works, there's a really cool tool right
| | 03:45 | here called the Targeted Adjustment tool.
| | 03:47 | And in fact, if I use this flyout
menu right here, I can tell Photoshop to
| | 03:52 | Auto-Select the Targeted Adjustment
tool so that when I come into this panel,
| | 03:56 | the tool is already selected.
| | 03:59 | This tool enables me to click
in my image area on any color.
| | 04:03 | Let's pick a different color
this time, I will select red.
| | 04:06 | I will click and if I drag to the left,
it will desaturate that color range.
| | 04:11 | If I click-and-drag to the right,
it will increase the Saturation.
| | 04:15 | And if you want to change the Hue
instead, all you need to do is hold down
| | 04:19 | the Cmd key on Mac, Ctrl key on Windows,
| | 04:21 | and then as I click-and-drag
to the left, you can see the
| | 04:25 | Hue slider moving to the left.
| | 04:27 | If I click-and-drag to the right,
we'll move the Hue through the color
| | 04:30 | wheel to the right.
| | 04:32 | So there you have it, a very easy way
to make very precise changes to different
| | 04:37 | color ranges without ever having
to make a selection in Photoshop.
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| Making washed-out colors pop with Vibrance| 00:00 | Photoshop has another tool for changing
the amount of saturation in your image
| | 00:05 | besides the Hue/Saturation adjustment layer,
and that adjustment layer is called Vibrance.
| | 00:10 | I'll go ahead and click on
it in the Adjustments panel.
| | 00:13 | Now, notice that there are two sliders;
| | 00:14 | there is a Vibrance slider,
and a Saturation slider.
| | 00:16 | The nice thing about these two
sliders is that they're relative sliders.
| | 00:21 | In a previous movie, when we were
looking at the Hue/Saturation slider,
| | 00:25 | you can really push your saturation to
100% and over-saturate your colors.
| | 00:30 | What sometimes happens when you do that
is colors that were less saturated get
| | 00:35 | pushed to the same colors that were
originally more saturated, you actually end
| | 00:40 | up losing a little bit of detail.
| | 00:42 | Well, because the Vibrance and
Saturation sliders in the Vibrance panel are
| | 00:47 | relative, Photoshop is going to limit
the amount of Saturation or the amount of
| | 00:51 | Vibrance that can be added to prevent
colors from all being the same saturation.
| | 00:56 | So we'll notice, even if I move the
Vibrance slider all the way to the right, we
| | 01:00 | still can see detail in this back
wall as well is in the centerpiece here.
| | 01:06 | If I double-click on the word Vibrance
to reset that and we use the Saturation
| | 01:10 | slider and move that all the way over
to the right, we get more saturation than
| | 01:14 | we did with Vibrance, but again, it's
not so saturated that we're losing detail.
| | 01:19 | And don't forget, because we're adding
this as an adjustment layer, and all of
| | 01:24 | our adjustment layers have masks, if I
like the Saturation or the Vibrance that
| | 01:28 | I've added in one area, but I want to
remove it from another area, all we need
| | 01:33 | to do is switch to the paintbrush,
make sure that we're painting in black,
| | 01:37 | because black is going to hide the
adjustment, I'll get a smaller brush by
| | 01:40 | holding down the Ctrl, and Option key
and dragging to the left, and I'll bring
| | 01:45 | up the Opacity by dragging down, and
then I'll simply paint in the areas that I
| | 01:51 | don't want the additional Vibrance added.
| | 01:53 | Now, because my Opacity is down, I
might have to paint multiple times in order
| | 01:58 | to build up that mask.
| | 02:00 | I'll make my brush a little bit
smaller here, and then paint in this area as
| | 02:04 | well in order to decrease
any added saturation there.
| | 02:08 | And finally, I might just take a
little bit of saturation out of the center
| | 02:13 | here, and now we can do a before-
and-after by toggling the Eye Icon.
| | 02:17 | You can see how we've added all that saturation
in the background, but not the foreground.
| | 02:21 | And if I hold down the Option key or
the Alt key, and click the mask, you can
| | 02:25 | see the mask that we've created, and
you can see where I've painted multiple
| | 02:29 | times over the same area, how
I'm slowly building up that mask.
| | 02:33 | So again, these adjustment layers are
super-powerful, not only for the effects
| | 02:38 | that they provide, but also because
they allow you to then paint in and paint
| | 02:43 | out those effects selectively over your
image using the mask on the adjustment.
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| Converting color to black and white| 00:00 | There are several different ways that you can
convert your image to black and white.
| | 00:04 | For one, you could do
this earlier in the workflow.
| | 00:07 | You could use the Camera RAW Settings
to convert your image to black and white.
| | 00:11 | But, you can also use either the
Channel Mixer Adjustment layer or the
| | 00:15 | Black and White Adjustment layer in Photoshop
to create a black and white image, but
| | 00:19 | still make use of maybe the Opacity slider or
the Blend mode to get a very different effect.
| | 00:25 | Let's go ahead and add the Black and White
Adjustment layer in the Layers panel.
| | 00:29 | You'll notice that at the top, there
are a variety of different presets.
| | 00:33 | So I can scroll through these and choose
from the different presets and see how
| | 00:37 | those presets would affect the conversion
of my original color image into black and white.
| | 00:43 | That's actually a great conversion right there.
| | 00:46 | I am really happy with that!
| | 00:47 | Although, if I wanted to make a change
to it, I can move any of these sliders
| | 00:51 | here by just clicking-and-dragging
on them, or I could use my Targeted
| | 00:55 | Adjustment tool and simply click
in an area that I know to be red.
| | 00:59 | And if I have any question about that,
we could use the Eye Icon here to preview
| | 01:04 | what areas are red and I could click and
either drag to the right to lighten, or
| | 01:08 | drag to the left in order to darken that.
| | 01:11 | Of course, when I'm finished, the
benefit of doing this as an Adjustment layer
| | 01:15 | is that I can change the opacity after the fact.
| | 01:18 | So if I decide that I want to let a
little bit of color show through, we can
| | 01:23 | drag the Opacity slider down, or I could
change the Blend mode if I wanted to,
| | 01:28 | or I could paint in the mask to selectively
hide and show the black and white effect.
| | 01:34 | So there is a great alternative for
converting your images to black and white
| | 01:38 | that give you a little bit more power
as far as what you then want to do with
| | 01:42 | that converted file using your masks
and your opacity and your blend modes.
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| Controlling which layers are affected by an adjustment layer| 00:00 | As you begin to work with more and
more layers, you might want to control the
| | 00:04 | way that your Adjustment
layers affect different layers.
| | 00:08 | For example, currently the
bridge layer is selected.
| | 00:11 | If I had a Curves Adjustment layer in
order to color correct this, and I'll do
| | 00:16 | that by clicking on the gray point
eyedropper and then clicking in the area that
| | 00:21 | I think should be neutral,
everything below this layer is now adjusted.
| | 00:26 | So not only was this top image
adjustment, but the Adjustment layer went down
| | 00:30 | through the Layers panel and adjusted
the broom layer as well as the detail
| | 00:34 | layer here at the bottom.
| | 00:36 | The best way to prevent this would be
to click this first icon, which would
| | 00:40 | restrict the Adjustment layer to
only affect the layer directly below it.
| | 00:45 | As soon as I select this, you can see
now that the Curves Adjustment layer is
| | 00:49 | only affecting the bridge. But what if
I want this Adjustment layer to affect
| | 00:53 | both the bridge and the broom?
| | 00:56 | The way I would solve that is I would
unclip the curve for now, so we can go to
| | 01:01 | layer and then choose Release Clipping Mask
or use the keyboard shortcut, Cmd+Opt+G.
| | 01:05 | Then I will take the bridge and
the broom layer and I'm going
| | 01:11 | to put them both in the same group.
| | 01:14 | I'll do that by using Cmd+G. Now
that the two photos are in a group,
| | 01:18 | I can select the Curves Adjustment
layer and go back to Layer menu and
| | 01:23 | choose Create Clipping Mask.
| | 01:24 | The shorter way to do this would be to
position your cursor in between the Group
| | 01:29 | and the Adjustment layer and hold down
the Option key or the Alt key until you
| | 01:34 | see this changed cursor.
| | 01:36 | As soon as I see this icon, if I
click the Curves Adjustment layer will
| | 01:41 | automatically be clipped to Group 1.
| | 01:44 | Now we can see that this adjustment is
only affecting the two photographs that
| | 01:48 | are within the group and it's not
affecting the detail layer on the background.
| | 01:53 | So there you have it, a quick way to
limit an adjustment layer's effect on one
| | 01:58 | or more layers in a single document.
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|
|
14. Options for Tone and Color CorrectionAdjusting shadows and highlights| 00:00 | Another powerful adjustment in Photoshop
is the Shadow/Highlight adjustment, but
| | 00:05 | if we look at our Adjustments
panel, we won't see an icon for it.
| | 00:09 | In fact, the Shadow/Highlights only
appears under Image>Adjustments.
| | 00:14 | However, if I apply it right now, that's
going to be a destructive adjustment.
| | 00:18 | So before I choose Shadow/Highlights,
I want to go into the Layer menu and
| | 00:22 | convert this into a Smart Object.
| | 00:24 | That way we can add the Adjustment,
and if we don't like it later or if we
| | 00:28 | want to fine-tune it, we can because
it's only been applied non-destructively
| | 00:32 | to the Smart Object.
| | 00:34 | So now we will choose
Image>Adjustments>Shadow/Highlights.
| | 00:37 | There is a basic mode and an advanced mode.
| | 00:40 | In the Basic mode you get two sliders,
one for Shadow and one for Highlights.
| | 00:45 | Let's go ahead and show more options
so we have a little bit more control.
| | 00:50 | There are no magic numbers
that you can put in here.
| | 00:53 | You really need to use the sliders to
make your image visually look correct.
| | 00:57 | And what you want to look out for here
is you don't want to bring your shadows
| | 01:00 | up so far and your highlights down
so far that the midtones of your image
| | 01:05 | start to look flat.
| | 01:07 | So, what is the Amount slider?
| | 01:08 | The Amount slider is like the volume slider.
| | 01:11 | When you move the Amount slider over to
the right, you can see that the shadows
| | 01:15 | are getting lighter and lighter.
| | 01:16 | So obviously, I don't want to go that far,
we will take it back to maybe around 30.
| | 01:20 | The Tonal Width determines what is a shadow.
| | 01:24 | If I move the Tonal Width way down, you
can see that only the very darkest areas
| | 01:29 | of my image are having the Amount applied.
| | 01:32 | When I bring the Tonal Width up, now we
are making adjustments into our midtone area.
| | 01:37 | So again, I will back that off a bit.
