23. Shortcuts and SettingsWelcome to One-on-One| 00:04 | Hello! This is Deke McClelland.
| | 00:06 | Welcome to Photoshop CS6 One-on-One: Advanced,
part three in a series of four video courses
| | 00:13 | devoted to your ultimate mastery of the
world's most powerful image editing software.
| | 00:19 | One-on-One is all about
project-based learning.
| | 00:22 | You learn, not so much by listening to me lecture
you or even by watching me create pretty pictures,
| | 00:28 | but by rolling up your sleeves and
creating compelling projects for yourself.
| | 00:33 | That way, you'll be better prepared to
create your own projects in the future.
| | 00:38 | In this course, you'll learn how Smart Objects
protect your images from harm and allow you
| | 00:44 | to create copies linked to a single original.
| | 00:47 | You'll use a Curves Adjustment layer to
correct the luminance of a challenging photograph.
| | 00:52 | You will learn everything there is to
know about processing images in Camera RAW.
| | 00:58 | You'll create breathtaking depth of field effects in
the Blur gallery which is new to Photoshop CS6.
| | 01:06 | You'll learn the basics of every
blend mode available in Photoshop.
| | 01:10 | You'll define complex selections using Color
Range and Refine Edge, and you'll experience
| | 01:16 | the power of the Pen tool which allows you
to select anything, one point at a time.
| | 01:23 | The result is a
contextualized learning program.
| | 01:27 | Photoshop's features make sense because you
apply them to a clearly defined task and you
| | 01:32 | leave each chapter with a
sense of accomplishment.
| | 01:35 | I hope there are moments, when you feel
I rule, I've done this and I can do more.
| | 01:41 | Now that you're an advanced student, you are
ready to move through Photoshop without anything
| | 01:46 | getting in your way.
| | 01:47 | This means three things: first you need some new
shortcuts, ones that will call up Photoshop's
| | 01:53 | best commands without you
having to fumble through menus.
| | 01:57 | Second, you need to know how to adjust a few
preference settings to make the program behave;
| | 02:03 | and third you need to take advantage of the best
color settings that Photoshop has to offer.
| | 02:09 | In this first movie, I show you how
to load my custom keyboard shortcuts.
| | 02:13 | After that, I'll show you how to
make Photoshop the best that it can be.
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| Loading the dekeKeys keyboard shortcuts| 00:00 | In this movie, I'll show you how to load my custom
keyboard shortcuts which are known as dekeKeys.
| | 00:05 | And I'll also walk you through the new
shortcuts that are available to you.
| | 00:08 | What you want to do if you're working along
with me is go to the 23_settings folder inside
| | 00:12 | the Exercise Files folder.
| | 00:14 | And those of you by the way, who are not premium members,
you can still download these dekeKeys from the site.
| | 00:19 | Then you want to locate the file called
dekeKeys.PsCS6.kys and right-click on it and then choose
| | 00:27 | Open with and choose Adobe Photoshop CS6 and that
will prevent the shortcut file from accidentally
| | 00:33 | opening inside Premiere.
| | 00:35 | That should go ahead and automatically
switch you to Photoshop as it has in my case.
| | 00:39 | Now you won't see anything different, until
you go up to the Edit menu and choose the
| | 00:44 | Keyboard Shortcuts command which as you can
see has its own shortcut of mash your fist K,
| | 00:48 | so Ctrl+Shift+Alt+K on the PC or
Cmd+Shift+Opt+K on the Mac.
| | 00:53 | And you will see that your Set has
switched to Photoshop Defaults (modified).
| | 00:58 | And what you want to do is click on the little
hard drive with the dot dot dot (...) that's
| | 01:01 | your Save As icon and as you can see I have
already saved a dekeKeys file, I did that
| | 01:06 | back in the intermediate course.
| | 01:08 | I am going to name this guy, so I don't save over it,
dekeKeys PsCS6, like so, and then click the Save button.
| | 01:15 | You can call your shortcuts
anything you like, by the way.
| | 01:18 | And then just to make sure the shortcuts have
loaded successfully, go ahead and twirl open
| | 01:22 | the File menu and you should see that Open
as Smart Object now has a keyboard shortcut
| | 01:27 | of Ctrl+Shift+Alt+O or
Cmd+Shift+Opt+O on the Mac.
| | 01:31 | Assuming that's the case, go ahead and click OK
and you now have my shortcuts loaded. All right.
| | 01:36 | Let's talk about what that means.
| | 01:38 | I'll go ahead and minimize Photoshop and
notice in this 23_settings folder, we also have a
| | 01:42 | couple of HTML files, one is a list of the
Macintosh shortcuts and the other is the list
| | 01:47 | of the Windows shortcuts.
| | 01:49 | We'll go ahead and minimize this folder window
as well, so that you can see that I've loaded
| | 01:53 | both shortcut files in the background.
| | 01:55 | And notice that the PC shortcuts over here
in the left-hand side and the Mac shortcuts
| | 01:59 | over on the right-hand side are organized
differently, because the Macintosh version
| | 02:03 | of Photoshop includes a Photoshop
menu which does not appear on the PC.
| | 02:06 | I have gone ahead and annotated the Command key
using the Cloverleaf character which actually
| | 02:11 | appears on the keyboard, and I've listed every
single shortcut that's available to you whether
| | 02:16 | I created it or not.
| | 02:18 | My custom keyboard shortcuts
appear in red throughout the table.
| | 02:22 | So let's walk through a few of them here.
| | 02:24 | First of all, you can open an image as
a Smart Object by using that shortcut.
| | 02:28 | Then I've given you a shortcut for the Place command
as well and if you scroll down a little bit,
| | 02:32 | you will see that I altered the shortcut
for Paste in Place to Ctrl+Alt+V instead of
| | 02:37 | Ctrl+Shift+V that would be Cmd+Opt+V on the Mac
and that allowed me to assign Ctrl+Shift+V
| | 02:42 | or Cmd+Shift+V on the Mac to
creating a Variations Adjustment layer.
| | 02:46 | I have given you a shortcut for the Stroke
command under the Edit menu as well, very
| | 02:50 | useful command, and Ctrl+Shift+P or Cmd+Shift+P
on the Mac will now bring up the Preset Manager,
| | 02:55 | we have got a couple of shortcuts to
assign or convert to color profiles.
| | 02:59 | I have created a new shortcut for Brightness/
Contrast which is Ctrl+/ that's Cmd+/ on the Mac
| | 03:05 | and if we keep going down here, you will see
right there is Ctrl+Alt+H or Cmd+Opt+H
| | 03:10 | for Shadows/Highlights.
| | 03:12 | On the Mac, Cmd+Opt+H or Ctrl+Alt+H
normally invokes the Hide Others command which
| | 03:16 | is why I've adjusted that
keyboard shortcut for you.
| | 03:19 | You just need to add the Ctrl key now, so
it's Cmd+Ctrl+Opt+H in order to hide
| | 03:24 | others and also notice Cmd+Ctrl+H will
hide Photoshop and that's because Cmd+H
| | 03:30 | or Ctrl+H on the PC hides a selection outline.
| | 03:33 | I have given you a new shortcut for Desaturate
which is mash your fist U, so Ctrl+Shift+Alt+U
| | 03:38 | on the PC, Cmd+Shift+Opt+U on the Mac.
| | 03:41 | You can see that we have got a slew of shortcuts
for whole image operations, such as rotating
| | 03:45 | the image clockwise which is mash your fist
right bracket (]), that's Ctrl+Shift+Alt+]
| | 03:50 | on a PC or Cmd on the Mac.
| | 03:53 | I've given you a shortcut for the Trim command
which is Ctrl+Shift+Alt+C, that C is for cropping
| | 03:58 | away the blank pixels, that's
Cmd+Shift+Opt+C on the Mac.
| | 04:02 | We've got Ctrl+Shift+Alt+D or Cmd+Shift+Opt+D for
duplicate and Ctrl+Shift+Alt+L or Cmd+Shift+Opt+L
| | 04:07 | for the Calculations command which is this
advanced masking function which we'll take
| | 04:11 | a look at in the mastery course.
| | 04:14 | Moving right along here, we've got Ctrl+Shift+O
or Cmd+Shift+O for Blending Options and
| | 04:19 | notice here I've given you a shortcut for
deleting the Filter Mask, just because Photoshop
| | 04:23 | always gives you a Filter Mask and you may or
may not want to use it and that's Ctrl+Alt+Q
| | 04:28 | here on the PC or Cmd+Opt+Q on the Mac.
| | 04:31 | We've now got Ctrl+Shift or Cmd+Shift
keyboard shortcuts for the best of the Adjustment
| | 04:36 | layers, so that should come in handy for you.
| | 04:38 | We have got Ctrl+, and some variations that's
Cmd+, on the Mac in order to convert an
| | 04:42 | image to a Smart Object and you can see down here,
Ctrl+Alt+[ or Cmd+Opt+[ on the Mac
| | 04:48 | will go ahead and reverse the order of
selected layers and then finally, where the
| | 04:53 | commands are concerned, I've given you Ctrl+Shift+Alt+A or
Cmd+Shift+Opt+A on the Mac to flatten the image.
| | 04:59 | In the past, I've used Ctrl+Shift+Alt+F or
Cmd+Shift+Opt+F, however that's been
| | 05:03 | reassigned to Finding layers inside Photoshop CS6,
so my reasoning was the A is for flatten all.
| | 05:10 | I am going to go ahead and skip all the way
down here to the tools and you can look through
| | 05:15 | your chart, if you like to
see what else has changed.
| | 05:17 | But notice that I've given you the N key to
switch between the Blur, Sharpen and Smudge tools
| | 05:22 | because by default, they don't have
shortcuts and the N key goes unused and then
| | 05:28 | finally, way down here, if you're working
inside a Hue/Saturation, Black and White or
| | 05:33 | Curves Adjustment layer then you have access
to this thing called the Targeted Adjustment tool
| | 05:37 | and I've given it a keyboard shortcut of K
because K was the only key left. All right.
| | 05:43 | So that takes care of
your new custom shortcuts.
| | 05:46 | You should be able to power through the
software that much more efficiently.
| | 05:49 | In the next movie, I'll show you Macintosh
folks how to adjust your operating system
| | 05:54 | level shortcuts so that they don't
interfere with Photoshop so everybody gets along.
| | 05:59 | Those of you working on a PC can skip ahead
to the movie after that in which we'll take
| | 06:03 | a look at preference settings.
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| Remapping your Macintosh OS shortcuts| 00:00 | This movie is specifically
designed for Macintosh folks.
| | 00:02 | So, if you're working on a PC, go
ahead and skip to the next movie.
| | 00:06 | The idea here is I am going to show you how
to change our OS level keyboard shortcuts,
| | 00:10 | so that everything works as
advertised inside of Photoshop.
| | 00:14 | Now I happened to be working in OS 10.7 that
is to say, Lion, if you're working in Snow
| | 00:19 | Leopard or earlier, or some later version of
the operating system, then things may work
| | 00:23 | a little differently, but at least you will have a
sense for the options that you are looking for.
| | 00:27 | So I am going to start things
off here at the Finder level.
| | 00:30 | Your Desktop maybe a little more
cluttered, that's nothing to worry about.
| | 00:33 | Go up to the Apple menu and
choose System Preferences.
| | 00:36 | And then you want to click on
the icon labeled Keyboard.
| | 00:39 | Now the first thing you want to do is turn on
this checkbox, Use all, F1, F2, et cetera, keys
| | 00:44 | as standard function keys, that way these
keys will bring up panels and so forth inside
| | 00:48 | of Photoshop as opposed to, for
example, changing the volume.
| | 00:52 | If you do want to change the volume on your
computer, then you just go ahead and press
| | 00:56 | the Fn key along with for example F12
in order to raise the volume that is.
| | 01:00 | Next I am going to switch over to the Keyboard
Shortcuts panel and we'll start off with this
| | 01:04 | very first option Launchpad and Dock and I
want you to click on this keyboard shortcut
| | 01:09 | for turning the dock hiding on and off.
| | 01:11 | By default it's set to Cmd+Opt+D.
| | 01:13 | You want to click on it a couple of times
there, so that it's active like so and then
| | 01:18 | I recommend you press Ctrl+D, that is the
Ctrl key the one that's labeled Ctrl along
| | 01:24 | with D at the same time and that should
change your keyboard shortcut, so it looks like a
| | 01:28 | little caret (^) which
indicates the Ctrl key along with D.
| | 01:31 | Next, click on Mission Control and I want
you to click on Show Desktop right there and
| | 01:37 | go ahead and click a second time on F11 in
order to make it active and press Ctrl+F11
| | 01:43 | instead and then do the same thing for Show
Dashboard, that is click on F12 a couple of
| | 01:47 | times to make it active
and then press Ctrl+F12.
| | 01:51 | Now switch to Spotlight, and this one
can really get in the way, by the way.
| | 01:55 | The fact that it's Cmd+Space along with
Cmd+Opt+Space, those are both shortcuts
| | 01:59 | for the Zoom tool inside Photoshop.
| | 02:01 | So go ahead and click on Cmd+Space a couple
of times there, and press Cmd+Ctrl+Space
| | 02:07 | instead and then click on Cmd+Opt+Space a
couple of times, and press Cmd+Ctrl+Opt+Space,
| | 02:14 | so that you end up seeing a caret followed
by the little Options symbol followed by the
| | 02:18 | Cloverleaf and then the word Space.
| | 02:20 | Finally, click on Application Shortcuts and it
may appear truncated as it does on my screen,
| | 02:26 | but you can drag this middle bar here in order
to expand this left-hand list and I want you
| | 02:30 | to click on this keyboard shortcut for Show
Help menu and by default it's Cmd+Shift+/,
| | 02:36 | go ahead and click a couple of times on that
keyboard shortcut and change it to Ctrl+/
| | 02:41 | or something along those lines and so in my
case, I am seeing the caret symbol along with
| | 02:45 | the Slash (/) key and
that's all there is to it.
| | 02:47 | Now you can go ahead and close the System
Preferences in order to Escape as well as
| | 02:51 | save your changes.
| | 02:53 | And that's how you set up your OS level
keyboard shortcuts here on the Mac, so that you can
| | 02:57 | take advantage of my custom keyboard shortcuts
as well as Adobe's factory default shortcuts
| | 03:02 | inside Photoshop.
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| Adjusting a few general preferences| 00:00 | In this movie, we are going to transition
from shortcuts to settings, specifically the
| | 00:04 | most important settings that are available in the
General panel of the Preferences dialog box.
| | 00:09 | So what I'd like you to do, if you're working
on the PC, go up to the Edit menu, on a Mac
| | 00:12 | go to the Photoshop menu and then go down
to Preferences, it's higher in the list on
| | 00:16 | the Mac and choose the General command or
you can press the keyboard shortcut, Ctrl+K
| | 00:21 | or Cmd+K on the Mac and that's the
universal shortcut across the Adobe applications.
| | 00:26 | Then to switch between panels, you can obviously
click on one of these items in the left-hand list
| | 00:30 | or you can take advantage of the Keyboard
Shortcuts, which are Ctrl+1 or Cmd+1 for General,
| | 00:35 | Ctrl+2 or Cmd+2 for Interface,
Ctrl+3 or Cmd+3 for File Handling,
| | 00:40 | all the way up to Ctrl+0 or Cmd+0 for Type.
| | 00:42 | Anyway, I am going to switch back to General.
| | 00:45 | Now I am not going to cover every single one
of the Preference settings because, frankly,
| | 00:49 | you don't need to know about most of them.
| | 00:51 | However there are a few key settings here
that I want you to be aware of, starting with
| | 00:55 | Image Interpolation.
| | 00:57 | I prefer to go ahead and set this one
to Bicubic (best for smooth gradients).
| | 01:01 | Now what I've done is I've run a series of
tests and in my experience, this setting is
| | 01:06 | just playing the best interpolation setting
that's available to you and the reason is,
| | 01:11 | especially for those of you work on the Web,
you may find yourself downsampling an image
| | 01:15 | multiple times and if you choose Bicubic Automatic,
then Photoshop goes ahead and automatically
| | 01:21 | applies Bicubic Sharper and that setting
does incremental damage to images over time.
| | 01:27 | So as I say Bicubic (best for smooth gradients)
is the safest setting, and it's also going
| | 01:31 | to serve you best when you are working with
Smart Objects because you don't have immediate
| | 01:34 | control over the interpolation setting,
when you're scaling Smart Objects.
| | 01:39 | The next setting I want to draw your attention
to is this one right there, Export Clipboard.
| | 01:42 | By default it's on,
I recommend you turn it off.
| | 01:45 | Unless you're doing a lot of copying and pasting
between different applications from Photoshop
| | 01:50 | that is to something like, I don't even know
what Microsoft Word or something, then you
| | 01:54 | don't want Export Clipboard on because what
ends up happening is Photoshop lets you copy
| | 01:59 | these gargantuan images and then when you
switch to a different application, if Export
| | 02:04 | Clipboard is turned on, then Photoshop
offloads that enormous image to the operating system
| | 02:09 | and that can take time, in worst-case
scenario, it can even crash the OS.
| | 02:13 | So I recommend that one gets turned off.
| | 02:16 | This one right here is very interesting, Zoom
Resizes Windows, I want you to leave it turned off,
| | 02:20 | but I want to show you
what's up with that option.
| | 02:22 | I am going to go ahead and click OK to accept
those couple of changes there and I'll grab
| | 02:27 | this image and I'll drag its title tab down
into the right a little bit, so that I end
| | 02:31 | up getting this floating window.
| | 02:33 | Now notice if I zoom out, when I am working
with the floating window like this, by pressing
| | 02:37 | Ctrl+- or Cmd+- on the Mac, the image
gets smaller on screen, however the size of
| | 02:42 | the window does not change and the
same happens when you zoom in as well.
| | 02:46 | If you want the floating window to resize
along with the image, then you press Ctrl+Alt+-
| | 02:51 | or Cmd+Opt+- on the Mac and if you
want to zoom in and resize the window,
| | 02:55 | you will press Ctrl+Alt++
or Cmd+Opt++ on the Mac.
| | 02:59 | And then of course, if you don't want the
window to float anymore, you don't click on
| | 03:02 | the maximize button or anything along those
lines because that will go ahead and cover
| | 03:06 | up the entire interface, so I'll go ahead
and click on the restore button in order to
| | 03:10 | make the window smaller again.
| | 03:12 | Instead, what you do is you go ahead and drag
the title bar up into the left until you see
| | 03:15 | that blue rectangle around the entire screen,
and then you drop it into place. All right.
| | 03:20 | One final option I want to draw your attention to,
I'll press Ctrl+K or Cmd+K on the Mac
| | 03:24 | in order to bring up the Preferences dialog
box and then notice down here at the bottom,
| | 03:28 | there is this button that says Reset All
Warning Dialogs, the idea is let's say at some point
| | 03:33 | in time, you have seen enough of the dialog box
so you turn on the Don't Show Again checkbox
| | 03:37 | and then the dialog box no
longer comes up on screen.
| | 03:40 | If you regret that decision and you want to
see all the alert messages once again,
| | 03:45 | you click on that button and they will all come
back and then you can again decide which ones
| | 03:49 | you want to turn off and which ones
you want to keep on. All right.
| | 03:52 | That takes care of most of the important options here
inside the General panel of the Preferences dialog box.
| | 03:57 | There is just one remaining which is the HUD
Color Picker and I'll show you how that works
| | 04:01 | in the next movie.
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| Using the visual HUD color picker| 00:00 | In this movie I'll introduce you to the
Heads Up Display Color Picker or HUD Color Picker
| | 00:04 | for short, which allows you to select a color visually
as opposed to dialing in values in the Color panel.
| | 00:10 | Now you can change its behavior from the Preferences
dialog box, but first, let me show you how it works.
| | 00:15 | I'll go ahead and cancel out of here.
| | 00:17 | You can get to the HUD Color Picker when any
tool except for a Selection tool is active.
| | 00:21 | An ideal candidate is the Brush tool, so
I'll go ahead and select it, and then you have
| | 00:26 | two very different keyboard shortcuts depending
on whether you're working on a Mac or the PC.
| | 00:31 | On the PC you press Shift+Alt and you right-click
inside of the Image window, and then you can
| | 00:37 | go ahead and release the keys by the way,
as long as you keep your mouse button down.
| | 00:41 | And now at this point you can go ahead and
drag inside of this strip in order to define
| | 00:46 | a Hue value, then move over to the color field
and drag horizontally to change the Saturation,
| | 00:52 | or vertically, to change the Luminance.
| | 00:55 | If you're working on a Mac, you want to
press the Cmd+Ctrl+Opt keys and just click,
| | 01:00 | you don't right-click.
| | 01:01 | So you just press those three keys right in
a row and then you click and drag inside of
| | 01:06 | your Image window, again, using
any tool, except a Selection tool.
| | 01:10 | Now this field and strip, that's the default
configuration for the HUD Color Picker,
| | 01:14 | but you can change it from the
Preferences dialog box.
| | 01:17 | So I'll go ahead and press Ctrl+K or Cmd+K
on the Mac and then I am going to switch the
| | 01:22 | Color Picker from Hue Strip (Small) and you can
experiment with these other options if you like.
| | 01:27 | But my favorite is the standard Hue Wheel.
| | 01:30 | So I will go ahead and select
that option and then click OK.
| | 01:33 | And now notice, if I press the Shift+Alt keys
and right-click, that would be Cmd+Ctrl+Opt
| | 01:39 | click on the Mac.
| | 01:40 | I can drag around this wheel in order to change
the Hue value and then I can drag inside the field,
| | 01:46 | either horizontally to change the Saturation level,
or up and down to change the Luminance,
| | 01:52 | and then when you get the color you
like, just release the mouse button.
| | 01:56 | And that's how you work with the Heads Up
Display Color Picker, here inside Photoshop.