| | 01:40 | The Radius slider determines how far
out the adjustment goes, because you don't
| | 01:45 | want to make an abrupt stop between the
area that you're making the adjustment
| | 01:50 | to and the area that is not been adjusted.
| | 01:53 | So what you want to do when you're
moving the Radius slider is you want to look
| | 01:57 | for smooth blending throughout your image.
| | 02:00 | Then we will move to the Highlights.
| | 02:01 | Again, we will use the Amount
slider to bring down the highlights.
| | 02:06 | It's how much, or what the difference is
between the original highlight value and
| | 02:11 | how we want to see it
after we make the adjustment.
| | 02:13 | The Tonal Width determines what a highlight is.
| | 02:17 | As I move it over to the left, you can
see that only the very brightest area of
| | 02:21 | my image is being darkened down.
| | 02:23 | As I move it to the right, the
adjustment is affecting the midtones more.
| | 02:27 | So I want to go ahead and back that off as well.
| | 02:29 | Then I will use the Radius slider
just to make sure that I am not seeing
| | 02:34 | any sharp transitions.
| | 02:36 | And in this case, I actually
like the Radius slider down.
| | 02:39 | Now if we want to see a preview, we can
toggle that on and off using the Preview
| | 02:43 | button or we can tap the P key on the keyboard.
| | 02:46 | And you can see the difference there
between the original image, where we really
| | 02:49 | can't see in the shadows and the
highlights are too bright, versus the after
| | 02:53 | image where we've dimmed down those
highlights and we can see into the shadows.
| | 02:58 | We can also adjust, or make a Color
Correction change, after the fact if we think
| | 03:03 | that our images are getting too
saturated or not saturated enough.
| | 03:08 | We can also add a little bit of contrast
back into the midtones if we think it needs it.
| | 03:13 | This is kind of like using an S-curve in your
Curves dialog box but it's in a slider instead.
| | 03:19 | So obviously, that's going too far.
| | 03:21 | If we go to the left, our
image is going to look too flat.
| | 03:24 | So we just need to find a nice balance
there where we like the visual effect
| | 03:28 | that all of these settings
are having on our image.
| | 03:30 | If we want to we could save these as
our defaults if we constantly come into
| | 03:34 | Shadow/Highlights and make these same changes.
| | 03:37 | But for now, I'll click OK. And if we
look down in our Layers panel, you can see
| | 03:42 | that because I have added this
adjustment to a smart object, Photoshop considers
| | 03:48 | this to be a Smart Filter.
| | 03:50 | Now we haven't talked about filters yet,
and honestly this isn't a true filter.
| | 03:55 | All of the other filters in Photoshop
are found underneath the Filter menu.
| | 03:59 | But the only way to make this Shadow/
Highlight adjustment non-destructive is by
| | 04:04 | using it on a smart object.
| | 04:06 | And by doing so, Photoshop
automatically creates the smart filter.
| | 04:10 | If I want to toggle on and off and see
the before and after, we can do that.
| | 04:14 | If I want to make changes, I could double-
click where it says Shadow/Highlights.
| | 04:18 | That brings up the Shadow/Highlights
dialog so that we could refine our adjustment.
| | 04:23 | And as we can see, we have an added bonus.
| | 04:26 | Whenever you add a Smart Filter,
the smart filter gets its own mask.
| | 04:32 | So this mask works just like any
of the other masks in Photoshop.
| | 04:35 | Wherever it's white, we can see the effect.
| | 04:38 | In this case, we are applying
the Shadow/Highlight effect.
| | 04:41 | If we were to paint in here, we would be
hiding the Shadow/Highlight adjustment layer.
| | 04:46 | So it's a little different from adding
a mask to our layer which would hide and
| | 04:50 | show the contents of the layer.
| | 04:52 | Instead, the mask, because it's
associated with a Smart Filter, only hides and
| | 04:56 | shows the Smart Filter.
| | 04:58 | Let me quickly tap the G
key to get the Gradient.
| | 05:01 | I will tap the D key to set our
default colors to white to black.
| | 05:05 | I will use the Linear Gradient and then
just to show you, I can click-and-drag
| | 05:09 | down in the image, and now we can see
that the Shadow Highlight adjustment layer
| | 05:14 | is only being displayed at
the top portion of the image.
| | 05:18 | So only the area where the mask
is white up here is being affected.
| | 05:23 | In order to see the effect over the
entire image again, I will simply choose
| | 05:28 | Edit, and then Fill.
| | 05:30 | We can fill our mask with white, and
now my non-destructive Shadow/Highlight
| | 05:36 | adjustment is visible throughout my
image and is completely modifiable at any
| | 05:41 | time because it is that Smart Object.
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| Replacing color using Selective Color| 00:00 | There is another powerful way to make
Adjustments to Color in Photoshop and
| | 00:04 | that's using our Selective Color Adjustment.
| | 00:07 | The Selective Color Adjustment
layer is very similar to the
| | 00:11 | Hue/Saturation Adjustment layer.
| | 00:12 | In that I can select a Range of Colors
and then make changes to those colors.
| | 00:17 | But there's a subtle difference, here
we're going to be using Cyan, Magenta,
| | 00:21 | Yellow, and Black in order
to make these adjustments.
| | 00:25 | Another big difference is that
you're a little bit more limited here.
| | 00:28 | In that you can only select
from these Color Ranges.
| | 00:32 | In the Hue/Saturation Adjustment layer
you'll remember that we were able to
| | 00:36 | actually Expand the Range of Colors
that was we're working on or subtly shifted
| | 00:40 | by using the Eye Dropper tool.
| | 00:42 | Here we're a little but more limited,
but if you understand color theory, it
| | 00:46 | might be easier to use this dialog.
| | 00:49 | For example, if I wanted to make these
Reds a little bit more bright, a little
| | 00:54 | more cherry red, we can add a little
bit of Magenta, subtract a little bit of
| | 00:58 | Cyan and maybe decrease the amount of Yellow.
| | 01:02 | So you can see and I am not just limited
to moving the colors around the Color Wheel.
| | 01:06 | I can actually use each one of these colors,
either Increasing or Decreasing the
| | 01:10 | amount to get the exact
color that I want in the image.
| | 01:13 | The other really powerful part of this
dialog box takes place down here at the bottom.
| | 01:19 | In Hue/Saturation you don't have the
ability to select your Whites or your
| | 01:23 | Neutrals or your Blacks.
| | 01:25 | Let say for example, I just want to
remove the warmth or this yellow color
| | 01:29 | cast to my highlights.
| | 01:31 | In order to do this I can use the
Yellow slider and just remove a little bit of
| | 01:35 | the yellow. That seems to introduce a
bit of a magenta cast, so I can come in
| | 01:40 | and remove that as well.
| | 01:42 | And if I wanted to push it a little bit
further towards blues or cyan, we could
| | 01:46 | increase the Cyan slider.
| | 01:48 | Now if we toggle this on, before and after,
we can see that we've eliminated that
| | 01:52 | color cast in our highlight area.
| | 01:55 | But we're not changing our neutral areas or
our midtone areas or our dark black areas.
| | 02:01 | So it's a great way to selectively
isolate the highlight area in your image and
| | 02:05 | make a change to it.
| | 02:06 | You'll notice that we've been using the Relative
option, there is an Absolute option.
| | 02:11 | This would tend to make your changes
much more heavy-handed, so I prefer
| | 02:17 | the Relative option.
| | 02:18 | One last feature that I want to
point out while we are in here;
| | 02:22 | we just used the Selective Color Adjustment
layer, I am going to Toggle that off
| | 02:26 | for a moment and return
back to the background.
| | 02:29 | If you wanted to select your colors, but
not actually make a change to them, you
| | 02:35 | just wanted Photoshop to somehow help
you with the Selection, then we would use
| | 02:40 | the Select menu and come down to Color Range.
| | 02:44 | Color Range allows me to select either
the Colors that I Sample, by clicking on
| | 02:48 | a color in my image with the Eyedropper
tool, or I can select from that same
| | 02:53 | range of colors, as well as my
Highlights, Midtones, and Shadows.
| | 02:58 | I can even select Skin
Tones if I had a Portrait.
| | 03:01 | I'm going to the select the Highlights
for a moment and then when we click OK,
| | 03:05 | you'll see that I haven't
done anything to the Highlights.
| | 03:07 | But Photoshop has helped me quickly
select them, so that I could now move
| | 03:12 | forward and I could do something to them
like Copy and Paste them to another
| | 03:15 | file for example, or even make a
Duplicate within this Document.
| | 03:19 | So it's important to know that
both of these features exist.
| | 03:22 | You can use the Selective Color
Adjustment layer in order to have Photoshop
| | 03:27 | automatically select a Color Range
and then make changes to that color,
| | 03:31 | including your Shadows, your
Highlights and your Midtones.
| | 03:34 | Or you can use the Select menu in order
to select the same Color Range, as well
| | 03:38 | a Skin Tones, as well as
Sampled Colors, with the Eyedropper.
| | 03:42 | But when you exit out of that dialog box,
you're left with a Selection which you
| | 03:46 | can then work with in Photoshop.
| | Collapse this transcript |
| Using fill layers to create a hand-painted look| 00:00 | One of the easiest ways to hand tint a black-
and-white image would be to use a Fill layer.
| | 00:06 | Now before we add the Fill layer, I'd
like to select the area that I want to fill.
| | 00:10 | So from the Tool palette, I'll select
the Polygonal Lasso tool and this tool's
| | 00:15 | icon is a little bit confusing.
| | 00:17 | The hotspot is actually at the tip of
that black arrow. But if you just tap the
| | 00:21 | Caps Locks key on, now we've got our
precise cursors and I know that
| | 00:26 | the hotspot is right there in the middle.
| | 00:27 | So I am going to click once.
| | 00:29 | That starts my selection and then you
can see I can let go of the mouse and then
| | 00:33 | drag the straight line to the other corner here.
| | 00:36 | Click again, click down in the foreground,
click over here to the left, and
| | 00:40 | then as I position my cursor on top of
the starting point, it changes and it
| | 00:45 | gives me the cursor with the 0 next to it,
which tells me that it will close my selection.
| | 00:50 | So I click there, and now we've got our
marching ants going around the area that
| | 00:53 | I want to hand color.
| | 00:55 | Select Layer>New Fill Layer>Solid Color.
| | 00:58 | I will go ahead and name this Green.
| | 01:01 | Now my Caps Locks is on,
so we will take that off.
| | 01:04 | And I have to do one more thing here.
| | 01:06 | We haven't talked much about Blend modes,
but Blend modes enable Photoshop
| | 01:11 | to change the way that one layer
interacts with the layer below it.
| | 01:15 | If I leave the Blend mode here to
Normal, then I'm just going to get a
| | 01:19 | solid Green overlay.
| | 01:20 | I am going to lose all of the information
or I will at least lose the visibility
| | 01:25 | of the information on the layer underneath.
| | 01:27 | Well, because I just want this to look
like it's hand tinted, I need to keep the
| | 01:31 | photograph underneath.
| | 01:32 | I need to keep all of this luminosity data.
| | 01:34 | So I'm going to change the layer's
Blend mode to Color, and that will give me a
| | 01:39 | nice color wash when I click OK.
| | 01:41 | You can see that I've got the Color Picker.
| | 01:44 | So we can choose any color that we want.
| | 01:46 | We can increase or decrease the saturation.
| | 01:49 | I am going to pick a dark green here,
and maybe move it a little bit more
| | 01:53 | towards the greens and away from the
blues there, and as soon as we've got the
| | 01:57 | color we want, we will click OK and
in the Layers panel you can see that I
| | 02:01 | have my fill layer.
| | 02:03 | This is the icon for the Fill.
| | 02:05 | If I double-click on that, it would
bring back up the color picker, so I
| | 02:08 | could make a change.
| | 02:09 | And to the right of that we have our mask.