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| The interface and performance settings| 00:00 | In this movie, I'll introduce you to a
handful of interface and performance settings that
| | 00:04 | I find to be very useful.
| | 00:06 | To demonstrate the first of them I'll go ahead
and drag this image up and to the left so that
| | 00:10 | you can see that we have this slight drop
shadow under the image, out here in the spaceport.
| | 00:16 | To better see it, I'll light up the interface
by pressing Shift+F2 a couple times and now
| | 00:21 | you can see that drop shadow more clearly.
| | 00:23 | Now in my opinion, there's really no purpose
behind the drop shadow behind the image and
| | 00:27 | you can get rid of it by pressing Ctrl+K or
Command+K on the Mac and then pressing Ctrl+2
| | 00:32 | or Cmd+2 to advance
to the Interface items.
| | 00:36 | And notice that the Border is set to Drop
Shadow and both the Standard Screen mode
| | 00:40 | and the Full Screen with menu mode.
| | 00:42 | I personally go ahead and turn it off for
Full Screen with menus and leave it on for
| | 00:46 | the Standard Screen mode and that way I can
easily tell which mode I am working with at
| | 00:50 | any given moment in time.
| | 00:52 | So now if I click OK, we'll still see the drop
shadow because we're working in the Standard mode.
| | 00:57 | But if I press the F key to advance to the
Full Screen mode, the drop shadow disappears.
| | 01:01 | All right, I am going to go ahead and press Shift+F1
a couple of times to restore the dark interface.
| | 01:07 | And I'll press Ctrl+K or Cmd+K again to
bring up Preferences and this time I'm going
| | 01:12 | to switch forward to Performance which you
can also get by pressing Ctrl+4 or Cmd+4.
| | 01:17 | Notice our Scratch Disks down here.
| | 01:19 | The idea is, pretty much no matter what,
whether you've got a ton of RAM installed on your
| | 01:24 | machine or just a gig say, at some point,
Photoshop is going to top out and it's going
| | 01:29 | to have to cache some of the data that's
associated with the open images whether it's layers,
| | 01:34 | Smart Objects, History or what have you.
| | 01:36 | It's going to have to store that
information on the hard drive.
| | 01:39 | And that's what's meant by Scratch Disks here.
| | 01:41 | Now notice by default only the
system-level disc is selected.
| | 01:45 | If your computer includes multiple disks what
you want to do is turn on your biggest disk,
| | 01:50 | in my case that would be my D drive and then
go ahead and select that disk and nudge it
| | 01:55 | up the stack, like so.
| | 01:57 | So now Photoshop is going to hit the D drive
first and then the C drive and that's going
| | 02:01 | to make for a speedier experience.
| | 02:03 | Now in order for this option to take effect by the
way, you're going to have to restart Photoshop.
| | 02:07 | All right, now I'll go ahead and advance to
Cursors, and you can see that we have these
| | 02:12 | Precise Cursor options, both for the
Painting Cursors and for the Other Cursors.
| | 02:17 | Another way to see those Precise Cursors which
usually involve a crosshair is to just turn
| | 02:21 | on the Caps Lock key anytime you're working
in Photoshop and then you turn Caps Lock off
| | 02:26 | to switch back to a normal
brush tip or the standard cursor.
| | 02:30 | So I don't recommend you change these options
up here, I do however recommend that you turn
| | 02:34 | on Show Crosshair in Brush Tip, so that you
can see the center of your brush as you work.
| | 02:40 | Next, I am going to switchover to Units and
Rulers and I'll show you by default Rulers
| | 02:44 | are set to inches here in the states.
| | 02:46 | I very much disapprove of that by
the way and I'll show you why.
| | 02:50 | I am going to go ahead and click the OK button in
order to accept the changes I've made so far.
| | 02:55 | Let's say that I want to turn this horse
into a Facebook cover, just by way of example.
| | 03:01 | I know that a Facebook cover measures
851 pixels wide by 315 pixels tall.
| | 03:07 | However, if I go up to the Image menu and
choose the Canvas Size command, let's say,
| | 03:11 | in order to crop the image to exactly that
size, by default I am going to see Inches
| | 03:16 | instead which doesn't do
me any good whatsoever.
| | 03:18 | In fact, Inches only come in handy,
and this goes for millimeters as well.
| | 03:22 | The only time that comes in handy
is when you're printing an image.
| | 03:26 | And you always see inches or millimeters in
the Image Size dialog box, and in the Print
| | 03:31 | dialog box, which are the two primary
times you want to see those units of measure.
| | 03:36 | Otherwise we'd really want to switchover to
Pixels and then of course, I would go ahead
| | 03:40 | and dial in those pixel values I was just telling
you and that would crop the image to that size.
| | 03:45 | Now if I click OK at this point, Photoshop is
going to warn me that potentially something
| | 03:49 | might get clipped inside my image, that only
goes for the background, it doesn't affect
| | 03:53 | the layers, so in fact I'm just hiding the
pixels, I am not cropping them for good.
| | 03:58 | So I'll just go ahead and click on the Proceed
button and then I could press let's say Ctrl+Alt+A
| | 04:03 | or Cmd+Opt+A on the Mac to select all of
the layers and I could Ctrl+Drag or Cmd+Drag
| | 04:08 | them to a different location to establish
the position of my horse inside of the new
| | 04:13 | cover dimensions.
| | 04:15 | Now I'll just go ahead and zoom in
so I can see the image at a 100%.
| | 04:18 | Now this whole experience would be made a
lot easier if I were working with pixels,
| | 04:22 | which is the unit of measure
I prefer inside Photoshop.
| | 04:25 | And there is a couple of
different ways to switch over to pixels.
| | 04:28 | One is to go back to the Preferences dialog
box, another is just to bring up the Rulers
| | 04:32 | by pressing Cmd+R or Ctrl+R and then right-click
on a ruler and choose the desired unit of
| | 04:38 | measure, and notice you can switch
back and forth as much as you like here.
| | 04:42 | Or just so you know everything that's available
to you, you can go up to the Window menu and
| | 04:46 | choose the Info command, and that will bring
up the Info panel and you'll see right here
| | 04:51 | next to the X and Y values, you'll see this
crosshair with a little tiny arrow below it.
| | 04:56 | If you click on the crosshair, then you'll
get the pop-up menu of units and then you
| | 05:00 | can go ahead and switch to Pixels.
| | 05:02 | And now notice that changes the ruler, it's
also going to change the default unit of measure
| | 05:06 | inside the Canvas Size
dialog box and elsewhere.
| | 05:09 | All right, having made all my changes to the
preference settings, the next thing you want
| | 05:13 | to do to make sure those settings are saved is,
on a PC go to the File menu, and choose
| | 05:18 | the Exit command, on a Mac you would go to the
Photoshop menu and choose the Quit command.
| | 05:22 | Or of course you can press
Ctrl+Q or Cmd+Q on a Mac.
| | 05:26 | And that takes care of the key
preference settings here inside Photoshop.
| | Collapse this transcript |
| Adjusting the color settings in Photoshop| 00:00 | In this movie I'll show you how to adjust your
color settings to achieve what is generally
| | 00:04 | the optimal experience inside Photoshop.
| | 00:06 | Now, conceptually this is a challenging topic,
however, the change itself is very easy to apply.
| | 00:13 | Inside of a lesser application Photoshop would
just go ahead and send off this RGB data to
| | 00:18 | your monitor and your monitor would display
it according to its factory default settings,
| | 00:23 | which means that the image would
vary from one monitor to the next.
| | 00:27 | And you have probably seen this experience
if you've ever gone into an electronic store
| | 00:31 | and seen a bunch of televisions right next to
each other, and you have noticed for example
| | 00:35 | how the grass in the sport scene, let's say,
up here is greenish or even yellowish on one
| | 00:41 | screen, and more bluish on another screen.
| | 00:43 | And that's what happens if
there's no color management.
| | 00:46 | Photoshop, however, goes ahead and manages the color
experience by assigning a profile to your RGB space.
| | 00:54 | Now if you take a look at this Title Bar up
here at the top of the screen, you'll notice
| | 00:57 | in parentheses it says (Background) that's
because the background is selected here inside
| | 01:01 | the Layers panel.
| | 01:02 | We are working with an RGB
image, so Red, Green, and Blue.
| | 01:06 | The /8 tells us that the bit-depth is 8 bits
per pixel per channel and that defines how
| | 01:11 | much distinction we have
in the luminance range.
| | 01:14 | And then finally we are
seeing an Asterisk (*).
| | 01:16 | Now an asterisk outside the parentheses tells
us that we have unsaved changes, but if it's
| | 01:21 | inside the parentheses, that tells us that
this image subscribes to a color profile that
| | 01:26 | is different than the one that Photoshop is
using by default, which is not a problem,
| | 01:30 | by the way, that's perfectly okay, it's not
going to cause you any problems whatsoever,
| | 01:34 | and in fact, it's a good thing that there
is a profile assigned to this image.
| | 01:38 | So again, it doesn't vary
from one screen to the next.
| | 01:41 | The problem is that the profile that's assigned
by default to Photoshop is not the ideal RGB
| | 01:47 | profile, so here's what you do to change it.
| | 01:49 | You go out to the Edit menu and you choose the
Color Settings command, or you press Ctrl+Shift+K
| | 01:55 | or Cmd+Shift+K on the Mac.
| | 01:57 | And then notice right here, by default here in
the States, Settings is set to North American
| | 02:02 | General Purpose 2, which means
that the RGB working space is sRGB.
| | 02:08 | Now well, sRGB is not a terrible space,
I don't want to over-characterize this,
| | 02:13 | it's not an ideal space, it's a very old profile
definition and it's based pretty much on a
| | 02:18 | worst case scenario computer monitor, the
kind of thing you might have used on a PC
| | 02:22 | back in the 1990s.
| | 02:24 | Now, it's considered the ideal color space
for the Web and I'll come back to that in
| | 02:28 | a moment, but I recommend you change it, whether
you're creating Web graphics or print graphics
| | 02:33 | to a better space, which is this
one right here, Adobe RGB (1998).
| | 02:38 | Now the only reason to use some other space
such as ProPhoto RGB, is if you're typically
| | 02:43 | working with 16-bit per channel images, and if
you are, you know who you are, but otherwise
| | 02:49 | for day-to-day work inside Photoshop,
Adobe RGB (1998) is the best way to go.
| | 02:55 | And that's really the only
change you need to make.
| | 02:57 | Now if you are working with a specific commercial
printer, you may be able to get a CMYK profile
| | 03:02 | from them, so that you can achieve
the best commercial printing results.
| | 03:06 | But you need to talk to your commercial printer
about that, if you don't have such a profile,
| | 03:11 | I recommend you leave this option alone.
| | 03:13 | Make sure that these color management
policies are all set to preserve embedded profiles,
| | 03:17 | that's very important, and that
all of these checkboxes are off.
| | 03:21 | Then what I recommend you do is go and save
off your settings by clicking on the Save button
| | 03:25 | and what I've been calling these
settings for years now, is Best workflow.