If I Opt+Click or Alt+Click on the
| | 02:13 | mask, here's the selection that we
drew using our Polygonal Lasso tool.
| | 02:17 | So let's go ahead and toggle back on
the visibility of the layer, and let's
| | 02:21 | continue selecting up the stairway.
| | 02:23 | Now again, I will tap the Caps Locks key
in order to turn on the Precise cursors.
| | 02:28 | I'm also going to zoom in here so that
we can make a more accurate selection,
| | 02:34 | and I'll click around this second rectangle.
| | 02:37 | And then if I want to add to this selection,
I can click on the second icon in
| | 02:41 | the Options bar and that will allow
me to continue making selections here,
| | 02:45 | without having to go and modify the mask yet.
| | 02:48 | So I will select that one, we will do
one more right here, and it's going to be
| | 02:53 | barely visible I think if we do the top one.
| | 02:56 | So I will go ahead and leave that alone for now.
| | 02:58 | So I've got these three rectangles selected.
| | 03:01 | What I need to do is I need to modify the mask.
| | 03:04 | Where the mask is white, I can see the green fill,
where the mask is black, it's being hidden.
| | 03:09 | So I need to choose Edit and then Fill,
and we will fill these areas with White.
| | 03:14 | As soon as I click OK, we can now see the
green fill layer within those rectangles.
| | 03:19 | So let's go ahead and deselect, Cmd+
or Ctrl+D. If we Opt+Click the mask
| | 03:24 | or Alt+Click the mask again, you can
see that this is a very hard edged mask.
| | 03:28 | So I want to soften that a
little bit, but I want to do it in a
| | 03:31 | non-destructive way.
| | 03:32 | So I will click on the Properties panel
with my mask selected, and then I'll
| | 03:36 | move the Feather slider over a little bit.
| | 03:39 | That's just going to give me a softer
edge there, so that the transition of
| | 03:42 | where the Paint Overlay appears and
where it doesn't appear, is not as abrupt.
| | 03:47 | Of course, we don't have to make a
selection first if we want to add an overlay.
| | 03:52 | For example, if I wanted to add
more of the green here in the bushes,
| | 03:56 | I'll grab the Paintbrush by tapping
the B key and I am going to take off
| | 04:00 | the Cap Locks, because right now I have the
Precise cursors, I can't tell how large my brush is.
| | 04:05 | So now if I need to change or modify
the brush size, I can use the left bracket
| | 04:09 | ([) to make it smaller of the right
bracket (]) to make it larger, and if I
| | 04:13 | paint right now, I'm painting with 100%.
| | 04:14 | But if I just want to add a little bit
of green, so that it's not as powerful
| | 04:19 | as the green here going up the stairway,
then I can decrease the opacity of my brush.
| | 04:25 | Now when I paint, the paint is
not going to be quite as severe.
| | 04:29 | Now it does look little bit darker,
but that's because the underlying bushes
| | 04:33 | there were a little bit darker.
| | 04:35 | Of course, we can zoom in and we can be
as precise as we want here or we can go
| | 04:39 | ahead and just fill this in quickly and kind
of paint outside the lines. That is up to you.
| | 04:45 | Let's go ahead and do this one more time.
| | 04:48 | I want to paint the sky a different
color, and we are actually going to do this
| | 04:51 | in a little bit different of a manner.
| | 04:52 | Instead of selecting the sky
first, I'll add my Fill layer.
| | 04:56 | We will add the Solid color.
| | 04:58 | I will call this Sky, we will come
down to the Blend mode, and change that to
| | 05:02 | Color, and click OK.
| | 05:04 | I can pick a nice blue color, but
you'll see that the blue is being overlaid in
| | 05:09 | the entire image and that's
because my mask is all White.
| | 05:13 | Well, if I want to hide it from the
entire image, I can select the mask and then
| | 05:17 | choose Edit>Fill, we can
fill the mask with Black.
| | 05:21 | Now it hides that blue fill layer
from the entire image but of course, if I
| | 05:25 | tap the B key or if I have my Brush
tool, we get a large brush here that's
| | 05:29 | nice and soft edged, then I can just
paint in the sky in the areas that I want
| | 05:35 | the blue to appear.
| | 05:36 | So it's up to you whether you want to
make your selection first and then add
| | 05:40 | your Color Fill layer in the Color
Blend mode, or if you want to just add it on
| | 05:45 | top of the entire image, fill the mask
with black, and then use a tool like the
| | 05:49 | Paintbrush or maybe the Gradient tool
to paint White in the mask to reveal that
| | 05:54 | Color Fill layer in the
areas of your image that need it.
| | 05:58 | So there you have it, a quick and easy
way to create a hand painted look in your
| | 06:02 | image, using Photoshop's Fill layers.
| | Collapse this transcript |
| Using a gradient fill layer to add a color wash| 00:00 | A really quick and easy way to add a
color wash over a black-and-white image is
| | 00:05 | by using the Gradient Fill layer.
| | 00:08 | Under the layer menu choose
New Fill layer>Gradient.
| | 00:12 | Just like in the previous movie where
we used the Fill layer in order to hand color
| | 00:16 | an image we're going to need to
change the mode of the Blend mode of the
| | 00:20 | Gradient Fill layer to a Color.
| | 00:22 | Otherwise, we would just get a Solid
Gradient and we wouldn't be able to see the
| | 00:26 | photograph underneath it.
| | 00:27 | When I click OK we'll get
the Gradient Fill Options.
| | 00:31 | You can see by default mine is going
from green to white and that's because my
| | 00:34 | foreground color was green.
| | 00:36 | If we want to select from the different
presets in Photoshop we can go ahead and
| | 00:40 | just choose one of the gradients here.
| | 00:43 | But I prefer to make a gradient of my own.
| | 00:46 | So if you click anywhere in the
Gradient area you'll get the Gradient Editor.
| | 00:50 | Down at the bottom you'll notice
that we have different colored Stops.
| | 00:54 | If you click anywhere under the
Gradient you'll add a Stop and then you
| | 00:57 | can change the color.
| | 00:59 | If there are too many Stops you could
Click+Drag the Stop away from the Gradient
| | 01:03 | in order to remove the Stop.
| | 01:05 | I'll live orange as my starting Stop
and then I'll move to the right and
| | 01:09 | select the last Stop.
| | 01:10 | I can either click in the Color Swatch
down here to change it or I can just
| | 01:14 | double-click on the Gradient Stop
itself to bring up the Color Picker.
| | 01:18 | Let's move this down towards the blues
and I want this a lot less saturated.
| | 01:23 | I'll go a head and click OK, that
selects the ending color in my Gradient.
| | 01:27 | And now I realize that the front color or
the first color here is far too vibrant.
| | 01:32 | So I'll double-click on that and let's just
move this over so it's a much more subtle wash.
| | 01:37 | Typically, when I'm creating a Gradient
I want to try to make sure that both of
| | 01:41 | the colors in the Gradient
are of the same saturation.
| | 01:44 | That way if I decide later that the
effect is too strong and I use the Opacity
| | 01:49 | slider in the Layers panel to back off
on the Gradient Fill both of the colors
| | 01:53 | will be backed off in the same amount.
| | 01:57 | If I like this Gradient and I think I
want to use it again, I can click New
| | 02:01 | and that will add it to my Gradient
Presets, I'll click OK and OK again.
| | 02:06 | Here's the thing now, if you just have
a Gradient that's linear, that goes from
| | 02:10 | top to bottom, your eye is going to
follow that color and you're more likely to
| | 02:15 | move through the image more quickly.
| | 02:17 | So I'm going to use a second copy of
this Gradient Fill at an angle to kind of
| | 02:22 | stop the viewer's eyes from
just reading top to bottom.
| | 02:26 | There are a variety of ways I could do this.
| | 02:27 | I could add a New Gradient Fill layer
or I could duplicate the one that
| | 02:31 | we've already created.
| | 02:32 | The easiest way to duplicate a layer
is either drag it down to the New Layer icon
| | 02:36 | or use the keyboard shortcuts
Cmd+ or Ctrl+J to duplicate the layer.
| | 02:42 | Then to edit the Gradient, double-
click in the Gradient thumbnail.
| | 02:46 | I'll click inside the Gradient to
bring up my Gradient Editor and then I'll
| | 02:50 | change these colors by moving the orange
up into the yellows and I'll move these
| | 02:54 | blues maybe more into
the purple area. Click OK.
| | 02:59 | I like this so I'll click New.
| | 03:01 | By the way, if I wanted to name it,
I could name it first and then click New.
| | 03:05 | I'll click OK again, but this time
I'm going to change the angle of this
| | 03:09 | Gradient so that it comes down at a diagonal.
| | 03:12 | The problem, of course, is that when I
click OK this top gradient is at 100%.
| | 03:17 | So all I see is the purple into yellow gradient.
| | 03:20 | I don't see the gradient underneath it.
| | 03:22 | Well, to fix that all we need to
do you just drag the Opacity of the
| | 03:26 | top gradient down. And of course all of
these changes that I'm making are re-editable.
| | 03:32 | So if I decide now that you know the
two gradients are a little too similar,
| | 03:36 | I can double-click in one and then I
could change the order by clicking on
| | 03:40 | the Reverse so that now I've got much more
a kind of a crossover happening in my image.
| | 03:45 | There are a lot more variants and the colors.
| | 03:46 | So I'm getting some more
interesting colors where they blend.
| | 03:49 | And there you have it.
| | 03:50 | It's as easy as that to create a
color wash over a black-and-white image.
| | Collapse this transcript |
|
|
15. Retouching EssentialsRemoving blemishes with the Spot Healing Brush and the Patch tool| 00:01 | Throughout these lessons on
retouching we're going to focus on removing the
| | 00:04 | distracting elements in a photograph, so the
viewer can focus on the person and the image.
| | 00:08 | We want to be subtle in our retouching,
so that we enhance the portrait without
| | 00:12 | compromising the character of the person.
| | 00:15 | In this lesson we're going to take a
look at the variety of tools that are
| | 00:18 | available to remove acne and
blemishes including the Clone tool, the Spot
| | 00:23 | Healing and the Healing Brush.
| | 00:25 | So let's go ahead and start.
| | 00:26 | I am going to tap the S key, that's
going to give me the Clone Stamp tool.
| | 00:30 | Now the Clone Stamp tool was one of the
first tools in Photoshop that could help
| | 00:35 | copy information from one area of the
image and paste it to another without
| | 00:39 | actually using the Copy and Paste commands.
| | 00:42 | But it does make an exact duplicate
of the area that you're trying to copy.
| | 00:47 | Let's go ahead and zoom in
and I'll even go to 200% here.
| | 00:52 | I am going to press down the Spacebar,
which will give me temporary access to
| | 00:56 | the Hand tool so that I can scroll
down here to the button on the blouse.
| | 01:01 | In order to tell Photoshop what
information I want it to load the brush with or
| | 01:07 | copy, I need to hold down the Option
key on the Mac or the Alt key on Windows.
| | 01:12 | You can see when I do that the cursor
changes, so it's this icon right here
| | 01:16 | that's going to sample the area when I click.
| | 01:21 | So I'll go ahead and click right here
again with the Option or Alt key down in
| | 01:24 | the middle of a button and then I'll
let go of the keyboard modifier and I'll
| | 01:28 | reposition my cursor.
| | 01:30 | You can actually see inside the
cursor I have a preview of that area that I
| | 01:35 | am copying, so that when I click and drag,
I'll get an exact duplicate of that area.
| | 01:43 | The only thing about the Clone Stamp
tool as far as retouching goes is that
| | 01:48 | it's going to make an exact duplicate and it's
not going to try to blend in any of the edges.
| | 01:54 | So, we have a better tool, in my
opinion, to use in order to do this and these
| | 01:59 | are the Healing tools.
| | 02:00 | So let me just undo that duplicate of
the button by using Cmd+ or Ctrl+Z
| | 02:05 | on Windows to undo.
| | 02:07 | And then again I'll hold down the
Spacebar and we'll just move up to the
| | 02:10 | forehead area here, where we can
see that there are some blemishes.
| | 02:14 | I'll tap the J key;
| | 02:16 | the J key is going to toggle me to
the first of the Healing Brush tools,
| | 02:20 | the Spot Healing Brush.
| | 02:21 | And the great thing about the Spot Healing
Brush is that you don't need to even
| | 02:25 | click to set a sample point.
| | 02:28 | You just click directly on top of the
bad information or the blemish or the area
| | 02:32 | that you want to heal and
Photoshop will heal it for you.
| | 02:36 | Now I need a little bit smaller of a brush,
so I can use my left bracket key (
| | 02:40 | [) to get a smaller brush and then I'll just paint over this spot and when I release the cursor, Photoshop not only
grabs information from outside of that area, but it will also help to adjust the tones, so that the correction is seamless.]
| | 02:40 | Let me just compare that really
quickly back with the Clone tool.
| | 03:00 | I am going to Option+Click or Alt+
Click from an area right up here and then
| | 03:05 | position my cursor down on top of this blemish.
| | 03:07 | But when I click and let go, you can see
that there was a difference in tonality
| | 03:12 | between the area that I sampled
from and the area that I cloned to.
| | 03:16 | So, it doesn't really work, it's just made
kind of a different blemish on the forehead.
| | 03:21 | So I'll undo that using Command+Z or
Ctrl+Z. Tap the J key again to return back
| | 03:26 | to the Spot Healing Brush and this time
when I paint over, you can see that it
| | 03:30 | quickly removes that blemish.
| | 03:33 | And we can go ahead and move
throughout the entire image, just quickly taking
| | 03:38 | away any of the blemishes.
| | 03:40 | Again, I'll hold down the Spacebar and
just move down in the image a little bit.
| | 03:45 | If you wanted more control, we could
switch over to the Healing Brush tool.
| | 03:49 | Now the Healing Brush tool is a little
bit more like the Clone Stamp tool in
| | 03:53 | that you have to tell Photoshop where
you want to sample from, and you use the
| | 03:58 | same keyboard shortcut as well.
| | 03:59 | So I would hold down the Option or the
Alt key, click to set my sample point,
| | 04:04 | then let go of the Option or Alt key.
| | 04:07 | Move my cursor on top of my blemish,
and this time I'm also going to get a
| | 04:11 | smaller brush by using the bracket key and
then we'll just paint right on top of there.
| | 04:16 | So this method actually allows you
to have a little bit more control over
| | 04:21 | where the sample or where the information is
picked up from in order to cover up the blemish.
| | 04:28 | Because there might be times when the
Spot Healing Brush doesn't work, because
| | 04:32 | may be it doesn't see that you're
trying to sample down may be the nose and
| | 04:37 | there might be kind of a difference in
the left side and the right side of the
| | 04:41 | nose as far as their brightness values,
and it might not catch the right value.
| | 04:45 | So for the ultimate control, you just
use the Option or the Alt key again, set
| | 04:49 | your sample point, and you can see
and I'm doing it right on top of the
| | 04:53 | blemish or a little bit higher up I
should say, than the blemish, so that when
| | 04:56 | I paint over the blemish it will
sample from the values that have the same
| | 05:01 | tonality, because of the way that the
light is coming across the image and
| | 05:05 | coming across the nose.
| | 05:06 | We can go ahead and remove
this one and this one here.
| | 05:11 | But the thing is, so far I have
actually been working on the background layer
| | 05:15 | and that's not the most
flexible way of doing things.
| | 05:19 | What we would rather do is work either
on an empty layer or at the least on a
| | 05:23 | copy of the background.
| | 05:25 | So I am going to quickly return back to
where we started, by using the History
| | 05:29 | panel, I'll click and drag all the
way to the top and click on this first
| | 05:33 | snapshot in order to return back to
the original state of the document.
| | 05:38 | Then we'll go ahead and start at the
top again, at the forehead and I am going
| | 05:43 | to switch back to the Spot Healing Brush,
but this time before I start using it,
| | 05:48 | I am going to click the option to
Sample All layers in the Options bar and I'm
| | 05:52 | going to create a new blank layer.
| | 05:57 | Now I'll click on top of all of these
little blemishes to remove them, but I'm
| | 06:03 | not actually changing
anything on the background.
| | 06:06 | You can see here I have layer 1 and if
I hide and show that, you can see that
| | 06:11 | all those blemishes come back.
| | 06:13 | Let's go ahead and rename that layer as well.
| | 06:15 | I'll call this blemishes and hit
Enter to apply that and then we'll use the
| | 06:20 | Spacebar, just holding it down in
order to access the Hand tool to move down
| | 06:25 | into the image, use a little bit
smaller of a brush here by using the left
| | 06:29 | bracket key ([) and then we'll
just paint over these areas.]
| | 06:33 | Again if I wanted more control, I could
switch to the Healing Brush, but for now
| | 06:39 | I think this will work just fine,
moving down to the chin, to the neck and just
| | 06:45 | removing any blemishes that
you know shouldn't be there.
| | 06:49 | Looks like I've got a little dust here
on my sensor, so I'll remove that as well.
| | 06:55 | And now if we zoom out by using Command+
Minus (-) or Ctrl+Minus (-) on Windows,
| | 07:00 | we can see there's the before and there's after.
| | 07:05 | Another really great advantage of using
these tools on an empty layer is it then
| | 07:11 | gives you the ability, if for example
you've taken something away that shouldn't
| | 07:15 | have been removed, like this mole right
here, and I'm holding down the Spacebar
| | 07:20 | and the Command key or the Spacebar
and the Ctrl key and I am just going to
| | 07:23 | click and drag in to this area.
| | 07:26 | And you can see that I actually removed,
on my blemishes layer, I removed that
| | 07:30 | mole and I shouldn't have.
| | 07:32 | So I'll go ahead and turn
on the blemish layer again.
| | 07:34 | But this time I'm going to select my
Eraser and if I need to reference where
| | 07:39 | that is again, I can just toggle on
and off the eye icon, and then I'll erase
| | 07:44 | the correction that I
made on that blemishes layer.
| | 07:47 | Because remember, all we're trying to
do here is we're just trying to remove
| | 07:51 | the distracting elements, and the things
like acne and blemishes that aren't permanent.
| | 07:57 | So we don't really want to remove that mole,
because that mole is part of that person.
| | 08:02 | So before I wrap up this lesson, I do
want to zoom in to one more area and
| | 08:07 | that is the earring.
| | 08:08 | So I am going to hold down the Spacebar
and the Command key and click and drag
| | 08:13 | to the right to zoom into that area.
| | 08:16 | There are times when using the Spot
Healing Brush and the Healing Brush
| | 08:20 | just don't quite work.
| | 08:22 | And a lot of times that's when you're
around an area or an edge that has contrast.
| | 08:27 | So for example, if I try to use the
Spot Healing Brush or the Healing Brush
| | 08:31 | here, I think what's going to happen
is Photoshop's going to have a difficult
| | 08:35 | time trying to blend the ear area
with this background darker hair area.
| | 08:40 | Let's give it a try;
| | 08:41 | I'll select the Spot Healing Brush here
in order to try to remove the earring.
| | 08:47 | So I'll go ahead and just click and
drag on top of it, but you can see what
| | 08:51 | happens is because I was so close to
that edge, Photoshop is trying to sample
| | 08:56 | from around the ear and it's
pulling in that hair information.
| | 09:01 | So let's undo that using Command+Z
or Ctrl+Z and what I'll use instead is
| | 09:06 | another tool called the Patch tool.
| | 09:09 | The Patch tool is going to allow me to
create a selection and the hotspot on the
| | 09:14 | Patch tool is at the tip of that black arrow.
| | 09:17 | Of course, we can always turn on the
Caps Locks key in our keyboard and that
| | 09:22 | will give us our precise cursors,
the crosshairs there, in which case the
| | 09:26 | hotspot is that centered dot.
| | 09:28 | But for now I'll leave that off, so I'll
tap the Caps Locks to turn it off again.
| | 09:32 | And I will drag a selection around the earring.
| | 09:37 | Now the area that I have selected
is going to be my source area here.