| | 03:30 | So I will go ahead and enter
that as my settings name.
| | 03:33 | And then you have the option of
entering some comments if you like.
| | 03:36 | And I have gone ahead and
copied some text to my Clipboard.
| | 03:39 | So I will just press Ctrl+V or
Cmd+V on the Mac to paste it in.
| | 03:42 | And for one it's where the text reads: These
are the settings that Deke recommends in his
| | 03:46 | CS6 One-on-One courses for lynda.com.
| | 03:49 | They ensure consistent color and printing
across all CS6 applications, and we'll come
| | 03:53 | to that in just a moment.
| | 03:55 | Then I will click OK in order to save those
settings and I will click OK again in order
| | 03:59 | to accept my change.
| | 04:01 | And now notice up here in the Title tab,
we're no longer seeing the Asterisk (*), because
| | 04:04 | this image was already set to
Adobe RGB in the first place.
| | 04:08 | Now the only time you're going to see the
image shift on screen is if it's not profiled
| | 04:13 | in the first place, and if you run into that
by the way, if you end up opening an image
| | 04:18 | and it looks peculiar, looks different than
you anticipated, then what you want to do
| | 04:22 | is go up to the Edit menu and choose Assign
Profile or if you've loaded dekeKeys, I have
| | 04:27 | given you a keyboard shortcut of
Ctrl+F2 or Cmd+F2 on the Mac.
| | 04:31 | If you get an alert message, just say OK.
| | 04:34 | And then what you want to do is go ahead
and switch the profile for that image
| | 04:39 | back to sRGB and it will look the same
way it did in the first place.
| | 04:43 | In my case, my image is changing on screen
and that's because it was already set to
| | 04:49 | Adobe RGB and that's the way I want to leave it.
| | 04:51 | All right, so I am going to cancel out.
| | 04:53 | Now one of the questions I frequently get
from Web folks is shouldn't I be working in
| | 04:58 | sRGB, isn't it a mistake to use Adobe RGB?
| | 05:02 | And the answer is no, Adobe RGB is going to
serve you better over time, because sometimes
| | 05:08 | you are going to be printing your images and
sometimes you want the best colors you can
| | 05:11 | possibly achieve, and that's what
Adobe RGB is going to do for you.
| | 05:16 | And also know, when you go to the File menu
and choose the Save for Web command, that
| | 05:20 | one of the options that Photoshop goes ahead
and applies by default here is a conversion
| | 05:25 | to sRGB, leave that checkbox on
and everything is going go great.
| | 05:30 | Your image will look exactly the way it's
supposed to look inside of a Web browser.
| | 05:34 | All right, I am going to go
ahead and cancel out of here.
| | 05:37 | Now there is just one more change that you
need to make if you own the entire Creative Suite,
| | 05:41 | this doesn't apply to those of you who
own Photoshop by itself, but if you have
| | 05:47 | one of the many variations on the Creative Suite,
then you want to go up to the File menu
| | 05:50 | and choose Browse in Bridge or press
Ctrl+Alt+O or Cmd+Opt+O on the Mac
| | 05:55 | and then here inside Bridge, you go up to the Edit
menu and choose Creative Suite Color Settings.
| | 06:01 | Now if you do not see this command, or it does
not work for you, it means that for whatever
| | 06:06 | reason, Bridge is not recognizing
that you own the entire Creative Suite.
| | 06:10 | I am going to go ahead and choose the command,
because it's going to work fine for me and
| | 06:14 | then you want to select those settings you
just saved, in my case Best workflow and then
| | 06:18 | go ahead and click on the Apply button and
that's going to apply those changes across
| | 06:22 | all the other Creative Suite applications.
| | 06:25 | Now note by the way, if you go up to the Edit
menu and choose the command again, you are
| | 06:29 | going to see the word Synchronized at the
top of the dialog box, which tells you that
| | 06:33 | all the Creative Suite applications are now
set the same way, and that's very important,
| | 06:37 | because that way you won't have any color
shifting when you're switching images back
| | 06:41 | and forth between say Photoshop and
Illustrator or Photoshop and InDesign and so forth.
| | 06:47 | Anyway, my deed is done, so I am going to
click the Cancel button in order to cancel
| | 06:51 | out of that dialog box and that wraps up our
look at advanced shortcuts and settings, here
| | 06:56 | inside Photoshop and Bridge.
| | Collapse this transcript |
|
|
24. Smart ObjectsSmart Objects| 00:00 | The topic of the chapter is Smart Objects.
| | 00:03 | To truly understand how they work.
| | 00:05 | You need to know two things about them;
they aren't smart and they're not objects.
| | 00:10 | But you know otherwise
they make perfect sense.
| | 00:13 | What they're indestructible envelopes.
| | 00:15 | You put one or more layers into
a Smart Object the envelope.
| | 00:19 | And from that point on those
layers are impervious to damage.
| | 00:23 | Seriously, unless you break the seal on the
envelope and edit the layers directly,
| | 00:27 | you can not hurt them, which mean that you can
scale and rotate them as much as you want.
| | 00:32 | You can pummel them with effects and the
Filter menu in the pixels go unharmed.
| | 00:37 | And just for fun you can clone them.
| | 00:39 | Make as many copies as you like,
| | 00:41 | all linked to a single original.
| | 00:43 | In this chapter I'll demonstrate Smart Objects
in the context of a vector graphic created
| | 00:48 | in Adobe Illustrator. We'll place a graphic into a
photograph which automatically makes a Smart Object.
| | 00:55 | They will turn it into a photo realistic tattoo by
warping around this dude's great swollen bicep,
| | 01:02 | applying some blending options and Blur in
it with a Smart Filter to disperse the ink.
| | 01:07 | Finally, we'll launch Illustrator from inside
Photoshop, modify the graphic and save the changes
| | 01:13 | back into Photoshop.
| | 01:15 | In the final movie I'll show you a special
trick available only in Photoshop Extended.
| | 01:21 | That lets you remove all
people from a photograph.
| | 01:23 | And it works great, too.
| | 01:25 | Of course they're not gone
forever are just hidden.
| | 01:28 | Because nothing at the Hulk could not Voldemort
not even Donkey Kong can hurt a Smart Object.
| | Collapse this transcript |
| Three ways to place a Smart Object| 00:00 | In this movie I'll show you three ways to place
art work as a Smart Object inside Photoshop.
| | 00:05 | And even though I'll be demonstrating these
methods using an Illustrator file,
| | 00:09 | things were just the same when you're
placing a photographic image as well.
| | 00:13 | Over the course of this project we're going
to take this guy with this big meaty bicep
| | 00:16 | and we're going to give him a tattoo.
| | 00:18 | And even though this is a piece of vector-based
artwork from Illustrator, it integrates seamlessly
| | 00:24 | along with the photographic image.
| | 00:26 | So let's see how things work here.
| | 00:28 | Method number one is to go up to the
File menu and choose the Place command.
| | 00:31 | And if you loaded my dekeKeys you'll notice
that you have a keyboard shortcut of Ctrl+Alt+D
| | 00:36 | or Cmd+Option+D be on the Mac.
| | 00:38 | Then navigate your way to the 24_smart_objects
folder and therein you will find, among other
| | 00:43 | files, you'll find many more files here.
| | 00:45 | But you'll find one called Tiger tattoo.ai,
go ahead and click on the Place button
| | 00:49 | in order to load it on up.
| | 00:51 | Next you'll see the Place PDF dialog box and
incidentally, if you're saying a smaller version
| | 00:56 | of the artwork then you can switch the
Thumbnail Size from Small to Fit Page.
| | 01:01 | Now what this is telling us is that Photoshop
requires a PDF definition of the artwork in
| | 01:05 | order to place it, but that's just fine because
Illustrator goes ahead and saves PDF definitions
| | 01:11 | of its artwork by default.
| | 01:13 | Next go ahead and click OK to load out the
artwork, at first it's going to appear jagged
| | 01:17 | and that's just a
function of the Place preview.
| | 01:19 | Now at this point you may want to scale your
artwork and I am going to do so by clicking
| | 01:24 | on this Link icon up here in the Options bar,
then I am going to change the Width value
| | 01:28 | to 50%, which changes the
Height to 50% as well.
| | 01:31 | Notice that still looks jagged, but if you
press the Enter key or the Return key on a
| | 01:35 | Mac a couple of times, in order to complete
the Place operation Photoshop goes ahead and
| | 01:40 | renders out the vector-based
artwork to smooth pixels.
| | 01:43 | Now notice over here in the Layers panel that
we do indeed have a Smart Object as indicated
| | 01:47 | by this little page icon in the
lower right corner of the thumbnail.
| | 01:51 | Okay, so that's one way to work.
| | 01:53 | I am going to press the Backspace key or the
Delete key on the Mac to get rid of that layer.
| | 01:57 | The second method for placing a Smart Object
is to go up to the File menu and choose
| | 02:01 | Browse in Mini Bridge and that'll bring up the Mini Bridge,
by default down here at the bottom of the screen.
| | 02:06 | Once again navigate your way to the smart_objects
folder inside the exercise_files folder,
| | 02:11 | find the Tiger tattoo.ai file and just go ahead
and drag it and drop it into the image.
| | 02:16 | Once again that produces a Place PDF dialog box,
you click OK and then you press the
| | 02:21 | Enter key or the Return key on a
Mac to render out the artwork.
| | 02:24 | All right, I am going to go ahead and hide
the Mini Bridge by double-clicking on its
| | 02:27 | tab and then I'll once again press the
Backspace key or the Delete key on a Mac.
| | 02:31 | Your final method is to go ahead and bring
up the folder at the Desktop level of your
| | 02:35 | computer and that's going to be the
Explorer here on the PC or the Finder on the Mac.
| | 02:40 | Find that Tiger tattoo.ai file and just go
ahead and drag it and drop it into the Image
| | 02:45 | window in the background.
| | 02:46 | Again you'll see that same Place PDF dialog
box, just go ahead and click OK, and
| | 02:51 | if you like, go ahead and scale the
artwork as well as I'm doing here.
| | 02:55 | And those are the three ways to place any
artwork whether it's a photographic-based
| | 03:00 | image or a piece of vector-based artwork
like this as a Smart Object inside Photoshop.
| | Collapse this transcript |
| Copying and pasting from Adobe Illustrator| 00:00 | In this movie I'll show you yet another way
to bring artwork into Photoshop as a Smart Object,
| | 00:04 | but this specific method works only
with vector-based artwork created inside of
| | 00:09 | Illustrator and it's really as simple as
copying from one program and pasting into the other,
| | 00:13 | but you have a handful of
options when pasting the artwork.
| | 00:17 | So here I am working inside of Illustrator
and I've got open the Tiger tattoo.ai file,
| | 00:22 | I'm going to go up to the Select menu and
choose the All command or you can press Ctrl+A
| | 00:26 | or Cmd+A on the Mac and then go up to
the Edit menu and choose the Copy command
| | 00:31 | or press Ctrl+C here on a
PC or Cmd+C on the Mac.