| | 09:41 | This is the area that I want to fix.
| | 09:44 | But before I can fix it, we'll notice that this
tool does not have an option to use all layers.
| | 09:50 | So I need to go back down to the
background layer in order to make this
| | 09:55 | change with this tool.
| | 09:57 | Then I'll position my cursor inside of
the selection and I'll click and drag up
| | 10:02 | to a good area of the ear, the area
that I want to grab the information from,
| | 10:08 | and Photoshop will take that
information and when I release the mouse, it will
| | 10:12 | move that information into the ear area,
into that bad area, covering up that
| | 10:17 | earring, but limiting it to the area
within the selection, so that you don't get
| | 10:23 | that other darkening happening with this tool.
| | 10:26 | Let's deselect that using Command+D or
Ctrl+D and then we'll zoom out to 100%
| | 10:31 | using Command+Zero (0) or Ctrl+Zero (0).
| | 10:34 | So again we can see a little before
and after, just turning on and off
| | 10:39 | the blemish layer and at this point I want
to show you a really great little shortcut.
| | 10:44 | If you do happen to remove something
like this earring or like a mole and it is
| | 10:50 | on your background layer, we can use
our Lasso tool or any of the Selection
| | 10:56 | tools and select the area that we made
the mistake in, in this case I want to
| | 11:01 | bring back the earring, but since I
made the change on the background layer,
| | 11:06 | certainly I could use the
History panel to go back in time.
| | 11:10 | But what if I had done maybe 20
other things to the image and now I just
| | 11:14 | realize, oh, I need to actually
grab the original source information, I
| | 11:20 | want that earring back?
| | 11:22 | Then I can use the Edit > Fill
command and I can fill this with history.
| | 11:29 | I'll click OK and what Photoshop has
done is it's filled this area with the
| | 11:35 | information that's on that snapshot.
| | 11:39 | If you ever find that you've may be
zoomed in and you've been retouching for
| | 11:43 | like 10 or 15 minutes, and you realize
that maybe five minutes ago you made a
| | 11:48 | mistake in an area, you can always
select that area and then fill that area with
| | 11:53 | History in order to kind of go back
in time without losing all of that
| | 11:58 | retouching that you did in
just the past five minutes.
| | 12:01 | Well, there are a variety
of tools that you can use.
| | 12:04 | If you need to actually duplicate
an area, you can use the Clone tool.
| | 12:08 | If you want to remove a blemish, you can
use the Spot Healing or the Healing Brush.
| | 12:13 | And if you want to remove something
like a blemish that's close to an area of
| | 12:19 | high contrast, like the edge of an ear
or may be a lip, then switch over to the
| | 12:23 | Patch tool and remove it.
| | 12:25 | Just remember, you'll either have to
do it on the background layer where the
| | 12:28 | actual content is, where the
photograph is, or you can make a duplicate of
| | 12:33 | that if you're not sure.
| | 12:34 | Of course, if you do change that
background layer, you can use that nifty trick
| | 12:37 | that Fill with History,
in order to fix that area.
| | Collapse this transcript |
| De-emphasizing wrinkles with the Healing Brush| 00:00 | After we remove the blemishes from a
portrait, the next step would be to
| | 00:05 | lessen the wrinkles, if they're
distracting from the portrait.
| | 00:09 | So I am going to ahead, and zoom in
using Cmd++ and then I will hold down
| | 00:14 | the Spacebar which will give me the
Hand tool, so that we can see the wrinkles
| | 00:18 | that we want to remove.
| | 00:20 | So not only do I want to remove the
wrinkles under the eyes, I also want to
| | 00:23 | remove these lines right up here.
| | 00:26 | But, I don't want to remove them
altogether, I don't want them completely
| | 00:30 | gone, I want to make sure that the
portrait stays realistic, and that the person
| | 00:34 | looks age-appropriate.
| | 00:36 | So in order to do this, I'm going to
create a new layer on my Layers panel.
| | 00:41 | I will click the New layer icon,
and we will rename this, wrinkles.
| | 00:44 | I will tap the Enter key in order to
apply that, and I am going to select the
| | 00:51 | Healing Brush tool from the Toolbar.
| | 00:55 | When I remove the wrinkles, I'm going
to be removing them at 100% right now.
| | 01:00 | So I am going to be completely removing them.
| | 01:02 | But, the reason that I'm doing this on
its own layer is that so we can lessen
| | 01:07 | the opacity of that layer when I'm finished.
| | 01:10 | So before I start, let's go to the
Options Bar and make sure that we are
| | 01:14 | sampling all of our layers, otherwise,
we would just be working with the blank
| | 01:19 | layer, and we wouldn't get any results.
| | 01:22 | Then, I will hold down the Option key
or the Alt key on Windows in order to
| | 01:25 | set the sample point or the area that
I want Photoshop to sample from or get
| | 01:30 | the information from.
| | 01:31 | I will click once, and then let go of
the keyboard modifier, and then click and
| | 01:36 | paint over the wrinkles.
| | 01:38 | You can see I'm doing this with just
short small strokes, and we're completely
| | 01:43 | removing the wrinkles, which looks very
unrealistic, but we're going to decrease
| | 01:48 | the opacity of the layer in a
minute, and bring those back.
| | 01:51 | In order to remove this wrinkle here, I want
to change the point from which I'm sampling.
| | 01:56 | So again, I will hold down the Option
or the Alt key, change my sample point,
| | 02:00 | and then drag over to remove that.
| | 02:02 | I will drag up to remove this one, and
again, I am going to Opt+Click again,
| | 02:07 | just to reset the sample point.
| | 02:09 | I don't always want to be sampling from
the same location or we're going to see
| | 02:14 | repeating patterns when we use these tools.
| | 02:16 | Then we'll move up to the forehead.
| | 02:19 | Again, Opt+Click or Alt+Click to
set the sample point, and then drag down,
| | 02:23 | and I'll set my sample point again,
and drag down on the right-hand side.
| | 02:28 | Again, we could be doing this with the
Spot Healing Brush, but I just find that
| | 02:32 | I like a little bit more
control to set the sample point.
| | 02:37 | Let's move over here to the right-hand
side and I will Option+Click, and then
| | 02:41 | drag to remove that wrinkle, and this one.
| | 02:44 | Again, I'll reset my sample point here
underneath this wrinkle, and drag along.
| | 02:51 | And you can see that when I set my
sample point, I'm trying to set a sample
| | 02:55 | point from an area that is
very similar in tone and texture.
| | 03:00 | I wouldn't want to come down to the
cheek and Opt+Click down here, otherwise
| | 03:03 | I am going to pick up the texture in
the cheek, which is going to give me
| | 03:06 | unwanted coarse pores up here in the eye area.
| | 03:10 | So you do want to be sensitive to
the area that you're sampling from.
| | 03:15 | Especially over here, you'll notice that
most people have little fine hairs here.
| | 03:20 | So again, if I was going to try to get
rid of a wrinkle over here, I wouldn't
| | 03:23 | want to select my sample point from
the cheek or even under this area in the
| | 03:27 | eye, you want to make sure that you're
setting the sample point from somewhere
| | 03:31 | close to the area that you are retouching.
| | 03:34 | And then there is a slight wrinkle over
here, so let's just remove that, again,
| | 03:40 | right down here, and one
more time right down there.
| | 03:44 | So now, I think you can see
that it really looks a bit fake.
| | 03:48 | I mean, there should be wrinkles
there, because the woman is smiling, and
| | 03:52 | therefore there should be some laugh lines.
| | 03:55 | Over on our Layers panel, we're going
to take the wrinkle layer and we're going
| | 03:59 | to select the Opacity slider, and
we're just going to decrease the opacity of
| | 04:04 | this layer until we bring back the
amount of laugh lines that we want to see.
| | 04:09 | So if we bring it down to 0%,
that's like the before.
| | 04:12 | But, we can go ahead and increase the
Opacity, until we reach the area that
| | 04:17 | we think that we like.
| | 04:19 | And again, you can use the Eye icon
on the Layers panel, clicking once to
| | 04:23 | toggle it on and off.
| | 04:25 | To make sure that we haven't overdone it,
we want to make sure that they still
| | 04:29 | look age-appropriate and realistic.
| | 04:31 | We just want to soften those lines a little bit.
| | 04:34 | Just remember, this is an aesthetic choice.
| | 04:37 | You don't really want the client
to know that they've been retouched.
| | 04:41 | So you need to make sure that you dial
back some of the reality by lessening the
| | 04:45 | opacity of that layer.
| | 04:47 | But, that opacity number is
going to differ for each individual.
| | Collapse this transcript |
| Smoothing skin and pores with the High Pass filter| 00:00 | After removing the blemishes and
softening the wrinkles in a portrait, we are
| | 00:05 | going to use a great technique
to just smooth the overall skin.
| | 00:10 | In order to do this I could flatten
all of my layers, but that would be a
| | 00:13 | permanent change, so what I will do
instead is I will use the Select menu to
| | 00:18 | select the Entire image and
then choose Edit>Copy Merged.
| | 00:23 | That copy is like a flattened version
of the file to the clipboard, so that
| | 00:28 | when I choose Edit>Paste, I get a
composite or a flattened version at the top
| | 00:34 | of my layers stack.
| | 00:35 | I am going to rename this to smooth skin
and tap the Enter key in order to apply
| | 00:43 | that, and now I'm going to run the High
Pass Filter, so I will choose
| | 00:48 | Filter>Other>High Pass.
| | 00:51 | Typically when I run filters, I want
to do that on a Smart Object, so I would
| | 00:56 | have changed this layer to a Smart
Object before running the filter, because
| | 01:00 | that would have given me a Smart Filter.
| | 01:02 | But I actually need to invert this file
when I'm finished running this filter,
| | 01:07 | so I can't use a Smart Object.
| | 01:10 | When I choose High Pass, I am
going to bring down the Radius to
| | 01:15 | something between maybe 1 and 2.5, and you
can see what I'm getting is a sharpening effect.
| | 01:22 | This is actually the exact opposite of
what I want, and that's why I am going to
| | 01:25 | need to invert the layer in just a moment.
| | 01:29 | So we will select the amount that we want,
click OK and then I'm going to change
| | 01:35 | the layer's blend mode, because right
now it almost looks like we've got a
| | 01:38 | solarized image, but you can see that
Photoshop has found all of the edges and
| | 01:44 | it's increased the contrast.
| | 01:46 | I want to remove that gray however, so
choosing the Overlay Blend mode will remove that.
| | 01:53 | Let's zoom in by using Cmd+1
to view our image at a 100%.