| | 00:35 | Then I'll switch over to Photoshop which is
running in the background here and I'll go up
| | 00:39 | to the Edit menu and choose Paste or I can
press Ctrl+V or Cmd+V on the Mac and then
| | 00:45 | Photoshop will ask me how I want to paste this
artwork. Now I should say if you're bringing
| | 00:49 | vector-based artwork in from another application,
let say InDesign then it'll just go ahead
| | 00:54 | and paste this as a Smart Object by default, but when
you're working with Illustrator you've got choices.
| | 01:00 | For example, I could select Pixels
if I wanted to paste a pixel-based layer.
| | 01:04 | Now the only reason you do that is if something
went wrong with the Smart Object paste, otherwise
| | 01:10 | you want to steer clear of that option,
because it efforts you a lot less flexibility,
| | 01:14 | you can also paste Path outlines if you want to
and those outlines will appear in the Paths panel
| | 01:19 | and we'll visit Paths in more detail
when we look at the Pen tool in the future
| | 01:23 | chapter inside this course.
| | 01:26 | And then your last option is to paste to Shape
Layer and I'm going to go ahead and do that
| | 01:30 | for now, so I can show you how things have
improved inside CS6, so I'll go ahead and
| | 01:34 | click OK and we end up with a
new shape layer called Shape 1.
| | 01:38 | Now you may recall that our Illustrator artwork
included strokes and those have gotten lost
| | 01:43 | in the translation, so all we have our path
outlines filled with the foreground color
| | 01:48 | in my case black, but I can reinstate those
strokes if I want to by switching to my black
| | 01:52 | Arrow tool which I can get by pressing the
A key and then I'll have access to my
| | 01:56 | Stroke options up here in the options bar.
| | 01:59 | I'm going to start by clicking in the Stroke
swatch and then I'll click on this little
| | 02:02 | colorful icon to bring up to a Color Picker
dialog box and I'll change the R value to 150
| | 02:07 | and then I'll click OK and I'll also
change the width of the stroke to 1 point in the
| | 02:14 | case of this artwork and I'm going to have
to modify where that stroke sits, so I'll
| | 02:18 | click on this little line icon then I'll click
on More Options and I'll change my Align setting
| | 02:24 | to Outside and you may notice in the
background that introduces an error, but if I switch
| | 02:29 | to Corners from Mitre to Round than that little
anomaly goes away, right now click OK in order
| | 02:34 | to accept that change and I'll also press the Enter
key or the Return key on the Mac to hide that
| | 02:39 | panel and I might will press Ctrl+H or
Cmd+H on a Mac to hide those shape outlines.
| | 02:44 | Problem is even though I can build back a certain amount
of the fills and strokes associated with this tiger.
| | 02:50 | A shape layer can contain just one fill and
my originals Illustration had a black fill
| | 02:56 | inside the Tigers face and then some gradients
inside of these flames on the far left and
| | 03:01 | right sides and that is not something I can
achieve without creating a separate shape layer.
| | 03:07 | So really the best way to work where this
artwork is concerned is to bring it in this
| | 03:11 | Smart Object, so I'm going to press the
Backspace key or the Delete key on the Mac to
| | 03:15 | get rid of that layer and I'll press Ctrl+V or
Cmd+V on a Mac in order to invoke the Paste command
| | 03:20 | and I'll select Smart Object and click OK
and then I'll go through the same ritual
| | 03:25 | as before, I'll go ahead and turn on link icon
up here in the options bar and I'll change
| | 03:30 | the Width value to 50% and that will change
the height value to 50% as well then
| | 03:34 | I'll press the Enter key or the Return key on
the Mac a couple of times in order to create that
| | 03:39 | Smart Object layer.
| | 03:41 | Now an additional advantage to working with
this Smart Object is that we can transform
| | 03:45 | this layer as much as we want and we'll keep
track of the transformations as we go as opposed
| | 03:51 | to having the transformed values reset as
happens when you apply multiple transformations
| | 03:56 | to a vector based shape player.
| | 03:58 | So where this specific artwork is concerned,
a Smart Object is by far the best solution.
| | 04:04 | In the next movie we'll begin warping and
transforming this layer in order to fit around
| | 04:09 | this fellow's bicep.
| | Collapse this transcript |
| Transforming and warping a vector object| 00:00 | In this movie I'll show you how to transform
and warp this vector-based Smart Object
| | 00:04 | around the contours of this fellow's arm.
| | 00:06 | Notice that my Smart Object is
selected here in the Layers panel.
| | 00:09 | I'm going to go ahead and rename it Tiger
tattoo because that's what it's going to
| | 00:13 | be and then just to get my bearings.
| | 00:15 | I'm going to go up to the Edit menu and choose
the Transform command and notice here in the
| | 00:20 | submenu, that we can scale rotate and skew
this layer, but we can't apply the distort
| | 00:25 | perspective or warp effects.
| | 00:28 | Now that doesn't have anything to do with
the fact that this layer is a Smart Object,
| | 00:31 | it has everything to do with the fact that
it came from Illustrator, but there's a very
| | 00:35 | simple if not particularly obvious solution
and that is to go ahead and select that layer,
| | 00:40 | then go up to Layer panel flyout menu and
choose Convert to Smart Object again even
| | 00:45 | though it's already a Smart Object, we're going
to place it inside of another Smart Object.
| | 00:50 | If you loaded my dekeKey shortcuts I've given you a
keyboard shortcut of Ctrl+, or Cmd+, on the Mac.
| | 00:57 | Now if we go up to the Edit menu, and choose Transform,
you'll see that all of the options are available.
| | 01:03 | Now we want to apply them in one operation
using the Free Transform command, so I'll
| | 01:08 | go ahead and choose the command or press
Ctrl+T or Cmd+T on the Mac, and I'm going to
| | 01:12 | start off by scaling and rotating the artwork and
these are the values I just happened to come up with.
| | 01:18 | I'm going to change the width value to 64%
and the height to 82%, because I reasoned
| | 01:23 | that once this artwork was tattooed on this
guy's arm, it would end up stretching vertically
| | 01:28 | and now I'm going to change the angle value to
18 degrees and if your values end up changing
| | 01:32 | any just little bit, it's not the end of the
world, it's not actually going to affect the
| | 01:36 | quality of the final image.
| | 01:38 | Now I'm going to warp the artwork, and I'll
do so by clicking on the Warp icon over here
| | 01:42 | on the right side of the options bar and
I started things out by setting the warp style
| | 01:46 | to Arch and then I went ahead and bent this
tiger just by dragging this top anchor point
| | 01:53 | there, but while that works well for wrapping
the tiger around the sort of volumetric cylinder
| | 01:59 | like shape of his arm, we're not tracing the
actual bulges that is the way the bicep bulges
| | 02:05 | and the way the shoulder goes in
and then back out and so forth.
| | 02:08 | So while arch is a good starting point, I'm
going to switch over to custom, so that I gain
| | 02:13 | access to these corner handles as well as
these levers, so I'm going to move this handle
| | 02:19 | up to about this location here, and then I'll
drag this lever out like so and notice that
| | 02:24 | that's stretching at the artwork and then
I'll go ahead and move this top right-handle
| | 02:28 | up a little bit, and I'll drag this lever
up and over as well, so that we're twisting
| | 02:34 | the tattoo pretty heavily into the shoulder,
and I found that exaggerating the effect helped
| | 02:39 | a lot, because that ends up showing that the
artwork is actually contouring to the shape
| | 02:43 | of his guy's arm.
| | 02:44 | All right I'm going to drag this guy down,
maybe drag this anchor point up a little bit
| | 02:48 | like so take the lever up as well take this lever
over to about this location should work out.
| | 02:55 | I'll drag the corner handle to here move
this lever up so that we have a little more
| | 03:00 | bend at the bottom, take this
guy up quite a bit as well.
| | 03:03 | Now I really want to do exaggerate the bulge
of the arm there, and then I'll grab this
| | 03:07 | lever and take it up and, by the way, you can
also drag directly on the image if you like.
| | 03:13 | So in this case I'm dragging on the tiger's
face in order to lift that central face area upward,
| | 03:18 | and that's pretty much the effect
I'm looking for. And don't worry about the
| | 03:22 | fact that the flames are extending beyond
the edge of the arm, we'll take care of that later.
| | 03:25 | Go ahead and press the Enter key or
the Return key on the Mac in order to exit
| | 03:30 | the Free Transform mode and apply
that warp effect to your artwork.
| | 03:33 | And by the way, because we're working with the
Smart Object, you can always change your mind.
| | 03:37 | If you want to make a few adjustments just
press Ctrl+T or Cmd+T to once again enter
| | 03:42 | the Free Transform mode, go ahead and click
on that Warp icon in order to switch to the
| | 03:47 | Warp mode and then go ahead and drag at any
point in the artwork you like in order to
| | 03:52 | further stretch it.
| | 03:53 | So I might go ahead and drag up on his chin
for example in order to lifted upwards just
| | 03:58 | a little bit as well and then I'll press the
Enter key or the Return key on the Mac,
| | 04:02 | to accept my latest modifications.
| | 04:04 | And you know what, I have to say that his
eyes are looking little crooked, it looks
| | 04:08 | like his face is bending right there don't
like that, so again I'll just press Ctrl+T,
| | 04:12 | Cmd+T on the Mac to enter free transform
mode, go ahead and click on a Warp icon and
| | 04:17 | then I'm just going to drag his
face down a little bit like so.
| | 04:21 | I think that might end up looking a little
better, and maybe take this lever up as well
| | 04:25 | to raise that left eye and that looks
like that should work pretty well.
| | 04:29 | So I'll press the Enter key or the Return
key on the Mac in order to apply yet another
| | 04:33 | heaping, helping of Warp, so you can do that as
much as you want and you'll get nondestructive
| | 04:38 | results as long as you're working with a Smart
Object combined in this case with vector-based
| | 04:44 | artwork here inside Photoshop.
| | Collapse this transcript |
| Blending a Smart Object into a photograph| 00:00 | In this movie I'll show you how to blend the
tattoo in with the flesh of the arm and
| | 00:04 | I'll also show you how to blend away these little
bits of flame that are extending beyond the arm,
| | 00:08 | and this will serve as a kind of advance
preview the sort of blending options
| | 00:12 | that we'll see in a future chapter.
| | 00:14 | So for starters here, you want to double-click
on an empty portion of this layer here inside
| | 00:19 | the Layers panel, in order to open up the
layer Style dialog box, I'm going to go ahead
| | 00:23 | and move this dialog box off screen and also
zoom into the artwork by Ctrl+Spacebar or
| | 00:29 | Cmd+Spacebar clicking.
| | 00:31 | Now notice this slider bar that's labeled
underlying layer, it extends from black over here
| | 00:35 | on the left-hand side to white over on
the right-hand side and we also have
| | 00:40 | luminance values of 0 for black and 255 for white.
| | 00:44 | What we can do by modifying these slider triangles
is force through luminance levels from the
| | 00:50 | underlying layer so that they become visible
and the pixels on the active layer on top
| | 00:54 | of them become invisible.
| | 00:56 | So notice if I drag this white triangle over
to the left, let's say to somewhere around 150,
| | 01:01 | I'm saying anything in the arm with a
luminance level of a 150 or brighter is going
| | 01:07 | to force its way through.
| | 01:09 | As a result, we end up having some pretty
choppy transitions as you can see here,
| | 01:14 | so the pixels just die away, they're either visible
of those portions of the arm are 150 or darker
| | 01:19 | or they're invisible if
the arm is 150 or lighter.
| | 01:23 | The good news is that we've gone ahead and
dropped away the flames on the outside of the arm.
| | 01:28 | So where as previously, the flames were extending
into that white background as soon as we moved
| | 01:33 | that white triangle just a little bit
over to the left those flames disappear.
| | 01:37 | If you want to achieve smooth transitions,
so that the pixels gradually drop away,
| | 01:43 | then you want to press the Alt key or the
Opt key on a Mac and notice that we have this
| | 01:46 | little sliver in the middle of the triangle.
| | 01:49 | That's showing us that it's really two triangles
that have been merged together and if you
| | 01:53 | Alt+Drag or Opt+Drag the left half of that
triangle you'll go ahead and pull it apart,
| | 01:58 | and I'm going to take it down to a value of
a 100, like so, so that we can clearly
| | 02:03 | see some of the flesh in the arm and then
I'll go ahead and move the right side of that
| | 02:08 | white triangle back up to 250.
| | 02:10 | And so what we're seeing in this case is
anywhere where the arm is 250 or brighter the pixels
| | 02:16 | completely disappear anywhere where it's a
hundred or darker, the pixels on the tiger
| | 02:21 | tattoo layer are all together visible and
anywhere in between they're gradually disappearing.
| | 02:27 | So we get an affect that makes it look like
the tattoo is really painted onto that flesh.
| | 02:32 | The next thing you want to do is change the
Blend mode from Normal to Multiply, so that
| | 02:36 | you get a uniform darkening effect and
that's just going to go ahead and sink those red
| | 02:40 | strokes into the skin and then you want to
click OK in order to accept that change.
| | 02:46 | So to get a sense of what we've been able to
accomplish, I'll press Ctrl+Z or Cmd+Z
| | 02:49 | on a Mac to restore the opaque version of
the tattoo, so that's what it looked like
| | 02:54 | before obviously a synthetic piece of artwork
just slapped on top of the image and now if
| | 02:59 | I press Ctrl+Z or Cmd+Z again, we get a
tattoo that looks like it's really emblazoned
| | 03:04 | onto the skin and therefore it serves
as a credible element of this composition.
| | Collapse this transcript |
| Blurring with a nested Smart Filter| 00:00 | In this movie, I'll show you how to blur the
tiger tattoo with the application of a Smart Filter,
| | 00:04 | and I'll show you how to blend that
filter into place as well and then I'll show
| | 00:08 | you a special approach that will allow us
to see the effects of the Smart Filter even
| | 00:13 | if we apply further transformations.
| | 00:16 | So I'm going to start things off here by going
up to the Filter menu and choosing Blur
| | 00:20 | and then I'll choose Gaussian Blur and if you
loaded dekeKeys you've got a keyboard shortcut,
| | 00:24 | this is a very common useful filter, of
Shift+F6. And I ultimately elected to set the
| | 00:29 | Radius value to 4 pixels where this image is
concerned, higher resolution images incidentally
| | 00:35 | would require a higher radius values in order
to achieve the same effect, and then
| | 00:39 | I'll go ahead and click OK
in order to apply that filter.
| | 00:43 | Because I'm working with a Smart Object, Photoshop
applies Gaussian Blur automatically as a
| | 00:48 | Smart Filter, which means that I
can edit it anytime I like.
| | 00:51 | Now all I have to do to edit the settings
is double-click on the words Gaussian Blur
| | 00:56 | and then I have access to
that radius value once again.
| | 00:59 | Anyway, for now I'm just going to cancel out.
| | 01:01 | Now let's say at this point, this isn't really
the effect I want, it's way to blurry, but we'll
| | 01:05 | address that in a moment, but for now let's
imagine that I want to apply further transformations
| | 01:11 | to this image and I want to be able to see
the filtered version of the image as well.
| | 01:16 | Well, if you go up to the Edit menu, and choose
Free Transform or any of the other transformation
| | 01:21 | options, then Photoshop is going to warn you
that the Smart Filters that are applied to
| | 01:25 | this layer will be turned off temporarily, so
as long as you're applying the transformation,
| | 01:30 | you can't see the filter and sure enough when
I click OK, the Gaussian Blur effect disappears.
| | 01:35 | What if that's not what you want?
| | 01:36 | Well, I'm going to go ahead and press the Escape
key in order to leave the Free Transform mode
| | 01:41 | and then I'll right-click on the words
Smart Filters and choose Clear Smart Filters
| | 01:46 | in order to get rid of that effect.
| | 01:49 | The great thing here is we've got a Smart
Object inside of a Smart Object, so we can
| | 01:53 | nest the filtering effect like so, just go
ahead and double-click on the thumbnail for
| | 01:57 | the tiger tattoo layer.
| | 01:59 | If you get this alert message that's telling
you how Smart Filters work just go ahead and
| | 02:03 | click OK and then inside the Smart Object,
we're still in Photoshop by the way,
| | 02:08 | you want to go up to the Filter menu and just
choose that first command or you can press
| | 02:12 | Ctrl+F or Cmd+F on the Mac and because
we're working with the Smart Object, as you
| | 02:16 | can see here, Photoshop goes ahead and forces
the display of the Gaussian Blur dialog box.
| | 02:21 | I still want to apply a radius values 4 pixels
then I'll click OK and I also want to go ahead
| | 02:27 | and blend this filtering effect into the original
image and I'm going to do that by double-clicking
| | 02:32 | on this little slider icon there and that'll
bring up the Blending Options dialog box and
| | 02:37 | I'm going to change the mode from Normal, once
again, to Multiply in order to sync that affect.
| | 02:43 | So what I am doing is I am telling Photoshop
to use the Gaussian Blur exclusively to darken
| | 02:47 | the image, which means that the blur is going
outward and not inward and that will create
| | 02:52 | the appearance of the any kind of leaching
into the skin and then I'll select the Opacity
| | 02:57 | value and change it to 75% and I'll click OK.
| | 03:01 | Now because the Gaussian Blur effect is
extending outside the outlines of this tiger art,
| | 03:06 | it's extending outside of the canvas as well, so
we're going to get some very sharp edges if
| | 03:11 | we just go and save our changes at this point.
| | 03:13 | What we need to do is
extend the canvas a little bit.
| | 03:16 | By going up to the Image menu, and choosing the
Canvas Size command or you can press Ctrl+Alt+C
| | 03:20 | or Cmd+Opt+C on the Mac, and I'm going to
turn on the relative checkbox, so that
| | 03:25 | we're just adding pixels to the image and
I'm going to enter a width value of 20 pixels
| | 03:29 | and a height value of 20 pixels as well and I'm just
trying to give it way more pixels than we need.
| | 03:35 | Theoretically, because of the Gaussian
distribution of the Gaussian Blur filter we need about
| | 03:41 | 6 or 7 pixels in order to account for 4 pixels
of radius but 20 pixels will for sure be enough.
| | 03:48 | Now I'll go ahead and click OK in
order to extend that canvas outward.
| | 03:52 | Now that I'm done working on the Smart Object
I'll go ahead and close it and then here on
| | 03:56 | a PC I'll click the Yes button on the Mac
you'll click the Save button in order to update
| | 04:01 | that Smart Object inside
of the larger composition.
| | 04:04 | Now that we've applied the filter inside of
the Smart Object, instead of outside of it
| | 04:10 | we can transform this layer and still see
the effect of the filter and so just by way
| | 04:15 | of demonstration, I'll go up to the Edit menu
and choose as opposed to Free Transform this time,
| | 04:19 | I'll go to the Transform submenu and
choose the Warp Command, so we can go directly
| | 04:24 | to the Warp mode and note we don't get an
alert message this time and we continue to
| | 04:29 | see the effects of the Gaussian Blur filter.
| | 04:32 | And then, I'm just going to drag upward on
the flames at the top of the tiger's head
| | 04:36 | in order to add a little bit of extra distortion
there, and when I'm done I'll press the Enter
| | 04:41 | key or the Return key on the Mac, in order
to accept my changes and that's how you blur
| | 04:46 | an image with the help of a Smart Filter
nested inside of a Smart Object, so that you can
| | 04:51 | continue to see the results of the filter
even when you apply further transformations.
| | Collapse this transcript |
| Editing a Smart Object in Illustrator| 00:00 | In this movie I'll show how to modify this
artwork inside of Illustrator and then save
| | 00:05 | the changes back to Photoshop.
| | 00:07 | When you're working with a Smart Object,
everything about that object is embedded in
| | 00:12 | the current file. So in other words, there
is no link between the Illustrations in the
| | 00:16 | original tigertattoo.ai file on disk.
| | 00:20 | So you were to make some changes to that file,
they would not be reflected inside of this image.
| | 00:24 | Instead, the entire Illustration is embedded
inside of this Photoshop composition
| | 00:31 | which means that you need to edit it from
the composition as well and here's how.
| | 00:35 | We'll start things off by double-clicking
on the thumbnail for the tigertattoo layer
| | 00:38 | here inside the Layers panel.
| | 00:40 | If you get this alert which is just telling
you how Smart Objects work, you will probably
| | 00:44 | want to turn on that Don't show
again checkbox and then click OK.
| | 00:48 | Now we're looking at the nested Smart Object,
the one that contains the Illustration itself,
| | 00:53 | to edit it go ahead and double-click on its
thumbnail once again inside the Layers panel,
| | 00:59 | and that's going to take you into Illustrator. Notice
that Photoshop just launched Illustrator for me.
| | 01:04 | I'm going to a head and maximize Illustrator
so it takes up the entire screen here and
| | 01:08 | I'll press Ctrl+0 or Cmd+0 on a Mac in
order to fit the Illustration inside the window.
| | 01:14 | Now the specific modification that I want
to make is to fill the black portion of the
| | 01:18 | tiger's face with that same gradient that
I've currently assigned to the flames.
| | 01:23 | Assuming that you've got the black Arrow tool
selected at the top of the toolbox, then you
| | 01:27 | can just go a head and click anywhere on this
black path outline and select the entire thing.
| | 01:33 | So it's essentially this very
complicated compound path.
| | 01:36 | Now in order to match the Fill of the Flames
you want drop down to the eye-dropper tool
| | 01:41 | which you can get by pressing the
i key just as you do inside Photoshop.
| | 01:45 | And then click inside either the Fill Shapes.