| | 01:58 | You can see the before and after, so
this is without the layer, the skin is much
| | 02:03 | softer, with the layer,
| | 02:04 | we've really over sharpened the skin.
| | 02:07 | That's why we need to invert it.
| | 02:09 | So I will select Image and
then Adjustments and then Invert.
| | 02:14 | Now instead of sharpening the layer,
it's smoothing the layer, but it's
| | 02:18 | smoothing the entire layer and
I only want to smooth the skin.
| | 02:23 | So I'm going to add a layer mask, but
when I click on the Layer Mask icon at the
| | 02:27 | bottom of the Layers panel, I'm going
to hold down the Option key on the Mac or
| | 02:31 | the Alt key on Windows, and that will
add a mask that is filled with black.
| | 02:37 | So we are hiding the
contents of this smooth skin layer.
| | 02:41 | So right now toggling the Eye icon on
and off won't change anything, because
| | 02:46 | the mask is hiding it.
| | 02:48 | But what this allows me to do is grab
my Paintbrush, so I will tap the B key
| | 02:53 | and let's make sure that we've got a
soft edge brush, so we want the Hardness
| | 02:57 | to be set to 0, and I will select a
little bit larger of a brush, maybe around
| | 03:02 | 34, 35 pixels and I'm going to bring the
Opacity of the brush down to like maybe 20% or so.
| | 03:10 | What I want to do is I want to paint
multiple strokes with white in my mask, so
| | 03:16 | let's also make sure that
my foreground color is white.
| | 03:20 | If it's not, you can tap the D key to
get your default colors, which will be a
| | 03:25 | white foreground color, and now we can
simply paint multiple strokes over the
| | 03:31 | area in the skin that we want to be sharp.
| | 03:34 | I will use the spacebar in order to
reposition the portrait and then keep painting.
| | 03:41 | The reason that I have set my Opacity
for the brush down so low is because I
| | 03:46 | want to make sure that it takes multiple
paint strokes in order to paint in the
| | 03:52 | smooth softening, that way I won't get
any abrupt edges where you can see where
| | 03:58 | the softening or the smoothing
layer is applied and where it's not.
| | 04:02 | We also want to make sure that we don't go
over areas that we don't want to be smooth.
| | 04:08 | So for example, I don't want to paint
over the eye area or the eyebrow area here.
| | 04:14 | I might want to get a little smaller of
a brush though and just kind of smooth
| | 04:17 | in this area around the eye.
| | 04:20 | And of course, if you wanted to, I
mean we could take this up to a higher
| | 04:24 | percent, I just tap the 6 key, so now
I'm painting at 60% in the areas that I
| | 04:29 | know that I really want to smooth out the skin.
| | 04:32 | All right, again, we probably don't
want to soften the nostrils there, but I do
| | 04:39 | want to soften the lines here
underneath, and around the nose and around the
| | 04:45 | lips, and of course, if you do go
too far, you can always tap the X key.
| | 04:52 | The X key will exchange your foreground
and background colors and that way you
| | 04:57 | could paint out this layer
wherever you have over-painted it.
| | 05:02 | So for example, if you paint into the
hair accidentally, you could just tap the
| | 05:06 | X key and exchange those and paint it out.
| | 05:10 | And then don't forget you want to use
the Eye icon, you want to toggle on and
| | 05:14 | off that icon to make sure
that you didn't go too far.
| | 05:19 | We will use the Spacebar
again to move around in the image.
| | 05:23 | Make sure we didn't forget any areas here.
| | 05:25 | We'll do a little bit more on the cheek.
| | 05:31 | And again, just toggle on and off
the Eye there to make sure that we're
| | 05:36 | softening just the skin area and not
the eye area or the eyebrow area or any
| | 05:41 | of the little hairs.
| | 05:42 | So I can go ahead and soften in here,
but I don't want to go up into the
| | 05:47 | individual hair area.
| | 05:48 | All right, and when you're finished,
if you have found that you have softened
| | 05:53 | it a little bit too much, don't forget,
we can always change the opacity of
| | 05:57 | this layer and bring that down a bit,
to maybe bring back a little bit of the
| | 06:02 | detail in the skin.
| | 06:04 | You want to make sure that you use the
Eye icon just to make sure that you're
| | 06:08 | not over retouching, you still want some
texture in the skin, but this is a nice
| | 06:12 | way to just quickly smooth the
majority of small little imperfections.
| | Collapse this transcript |
| Making teeth bright and white with a Hue/Saturation adjustment layer| 00:00 | One of the easiest things that you can do in
Photoshop is brighten the teeth on someone.
| | 00:06 | So let's go ahead and zoom in.
| | 00:08 | I'll use the Command Key and the
Spacebar and just click and drag to the right
| | 00:13 | on the teeth, in order to zoom into them.
| | 00:15 | And I need to select the teeth.
| | 00:17 | But it doesn't really have to
be a super accurate selection.
| | 00:21 | So I'm going to grab the Lasso tool,
and remember the hotspot on the Lasso tool
| | 00:26 | is at the tip of that black arrow.
| | 00:28 | So I'm just going to click and drag
across, and then come down here making sure
| | 00:34 | that I've got all of the teeth
selected and it's okay if you have some of the
| | 00:38 | lips selected as well, and some of the
gum, because what we're going to do is,
| | 00:43 | we're going to selectively remove
the yellow here, and we're not going to
| | 00:46 | brighten them or anything.
| | 00:47 | We're just going to take away
that kind of yellow stain on them.
| | 00:52 | So in order to do this, I'd like
it to be a flexible adjustment.
| | 00:55 | So I will use an Adjustment layer.
| | 00:57 | On the Layers panel I'm going to make
sure that the smooth skin layer is the
| | 01:00 | targeted layer, so that when I add my
Adjustment layer it will be added on top
| | 01:05 | of that, and then I'll use the
Hue/Saturation Adjustment layer.
| | 01:09 | When I add the Hue/Saturation
Adjustment layer, Photoshop will automatically
| | 01:13 | convert my selection into a mask.
Because it's such a small portion of the image
| | 01:18 | that I have masked, it's a little
difficult to see, that there is a little bit
| | 01:22 | of white there on my Hue/
Saturation Adjustment layer.
| | 01:25 | But Photoshop has converted
that selection into a mask for me.
| | 01:29 | If we start changing the Saturation right
now, we're actually working on the master.
| | 01:35 | So we're working on all of the color.
| | 01:37 | So this is going to be a very
noticeable change obviously.
| | 01:40 | So let's reset the Saturation back to zero
there, and come in instead to just the
| | 01:47 | yellows of the image.
| | 01:49 | So you can see down here on the rainbows,
we're going to be working just on the
| | 01:52 | yellows here, so that this time when I
decrease my Saturation, we're going to
| | 01:57 | remove the yellow in the teeth.
| | 01:59 | But you can't see the line or the
selection or the mask that we created, because
| | 02:04 | there's not a lot of yellow in that lip color.
| | 02:07 | If someone did have a lot of yellow in
the lip color or lot of yellow in their
| | 02:11 | skin tone, you might notice a subtle
change, in which case you would need to
| | 02:15 | make a more accurate selection to
begin with. In probably 90% of the cases,
| | 02:20 | just making sure that you're
targeting, the yellow color range in the
| | 02:23 | Hue/Saturation dialog box, will be
absolutely fine for removing the yellow stain.
| | 02:30 | Let's close that.
| | 02:32 | If you do happen to see a little bit
of a harsh edge in your image, you can
| | 02:36 | use your Properties panel, click on
the mask area and then just add a really
| | 02:44 | small feather there, just to soften
the edge of the mask, and in fact, if I
| | 02:48 | hold down the Option Key or the Alt Key
and I click on the mask itself, we can
| | 02:54 | see what happens there.
| | 02:55 | There is without a feather.
| | 02:56 | You can see that hard edge, and as I move
this over, the edge will get softer and softer.
| | 03:01 | So I don't want to add that much of a
feather, maybe just around 1 pixel, and
| | 03:06 | then we'll close that and click on
the Eye icon in order to view the image.
| | 03:10 | Now we'll just toggle that
one more time, the eye icon.
| | 03:13 | There's the before and after.
| | 03:15 | And you can see that we've really
decreased the stain there, making the teeth
| | 03:18 | brighter and whiter.
| | Collapse this transcript |
| Brightening eyes with Curves| 00:00 | Another way to enhance a portrait
is to brighten the subject's eyes.
| | 00:05 | Not only will it draw attention to the
eyes, but it will also make them appear
| | 00:09 | more awake or alert in the photograph.
| | 00:12 | So let's zoom in using the Spacebar and
the Cmd key on Mac or the Ctrl key
| | 00:16 | on Windows, I'll just click-and-drag to the
right in order to zoom in on the eye area.
| | 00:21 | Now we're going to do this in two steps.
| | 00:23 | First we're going to brighten the
whites of the eyes and then we're going to
| | 00:26 | create a new layer in order to dodge
and burn the actual eye itself, to add a
| | 00:31 | little contrast and give it a
little bit more dimension.
| | 00:34 | So let's use the Lasso tool and
just select the whites of the eyes.
| | 00:39 | Remember now, when you're using the
Lasso tool, it's the very tip of that black
| | 00:44 | arrow that is your hotspot.
| | 00:47 | And once you've made your first
selection, in order to add to that selection,
| | 00:52 | you can either hold down the Shift
key or you can click on the second icon
| | 00:56 | here in the Options Bar.
| | 00:58 | That way you won't need to hold down
a keyboard modifier and you can simply
| | 01:01 | click-and-drag in order to select that area.
| | 01:05 | Of course, there's different
ways that you can select this area.
| | 01:09 | You could try using the Magic
Wand tool or the Quick Select tool.
| | 01:12 | But I find that most of the time it's
just easier to click-and-drag in that area
| | 01:17 | with the Lasso tool.
| | 01:18 | If you make a mistake, just
click-and-drag to add to that area.
| | 01:23 | Of course, if you drag out too far and
you need to subtract from your selection,
| | 01:27 | then you can select the third icon here,
and just click-and-drag over the area
| | 01:32 | that you want to subtract.
| | 01:34 | You can also remain with the Add To
Selection tool and just hold down the Opt
| | 01:39 | or the Alt key to switch or toggle
temporarily to the Subtract From.
| | 01:44 | Now that we've got the area selected
on our Adjustments panel, let's click
| | 01:48 | the Curves Adjustment.
| | 01:51 | I'll position my cursor in the
middle of the curve and simply drag up.
| | 01:55 | And you can see if you drag up too far,
obviously, the area is going to get way
| | 01:59 | too bright, so just drag up too
far and then back off a little bit.
| | 02:03 | You might also notice that the edges of
your selection are a little bit too sharp.