The only problem now is that the gradient is
| | 01:50 | at the wrong angle and you solve that problem by
selecting the next tool up which is a Gradient tool.
| | 01:56 | And then you want to drag from the bottom of the
tiger's chin up to the top of the flames like so.
| | 02:01 | I'm also pressing the Shift key in order to
constrain the angle of my drag to exactly
| | 02:05 | vertical and I end up
getting this effect here.
| | 02:08 | Now I'll go ahead and switch back to the black
Arrow tool which it just so happens you can get
| | 02:12 | by pressing the V key and at this point, I want to
go ahead update the artwork inside of Photoshop.
| | 02:18 | And that's as simple as it's been in past.
You just go ahead and close the artwork and
| | 02:22 | then you click on the Yes button here
on a PC or the Save button on the Mac.
| | 02:27 | Now it's not going to look like anything particularly
happened because we're still inside of Illustrator.
| | 02:32 | What we need to do is switch over to Photoshop,
and you can see as soon as we switched to
| | 02:37 | Photoshop the artwork updates automatically.
| | 02:40 | Now we need to close this Smart Object and
click the Yes button once again, here on the
| | 02:44 | PC or the Save button on a Mac, in
order to update the original composition.
| | 02:50 | And now of course, if you like what you get,
you go ahead save your changes to the
| | 02:54 | Hard Drive by choosing the Save
command from the File menu.
| | 02:57 | You can also Undo a change made to a Smart
Object even thought there was a multi-step
| | 03:02 | operation, all I've to do is press Ctrl+Z
or Cmd+Z on the Mac to Undo the entire
| | 03:07 | thing or press Ctrl+Z or
Cmd+Z on a Mac to invoke a redo.
| | 03:12 | And that's how you edit a vector-based Smart
Object directly inside Illustrator and then
| | 03:17 | hand the changes back to Photoshop.
| | Collapse this transcript |
| Creating "true clones"| 00:00 | In this movie I'll introduce you to another
feature of Smart Objects that doesn't have
| | 00:04 | a name, that is to say Adobe has never given
it a name, which is why I call it True Clones.
| | 00:10 | And the idea is you can create several copies
of a Smart Object and they'll all link back
| | 00:14 | to a single original.
| | 00:16 | So we're going to start with this revised
version of the artwork, you can see that I've
| | 00:20 | switched out the Tiger's head for a more colorful
piece of stock art, but it still a Smart Object
| | 00:24 | that links back to Adobe Illustrator,
and I also have this layer of text.
| | 00:28 | We're going to go ahead and convert the text
into Smart Object and copy it several times
| | 00:32 | to create this watermark pattern.
| | 00:34 | And the idea is we're including this watermark,
so if we give-away the image for free it's
| | 00:38 | not usable until somebody purchases and
downloads an unwatermarked version of the composition.
| | 00:44 | But because I've set the watermark up using
true clones, I can always switch out the company
| | 00:49 | name if I want to like this. And I can do so
in just a couple of operations as we'll see.
| | 00:55 | So let's start off in
this base composition here.
| | 00:58 | For starters I need to set up a kind of grid,
so that I can create copies of my text layer
| | 01:03 | at regular intervals, so I'm going to press
Ctrl+R or Cmd+R on the Mac to bring up
| | 01:07 | the rulers, and then I'll select the background
here in the Layers panel and press Ctrl+A
| | 01:11 | or Cmd+A on the Mac in order to select
the entire artwork and then I'll press
| | 01:16 | Ctrl+T or Cmd+T on the Mac in order
to enter the Free Transform mode.
| | 01:19 | At which point I can see this reference point
target right there which represents the exact
| | 01:24 | center of my artwork and now I'll drag down a
horizontal guideline and snap it into alignment
| | 01:29 | with that target and if you end up not seeing
your guide as I'm not seeing mine, then press
| | 01:34 | Ctrl+; or Cmd+; on a Mac in order to show
those guides, and then I'll drag a vertical
| | 01:40 | guideline out as well and now I'll press the
Escape key in order to escape out of the
| | 01:44 | Free Transform mode and I'll press Ctrl+D or Cmd+D
on the Mac in order to deselect my artwork.
| | 01:50 | One more thing we want to do is locate the
origin point for the ruler right there at
| | 01:55 | that guide intersection.
| | 01:57 | So I'll drag from the upper left corner of
the rulers and snap my cursor into alignment
| | 02:00 | with those guidelines, and now you can see the 0, 0
point is right there at the center of the artwork.
| | 02:06 | All right, I don't need my rulers anymore,
so I'll press Ctrl+R or Cmd+R on the Mac
| | 02:10 | to hide him, and then I'll switch to my Text
layer and convert it to a Smart Object by
| | 02:14 | going up to Layers panel flyout menu and choosing
Convert to Smart Object or if you loaded dekeKeys
| | 02:19 | you can press Ctrl+, or Cmd+, on the Mac.
| | 02:22 | Now in ideal world I'll be able to duplicate this
text by pressing Ctrl+Alt+T or Cmd+Opt+T and
| | 02:26 | then step and repeat by pressing Ctrl+Shift+Alt+T
or Cmd+Shift+Opt+T, but unfortunately
| | 02:32 | neither of those features
work with Smart objects.
| | 02:35 | So what I'm going to do instead is press CtrlJ
or Cmd+J on the Mac a couple of times
| | 02:40 | in order to create copies
of that Smart Object layer.
| | 02:43 | Then I'll click in the middle one to select
it and I'll press Ctrl+T or Cmd+T on the Mac
| | 02:47 | in order to enter the Free Transform mode, and
you want to make sure up here in the Options bar
| | 02:51 | that this triangle, the delta is turned off, so
that you're seeing absolute positioning values.
| | 02:57 | And then change that Y value to 0 and press
the Enter key or the Return key on Mac a couple
| | 03:03 | of times in order to scoot that text, so its
center is exactly vertically aligned to the
| | 03:07 | center of the artwork.
| | 03:09 | Now click on the lowest of the Photos by
Floyd layers and then press Ctrl+T
| | 03:13 | or Cmd+T on the Mac to once again enter the Free
Transform mode and change that Y value from
| | 03:18 | negative to positive, so just get rid of the Minus
(-) sign and press the Enter key or the Return
| | 03:23 | key on the Mac a couple of times
in order to nudge that text down.
| | 03:26 | So by virtue of the fact that we're using
the same value just a positive value instead
| | 03:31 | of the negative value it's as far below the
center of the artwork as the original layer
| | 03:36 | is above the center of the artwork.
| | 03:37 | All right, that takes care of our first
three true clones of our Smart Object original.
| | 03:42 | In the next movie I'll show you how to create
the other true clones using a simple but
| | 03:47 | clever transformation trick.
| | Collapse this transcript |
| Duplicating a group of clones| 00:00 | In this movie I'll show you how to create a
second column of true clones over here the
| | 00:03 | right-hand side of the image using a
simple but clever transformation trick.
| | 00:08 | Specifically we're going to be flipping the
existing column of clones twice in a row.
| | 00:13 | Once to position the column over here on the
right-hand side and then to make the text
| | 00:16 | read properly from left to right.
| | 00:18 | So first thing we need to do is select all
these Smart Object clone layers by clicking
| | 00:22 | on one and Shift+Clicking on the other, and
then go up to the Layers panel flyout menu
| | 00:27 | and choose New Group from layers and that'll
force to display of this dialog box,
| | 00:31 | so we can name the group left and click OK.
| | 00:33 | All right, now I'm going to make a copy of
this group by pressing Ctrl+J or Cmd+J
| | 00:38 | on the Mac and I'll return to the original
group down here and rename it right, because
| | 00:44 | these layers are going to be a right-hand
column and by virtue of the fact we've been
| | 00:47 | Ctrl+J or Cmd+J on a Mac to duplicate
this various layers, they are all true clones
| | 00:53 | of a single original.
| | 00:55 | So I'm going to press Ctrl+T or Cmd+T on the Mac
in order to enter the Free Transform mode
| | 00:59 | for this entire group as you can see.
| | 01:01 | And what you want to do is move this target so
it snaps into alignment with the intersection
| | 01:06 | of the guidelines.
| | 01:07 | Now I can't get the snap to work in my case,
and if you have that same problem,
| | 01:12 | here is an interesting trick.
| | 01:13 | After you get done selecting the target, this
reference point right there, the values represented
| | 01:18 | up here in the Control panel now represent
the location of not the object itself,
| | 01:24 | but rather the target, so you can change both
the X value and the Y value to 0 in order
| | 01:30 | to make sure that that target is right there
at the guide intersection and this presupposes
| | 01:36 | by the way that you went ahead and moved the
origin point to align to the intersection
| | 01:41 | of the guidelines in the previous movie.
| | 01:44 | Then right-click inside of the Image window
and choose Flip Horizontal in order to flip
| | 01:48 | that text over to the right-hand side and
because we moved the target to the intersection
| | 01:54 | of those two guides we're flipping across
the vertical guide like so and that creates
| | 01:58 | a second column of clones exactly where it
needs to be and press the Enter key or the
| | 02:03 | Return key on the Mac in
order to apply that change.
| | 02:06 | Now that not only positions the text, but it
also flips it thereby rendering it illegible
| | 02:11 | unless of course you've got a mirror.
| | 02:13 | So press Ctrl+T or Cmd+T on the Mac to
once again enter the Free Transform mode
| | 02:18 | and then right-click inside the Image
window and choose Flip Horizontal.
| | 02:22 | Again this time without moving that target and
that will go ahead and flip the text around
| | 02:28 | its own center and we get the exact effect
we're looking for and press the Enter key
| | 02:32 | or the Return key on a Mac in
order to accept that change.
| | 02:35 | All right, that takes care of our six true
clones, but if you recall the final version
| | 02:40 | of the composition we're going for, I want
these two additional layers right here to
| | 02:45 | link to a different Smart Object and I'll
show you how to accomplish that using a command
| | 02:50 | called New Smart Object Via Copy.
| | Collapse this transcript |
| Breaking the Smart Object link| 00:00 | In this movie I will show you how to break
the link between a copy of a Smart Object
| | 00:03 | and its original, using a command that's not
particularly discoverable inside of Photoshop
| | 00:08 | that goes by the name of
Smart Object via Copy.
| | 00:12 | So what I am going to do here is expand this
right group and then click on its top layer
| | 00:16 | to make it active.
| | 00:17 | Now if you duplicate the layer by going up to
layer menu choosing New and choosing
| | 00:22 | Layer via Copy or if you press that command's
keyboard shortcut, Ctrl+J or Cmd+J on the Mac,
| | 00:27 | then you create yet another true clone,
just as we have been doing in the past.
| | 00:31 | If you don't want this to be a clone, you just
want it be a copy, then what you do is you
| | 00:35 | drop down to the Smart Objects sublayer and you
choose this command, New Smart Object via Copy.
| | 00:42 | Now the name of the command really
doesn't make that much sense in my opinion.
| | 00:45 | Layer Via Copy creates a true clone and Smart
Object Via Copy ends up breaking the link,
| | 00:51 | but this is the command you want.
| | 00:53 | And if you loaded dekeKeys, you can also get to it by
pressing Ctrl+Alt+Comma(,) or Cmd+Opt+Comma(,)
| | 00:58 | on the Mac and that will go ahead and create
another copy of that Smart Object that doesn't
| | 01:03 | look any different.