| | 02:07 | So while we're on the Properties panel,
let's click on the Masks icon and then
| | 02:12 | add a small Feather to that selection.
| | 02:15 | That will just soften those edges so
we can't tell the area that has been
| | 02:19 | adjusted versus the area that has not.
| | 02:22 | And then to check to make sure that we
haven't over-retouched, let's use the Eye
| | 02:26 | icon on the Layers panel and just
toggle that on and off before and after.
| | 02:32 | We can even zoom out using Command+0
to go back to 100% and then just
| | 02:37 | toggle that on and off.
| | 02:39 | If you think you've made too much of
an adjustment, you can either change
| | 02:42 | the Opacity of the layer or click on the
Curve icon to bring up the Properties panel.
| | 02:47 | In this case, I'll just decrease the
Opacity of the layer, down to about 65 and
| | 02:52 | toggle before and after.
| | 02:55 | So that's the first step.
| | 02:56 | The second thing we need to do is we need to
dodge and burn around the iris and the pupil.
| | 03:01 | So I'm going to add another New layer,
but before clicking on the New layer icon
| | 03:05 | at the bottom of the Layers panel,
| | 03:07 | I'm going to hold down the Option key.
| | 03:09 | When you hold down the Option or the
Alt key on Windows and you click, you get
| | 03:13 | the New layer dialog.
| | 03:14 | That's going to allow me to change the
Blend mode to Overlay and also choose to
| | 03:19 | Fill with Overlay-neutral color or 50% gray.
| | 03:23 | When I click OK, we'll see Layer 1,
which we can then rename to dodge and burn.
| | 03:30 | While we're over here, let's go ahead
and rename the Curves layer as well.
| | 03:36 | We'll call that eyes.
| | 03:40 | We'll zoom in again using the
Spacebar and the Cmd or Ctrl key,
| | 03:44 | clicking-and-dragging to the
right to zoom into the eye area.
| | 03:48 | The reason that we made this dodge and burn
layer is because I want it to be very flexible.
| | 03:54 | A lot of times I find that when
I'm dodging and burning the iris,
| | 03:59 | I actually tend to overdo it.
| | 04:00 | When I'm zoomed in, I can't tell that
I'm overdoing it, but when I zoom back
| | 04:04 | out and I see the overall portrait,
I tend to take this portion of the
| | 04:08 | retouching too far.
| | 04:10 | Although I'm calling this dodge and
burn, we're actually not going to use the
| | 04:14 | Dodge and Burn tool.
| | 04:15 | Instead, I'm going to switch to the Paintbrush.
| | 04:18 | And you can see that the Opacity is set
up to 100% right now, which means if
| | 04:22 | I paint with black or white on this layer,
it's going to make a huge difference.
| | 04:27 | In fact, let's go ahead and just I'll
show you what I mean by painting with black.
| | 04:30 | It's just going to make it look terrible.
| | 04:32 | So let's undo that, Cmd+Z or Ctrl+Z,
and let's change the Opacity way, way
| | 04:37 | down to maybe like 20%.
| | 04:40 | Then the first thing I want to
do is I want to dodge the iris.
| | 04:44 | So I'm going to tap the D key to make
sure I have my default colors and then
| | 04:48 | I'll tap the X key in order to exchange
those, so that I'm painting with white.
| | 04:52 | And now with my Opacity set very low,
I'm going to just click-and-drag around
| | 04:59 | the iris area, and then I can go
ahead and do that one more time.
| | 05:03 | If I need to change the size of my brush,
I can use the Right Bracket (]) to get
| | 05:07 | a larger brush, or the Left
Bracket ([) to get a smaller brush.
| | 05:09 | But now when we show our before and
after by clicking on the Eye icon in the
| | 05:15 | Layers panel, we see before and after.
| | 05:18 | So with just those two small strokes set at 20%
I've really made quite a difference here.
| | 05:23 | I've really brightened up
that eye and added some contrast.
| | 05:26 | So let's do the same to the other eye.
| | 05:29 | I'll click-and-drag around, maybe get
a little bit larger of a brush for the
| | 05:33 | second stroke, and paint around that eye.
| | 05:36 | Again, toggling the Eye icon,
we see before and after.
| | 05:40 | Now I want to darken down
around the edge of the iris.
| | 05:44 | So I'll tap the X key in order to
exchange my foreground and background colors
| | 05:49 | so that now I'm painting with black,
and I'll get a very small brush and then
| | 05:54 | click-and-drag around the
outside edge of the eye.
| | 05:58 | I'll do the same on the left-hand side,
and then we can toggle that on and off.
| | 06:04 | There's before and after.
| | 06:06 | So you can see, I've really made way
too heavy of an edit here, and in fact,
| | 06:11 | let's zoom all the way out,
using Cmd+0 to zoom back.
| | 06:16 | And if we toggle that on and off,
see it's just far too strong.
| | 06:20 | But the advantage of using this dodge
and burn layer is that now I can take the
| | 06:24 | Opacity slider and scoot that way down
to maybe say 30% and toggle that on and
| | 06:31 | off and you can see how I've just
brightened the eyes just a little bit in order
| | 06:36 | to draw your attention there, as well
as make the person in the portrait look
| | 06:41 | more alert and awake.
| | 06:43 | If you wanted to, you could do your
painting of white on one layer and your
| | 06:48 | painting of black on another layer, if
you wanted to control those individually,
| | 06:52 | or you could even do one eye on
one layer and one eye on another.
| | 06:56 | It just really depends on
how much flexibility you want.
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| Taming flyaway hair with the Patch tool| 00:00 | Another common problem with portraiture
are flyaway hairs because they can
| | 00:04 | be quite distracting, especially
these really noticeable ones over here on
| | 00:08 | the right-hand side.
| | 00:09 | So in order to remove those, let's
select the Spot Healing Brush and we'll zoom
| | 00:14 | in using Cmd+Spacebar
and then clicking and dragging.
| | 00:18 | Then before we start removing these
stray hairs, we need to make sure that
| | 00:23 | we're on the right layer.
| | 00:24 | If I click-and-drag right now, I'll be
manipulating the Dodge and Burn layer.
| | 00:28 | So on the Layers panel, let's scroll down.
| | 00:31 | I want to either be on the Background
layer or on a copy of the Background layer.
| | 00:35 | If I'm feeling fully confident, I
could edit directly on the background but
| | 00:39 | let's go ahead and make a duplicate
of the background by using Cmd+ or Ctrl+J.
| | 00:43 | Now that I have the Background copy,
if I make any mistakes, I can
| | 00:48 | always go back to the original background.
| | 00:52 | So now I'll click-and-drag over the
hair and you can see that Photoshop will
| | 00:57 | remove that stray area and blend
that area in with the background.
| | 01:02 | Now it might take a few different
strokes sometimes in order to remove the hair,
| | 01:07 | but if you just click-and-drag with
the Spot Healing Brush over the same area
| | 01:11 | multiple times, Photoshop
will recalculate the adjustment.
| | 01:16 | So I'll come down here and just
remove this one and this one right here and
| | 01:20 | this one coming farther out, and we can hold
down the Spacebar to give us our Hand tool.
| | 01:26 | We might want to remove this one as well.
| | 01:29 | If I'm over a background like this,
I can definitely try with the Spot Healing
| | 01:32 | Brush, but sometimes I'll get that
bleeding edge like I just got right there.
| | 01:35 | So I'll use Cmd+ or Ctrl+G and I'll move
over to the Stamp tool by tapping the S key.
| | 01:41 | We'll get a smaller brush
using the Left Bracket ([).
| | 01:46 | Hold down the Option or the Alt key to
click my source point and then let go the
| | 01:51 | Option or the Alt key and click and
drag in order to remove that hair.
| | 01:57 | If you get right on the border area
like this, you want to reset the point from
| | 02:01 | which it's going to sample, by holding
down the Option key and clicking right on
| | 02:04 | the scene between the shoulder and the
hair, letting go of the Option key and
| | 02:08 | then matching that up and then
clicking and dragging to remove it.
| | 02:13 | To switch back to the Spot Healing Brush,
we can tap the J key and then we can
| | 02:18 | continue removing these stray hairs.
| | 02:21 | It's up to you how many of
the hairs you want to remove.
| | 02:25 | Obviously, we could spend a long time going
throughout the entire image removing these.
| | 02:31 | So for now, I'm just going to remove a
few of the more of the ones at the top
| | 02:35 | here, come down to here.
| | 02:37 | Again, if you do have a problem with
these or if it's not looking quite correct,
| | 02:41 | you can also switch over to the Stamp
tool when you're retouching the hairs.
| | 02:46 | Opt+click to set your sample point
and then use the Stamp tool, especially
| | 02:50 | when you have a background like this
that is really pretty similar in tone.
| | 02:55 | You can just stamp those away,
maybe get this one as well.
| | 03:01 | Again, I'm just holding down my Option
or my Alt key to change my sample point
| | 03:07 | as I move around so that I'm sampling from
different areas and then we can scoot down.
| | 03:15 | It looks like I've got a spot here as well.
| | 03:17 | If I'd like to have a dust spot
over here, we can grab that.
| | 03:20 | So it's up to you whether or not you want
to use the Healing Brush or the Stamp tool.
| | 03:26 | The Healing Brush sometimes can get a
little bit touchy when you're around other
| | 03:30 | areas that have hair just because they
can try to pull in the other hairs in
| | 03:34 | order to make it blend.
| | 03:36 | So, in fact, it might be easier if you
have a nice background like this to just
| | 03:41 | use your Clone Stamp tool.
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| Removing unwanted details with Content-Aware Fill| 00:00 | Photoshop has a variety of tools that
were created in order to help fill an area
| | 00:06 | when you're trying to remove something
in the image that you don't want.
| | 00:11 | For example, if I want to remove this
lamp or if I wanted to remove this area
| | 00:15 | over here, we can use a variety of
different tools that are aware or try to be
| | 00:20 | aware of the content surrounding the object.
| | 00:23 | For example, if we select the Spot Healing
Brush you notice that its default is
| | 00:28 | set to Content Aware.
| | 00:29 | So every time you use it Photoshop is
analyzing the area around the distracting
| | 00:34 | object and trying to fill
it based on the content.
| | 00:38 | Same with the Patch tool here.
| | 00:40 | You'll see that there is an option for
Content Aware and under the Edit menu we
| | 00:45 | can actually fill with Content Aware.
| | 00:47 | So let's try that first, but
we need to make a selection.
| | 00:51 | So I'm going to tap the L key and
that's going to give me the Lasso tool
| | 00:55 | and I want to make a selection, so I'll just
make sure that this initial icon is selected.
| | 01:00 | Now remember the hotspot for this
tool is at the tip of the arrow.
| | 01:05 | So I'm going to make a rather careful
selection around here, just going around
| | 01:09 | the lamp and then down here to the shadow, back
up the side of the lamp, back to the beginning.
| | 01:17 | To fill this we'll go to Edit>Fill,
and for Use we'll use Content Aware,
| | 01:25 | click OK, and you can see that
Photoshop did a really nice job.
| | 01:28 | In fact if we go to Select and then
Deselect you can see that there's really
| | 01:32 | nothing else that we need to change.
| | 01:35 | So a lot of times when I run Content
Aware Fill, I think it would get me in 80%
| | 01:39 | to 90% of the way there, but then I
might still need to go back in with either
| | 01:43 | the Clone Stamp tool or the Healing
Brush, and make some additional changes.
| | 01:48 | But for now that looks great.
| | 01:50 | So let's move on to this object right
here and I'll start right here and just
| | 01:55 | drag with my Lasso tool around
the item that I want to remove.
| | 02:01 | I'll come all the way down here and
remove that cement foundation as well just
| | 02:06 | because I want to make sure that we get
a nice seamless cement foundation and we
| | 02:11 | can see the little shadow here.
| | 02:12 | So I just want to make sure
that I capture all of that.
| | 02:16 | And now I can either use the Edit
menu and use the Content Aware Fill
| | 02:21 | or we can switch to the Patch tool, which
typically within an image like this,
| | 02:26 | I'm not quite sure where Photoshop would
grab the information for such a large
| | 02:31 | area to try to fill it.
| | 02:33 | So by using the Patch tool I'm actually
helping Photoshop by telling it where I
| | 02:37 | think the best area is to
grab from in order to patch.
| | 02:42 | So it's just kind of helping it a little bit.
| | 02:44 | One of the things you want to make sure
is if you look at the foundation down at
| | 02:47 | the bottom you can see as I move my
selection here that selection is moving.
| | 02:52 | So I want to make sure that I've
aligned that bottom line going across the
| | 02:56 | foundation and this whole time I've had my
mouse down so you can't let go of the mouse.
| | 03:01 | Otherwise, it will go ahead and patch it.
| | 03:03 | So it's important that you make sure
that you position the source area where you
| | 03:08 | want Photoshop to grab the information
from before you release the mouse.
| | 03:13 | Once you release the mouse Photoshop
will calculate that and you can see
| | 03:16 | it's done a very, very good
job in patching that area.
| | 03:19 | In fact, if we go to Select>Deselect,
it's very, very hard to tell where that
| | 03:25 | original content was.
| | 03:27 | This is what I mean by you might need
to go in and fix some small areas like
| | 03:30 | this area right here where I can see
the repetition of this brick right over
| | 03:35 | here or maybe right in here where the
bricks don't quite line up, but otherwise
| | 03:39 | Photoshop has done a very good job of
removing that unwanted area in the image.
| | 03:45 | Now there's another tool in Photoshop CS6.
| | 03:48 | If we move to the Venice image, this
tool is also found nested with the
| | 03:53 | Spot Healing Brush and it's called the
Content Aware Move tool and it can help us
| | 03:58 | actually move something in our image
to another area and then kind of fill in
| | 04:04 | where we move the object from.
| | 04:07 | So again it has a hotspot at
the top of the black arrow.
| | 04:11 | So we can start clicking and dragging
and I just want to move this post over,
| | 04:15 | but it's going to look rather silly if I
don't also move the reflection of the post.
| | 04:20 | So let's grab both of those items, and
then I'll position my cursor inside the
| | 04:25 | marching ants, just like we did with
the Patch tool, and then click-and-drag
| | 04:30 | this over so instead of making a
duplicate of this what Photoshop is going to is
| | 04:35 | it's going to try to actually move it.
| | 04:37 | So it will move the contents within
the marching ants and it will go back and
| | 04:42 | fill in the area that was moved.
| | 04:44 | So in this case it's going to fill in
this area here where the original post was.
| | 04:49 | Again, it was important when I did drag
this over that I kept this line straight.
| | 04:54 | So you see when I scooted over this way
I don't want to bring it up or bring it
| | 04:58 | down Photoshop's going have a much
more difficult time if I do that.
| | 05:01 | But if I do just want to move an item
a little bit, I want to help Photoshop
| | 05:06 | with the alignment as much as I can.
| | 05:09 | So there are three tools that Photoshop
has, a Fill command as well as the Patch
| | 05:14 | tool, and the Content Aware Move tool
which can all help you with either moving
| | 05:19 | content of your image or
replacing unwanted objects.
| | 05:23 | Just remember that the more guidance
you can give Photoshop the more successful
| | 05:27 | these tools are going to be.
| | 05:28 | And if they don't work the first time,
don't hesitate to run them again because
| | 05:33 | the algorithm or the mass
underneath them will change every time.
| | 05:37 | So the tools might not solve every
issue perfectly, but if they get you 80% or
| | 05:41 | 90% of the way there, then you can use
your other tools like the Healing Brush
| | 05:45 | of the Clone Stamp tool to perfect the image.
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| Body sculpting with Liquify| 00:00 | Another great tool for retouching is
the Liquefy Filter, but like with any
| | 00:05 | retouching tool, you'll definitely
want to be subtle using this tool.
| | 00:09 | One of the most common problems when
you're on location, shooting portraiture
| | 00:14 | is, of course, the wind with people's
hair or maybe somebody comes in and has a
| | 00:18 | portrait taken and they
haven't even done their hair.
| | 00:21 | So on this couple, let's go under the
Filter menu and choose Liquefy, and I'm
| | 00:27 | going to be really subtle with what I do,
but I am just going to kind of reshape
| | 00:31 | both of their hairdos a little bit.
| | 00:34 | When you first come into Liquefy you
will probably see this dialog, you probably
| | 00:38 | won't be in the Advanced mode.
| | 00:40 | So let's just start here and I'm
going to use the first tool here which is
| | 00:44 | the Forward Warp tool.
| | 00:46 | The Forward Warp tool
allows me to just click-and-drag.
| | 00:50 | So for example if I click here and drag,
you can see that it just moves in the
| | 00:54 | direction that I drag.
| | 00:56 | Now one of the things that I often see
is that people try to use a really small
| | 01:00 | brush and go in and drag multiple times,
which is fine, if you want to give him
| | 01:06 | a mohawk, but that is not
the look that we're after.
| | 01:08 | So I am going to hold down
the Option key and click Reset.
| | 01:12 | What you want to do to make a very
subtle change is actually use a large brush.
| | 01:17 | So we have the Brush Size over here but
you can also use the Right Bracket (])
| | 01:21 | and the Left Bracket ([)
| | 01:26 | and Liquefy just like you can
with any of your painting tools.
| | 01:26 | So the hotspot of this tool is
obviously the cross in the center.
| | 01:30 | Wherever you click with that and drag
that area will be moved the most, and then
| | 01:35 | it kind of fades out as it
reaches the outer circle of the tool.
| | 01:40 | So in this case, I want to do two things,
I want to bring this area down a
| | 01:44 | little bit, so I will get a little bit
smaller of a brush and then just kind of
| | 01:47 | click-and-drag down to shorten those
hairs, and then I'll come over here and
| | 01:52 | just click-and-drag up a bit in order
to just kind of round out his head here,
| | 01:57 | because obviously, the wind
is blowing in this direction.
| | 02:01 | And we'll do the same thing here for her hair.
| | 02:03 | Let's just give her a little bit more
hair, a little bit more fullness there,
| | 02:08 | and we'll just tuck in this hair a little
by just clicking-and-dragging to the right.
| | 02:13 | So obviously, this is very subjective,
but I do find that in a lot of cases,
| | 02:18 | women do actually want a little
bit more volume to their hair.
| | 02:23 | And of course, someone's head is always
going to look nicer if it's nice and round.
| | 02:27 | So let's go ahead and click OK, and
we'll just do a little before and after
| | 02:31 | using Cmd+Z or Ctrl+Z to undo and redo.
| | 02:35 | So you can see that after being liquefied,
he's got a much nicer hairline and
| | 02:39 | she's got nicer, fuller hair.
| | 02:43 | Let's go ahead and move to our next image.
| | 02:45 | I have to say this is probably one of
the more unflattering positions that you
| | 02:50 | could photograph this woman in, but
perhaps, it's the only photograph that she
| | 02:54 | has and you want to make it a little bit better.
| | 02:57 | The last time I was pretty confident
and I just liquefied directly on the
| | 03:01 | background, but don't forget, if you're
not as confident, you can always make
| | 03:05 | a copy by just using Cmd+ or Ctrl+J
to duplicate that Background layer
| | 03:10 | and then you can always come back or
at least toggle on and off and see the
| | 03:13 | before and after that way.
| | 03:15 | So again, I'll go under the
Filter menu and select Liquefy.
| | 03:19 | Now, in this case, we're going to need
to pay attention not only to the area
| | 03:23 | that we're liquefying, but also the
background because we don't want to
| | 03:25 | stretch it that much.
| | 03:27 | Now for this little bump right here,
what I am going to do is I am going to use
| | 03:31 | my Right Bracket key to get a much
larger brush and then just click-and-drag to
| | 03:36 | tuck that little area in.
| | 03:38 | Again, I don't want to go too far, I
don't want to actually indent it in;
| | 03:42 | I just want to maybe bring it in, just a touch.
| | 03:45 | And then up here underneath the arm,
not only am I going to bring it to the
| | 03:49 | left, but also just up a little bit and
the same with this right area of the arm
| | 03:54 | here in the underneath part of the arm.
| | 03:55 | Then I'll move to the outer part of the
arm and we'll just tuck in, we'll just
| | 04:00 | make a little indention here so that
it looks like her shoulder ends there is
| | 04:03 | more definition to where
this muscle might begin there.
| | 04:07 | I might get a little bit of a smaller
brush here and also just pull in the side
| | 04:11 | of her neck, maybe do
the same on the other side.
| | 04:13 | Again, it's a really small movement, if
I use Cmd+Z or Ctrl+Z, you can see
| | 04:18 | that all I've done is just a little
bit of a movement there, just adding a
| | 04:22 | little bit of a roundness to her neck.
| | 04:25 | Where it's going to get difficult is
over here on the left-hand side because her
| | 04:29 | arm is in kind of an awkward position
here, and you'll notice if I click and
| | 04:34 | move anywhere in her fingers, her
fingers are going to start looking really odd.
| | 04:38 | So I might just position my cursor right
here, and we might just be able to tuck
| | 04:43 | that in just a little bit.
| | 04:44 | If I wanted to do more maybe I
should wait and actually do maybe a copy
| | 04:48 | and paste in Photoshop.
| |
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