| | 01:04 | So there is no way to tell that this
particular layer is differently linked, other than to
| | 01:09 | just go ahead and rename it,
which is what I suggest.
| | 01:11 | And I am going to call this one file numbers,
because that will end up being its purpose,
| | 01:15 | and then I will drag it out of the group and
you want to make sure that you can see that
| | 01:18 | horizontal line between the
left and right groups, like so.
| | 01:21 | And then I will go ahead and twirl the right
group closed, and now I want to create a
| | 01:25 | true clone of this layer, so I will press Ctrl+J
or Cmd+J on the Mac in order to do so.
| | 01:30 | So now we have two true clones linked to a
single original, but an original that is different
| | 01:35 | than all of the other true clones.
| | 01:37 | All right, now we need to properly position
these watermarks, and here is how to do that.
| | 01:41 | Click on the lower of the two file numbers
layer, and then press Ctrl+T or Cmd+T
| | 01:46 | on the Mac in order to
enter the Free Transform mode.
| | 01:49 | Now go up to the options bar click on that
Y value and change it to 0 and then press
| | 01:54 | the Enter or the Return key on the Mac and
that goes ahead and moves the text downward,
| | 01:58 | so it's vertically aligned
with the center of the artwork.
| | 02:00 | All right now grab both of these guys, so
Shift+Click on the other layer there, in order
| | 02:05 | to select it and let's create another group
by going up to Layers panel flyout menu and
| | 02:10 | choosing New Group from layers and go ahead
and Name this group middle this time around,
| | 02:14 | and then press the Enter or
the Return key on the Mac.
| | 02:17 | Now we need to properly position these layers
and you do that by pressing Ctrl+T or Cmd+T
| | 02:21 | on the Mac to once again enter the Free
Transform mode, and go ahead and drag this bounding
| | 02:27 | box, so that its target point there, that
reference point right there in the middle
| | 02:31 | the bounding box, snaps into alignment with
the intersection of the two guidelines and
| | 02:36 | then press the Enter key or the Return key
on the Mac in order to apply that change.
| | 02:40 | And now we have every single one of our
text layers properly aligned and distributed.
| | 02:44 | In the next movie I will show you how to apply
layer Effects to multiple layers at a time,
| | 02:50 | once again, using a Smart Object.
| | Collapse this transcript |
| Styling and blending Smart Objects| 00:00 | In this movie I will show you how to apply a
layer Effect and a Blend Setting to multiple
| | 00:04 | layers at a time using a Smart Object.
| | 00:06 | Now this isn't your only option. As demonstrated
inside this version of the composition,
| | 00:11 | you can go ahead and select all your groups
and then put them inside of another group,
| | 00:16 | as I have in this case here, and then apply
a layer Effect to the group here inside of
| | 00:22 | Photoshop CS6. And I demonstrated how that worked
back in Chapter 16 of my Intermediate course.
| | 00:28 | The problem is if you want to go ahead and
drop out the letters and make them transparent,
| | 00:31 | as I have in this case, you might figure that
you can set the Fill value to 0% but CS6 has
| | 00:36 | a bug in it currently that
prevents that from saving.
| | 00:39 | So you have to come up with a different approach,
in my case I dropped out all that black text
| | 00:44 | by setting the blend mode for
the entire group to screen.
| | 00:47 | Well, what if you want things to just work
the way they are supposed to. In other words,
| | 00:50 | you want to just set the Fill value
to 0% or some other reduced value?
| | 00:54 | In that case you are better off using a Smart
Object and I am going to show you how that works.
| | 00:58 | So here I am with all my black letters, I am going
to press Ctrl+;(Semicolon) or Cmd+;(Semicolon)
| | 01:03 | on the Mac to hide those guidelines.
| | 01:05 | And then I will click on the right group and
Shift+Click on left group to select all three
| | 01:09 | groups and I will go up to Layers panel flyout
menu and I will choose Convert to Smart Object.
| | 01:14 | Or you can press Ctrl+,(Comma)
or Cmd+,(Comma) on the Mac.
| | 01:17 | So the idea is anything can become a Smart
Object inside Photoshop, even entire groups
| | 01:22 | of layers, and notice after I choose the command,
we are left with one Smart Object called left.
| | 01:27 | I am going to rename it all type, and then press
the Enter key or the Return key on the Mac.
| | 01:32 | Now I'll reduce the Fill Opacity to 0% by
pressing Shift+0+0 and that way all the letters
| | 01:37 | will drop out and we will just see
the layer effect as we work on it.
| | 01:41 | And I will apply the layer Effect by dropping
down to the fx icon at the bottom of the panel
| | 01:45 | and choosing Bevel & Emboss, and the default
values actually work out pretty darn well.
| | 01:50 | So I have got a Style of Inner Bevel, a
Technique of Smooth, the Depth value is set to 100%,
| | 01:56 | the Direction is Up, the Size and
Soften are 5 and 0 respectively.
| | 02:00 | Angle and Altitude are set to the Global
Light positions of a 135 and 30 degrees.
| | 02:05 | So actually the only change I am going to make
here is to take the Highlight Modes Opacity
| | 02:09 | value up to 100% and then I will click OK
in order to apply that effect and we end up
| | 02:14 | getting the exact same effect that I
showed you at the onset of the movie.
| | 02:18 | Problem is some of the watermarks
appear against the white background.
| | 02:21 | So we can't see the highlights of the bevel
emboss effect at all, we are just left with
| | 02:25 | the shadows, which means that it might be
nice to have a little bit of Fill Opacity.
| | 02:29 | So I will press Shift+2 in order to take the
Fill value up to 20% and that's something
| | 02:34 | you would not be able to do
with the standard layer group.
| | 02:37 | You can only achieve this kind of effect when
applied to multiple layers; that is to say,
| | 02:41 | using a Smart Object.
| | Collapse this transcript |
| Editing originals; updating clones| 00:00 | In this movie I'll show you how to open and
edit the two originals associated with this
| | 00:04 | composition, in order to
update all the true clones.
| | 00:07 | And in the end we'll wind up coming up
with this effect here, in which the first
| | 00:11 | and third columns list URLs, and the middle
column goes ahead and list the file numbers.
| | 00:15 | First, with this stock photograph of the guy with
a big bicep, and then for the stock illustration
| | 00:20 | of the tattoo, so I'll go and switch to the
image in progress here and I'll double-click
| | 00:24 | on the thumbnail for this all-time Smart Object,
in order to open that Smart Object that contains
| | 00:29 | all of the groups.
| | 00:31 | And then I'll twirl open right, let's say,
and double-click on the thumbnails for any
| | 00:36 | one of these Photos by Floyd layers.
| | 00:38 | And the reason you can double-click on any
of the thumbnails is that they all take you
| | 00:42 | to the same original.
| | 00:44 | So I'll go and double-click on that thumbnail
in order to open the original Smart Object,
| | 00:48 | and then I'll double-click on little T here
in the Layers panel in order to switch over
| | 00:52 | to the Type tool and select all the text, and
I'll press Ctrl+Shift+K or Cmd+Shift+K
| | 00:57 | on the Mac in order to turn off the All Cap Style
and I'll change this text to fotolia.com/deke.
| | 01:04 | And then I'll press Ctrl+A or Cmd+A on
the Mac in order to select all the text and
| | 01:09 | I'll press Ctrl+Shift+ > or Cmd+Shift+>
a couple of times in a row, in order to
| | 01:14 | increase the size of that text to 28 points,
as you can see up here in the Options bar.
| | 01:20 | Then press the Enter key on the numerical
keypad in order to accept your change and
| | 01:24 | go to the Image menu and choose the Reveal All
command and notice by the way, if you loaded
| | 01:29 | DekeKeys, I have given you a keyboard shortcut
of Ctrl+Shift+Alt+B or Cmd+Shift+Opt+B
| | 01:33 | on the Mac and that's just because I assigned
Ctrl+Shift+Alt+A or Cmd+Shift+Opt+A
| | 01:38 | to the task of flattening all layers, so I went ahead
and gave Reveal All, the next letter in the alphabet.
| | 01:44 | Anyway, go ahead and choose that command and
you'll get this effect here, and then close
| | 01:48 | the Smart Object, click on the Yes button here
on the PC, with the Save button on the Mac,
| | 01:52 | in order to update those six true clones.
| | 01:55 | All right, now let's take
care of the two middle layers.
| | 01:58 | By twirling open the middle group and double-clicking
on the thumbnails for either of the file numbers
| | 02:03 | layers and that will open up this original,
and I'll once again double-click on the
| | 02:07 | T thumbnail here in the Layers panel to switch
to the Type tool and select all that text.
| | 02:11 | I'll press Ctrl+Shift+K or Cmd+Shift+K
on the Mac in order to turn off all caps and
| | 02:17 | I'll dial in file numbers, colon (:) and then
I've gone ahead and copied the file numbers
| | 02:21 | to the clipboard.
| | 02:22 | So I'll press the Ctrl+V or Cmd+V on the Mac
in order to paste that text in to place
| | 02:27 | and I'll press Ctrl+A or Cmd+A on the Mac
to Select All of that text, press Ctrl+Shift+>
| | 02:32 | or Cmd+Shift+> two times in a row in
order to increase the type size to 28 points
| | 02:37 | once again, and then press Enter on the
numerical keypad to accept that change.
| | 02:42 | And then, again visit the Image menu and choose
Reveal All or take advantage of the shortcut,
| | 02:47 | either way, in order to
expand that text like so.
| | 02:50 | Go ahead and close the Smart Object, click
on the Yes button or the Save button on the Mac
| | 02:54 | in order to update those clones.
| | 02:56 | Now you can see that all of the URLs are
violating the canvas, and so the solution is to
| | 03:02 | once again, go up to the Image menu and choose
Reveal All in order to expand the canvas,
| | 03:07 | so none of the text gets clipped, and then go
ahead and close this Smart Object and click
| | 03:11 | the Yes button on the PC or the Save button
on the Mac in order to update all of the text
| | 03:16 | in one operation here
inside the larger composition.
| | 03:20 | And so, if I press Ctrl+Z or Cmd+Z on
the Mac, we'll see the original watermark,
| | 03:25 | and then if I press Ctrl+Z or Cmd+Z on
the Mac again, I'll see the new watermarks
| | 03:29 | that we updated inside this very movie.
| | 03:33 | And that, friends, is some of the power that's
afforded to us by True Clones and Smart Objects,
| | 03:38 | here inside Photoshop.
| | Collapse this transcript |
| Removing people from a scene with Median| 00:00 | In this movie I'll show you one final use
for Smart Objects, which allows you to remove
| | 00:04 | people from a scene using a Stack mode known
as Median, but I will warn you, this feature
| | 00:10 | only exists inside Photoshop Extended.
| | 00:13 | So if you have the standard version of the
software, you will not have access to Stack Modes.
| | 00:17 | In which case you can go ahead and
skip ahead to the next chapter.
| | 00:21 | I'm looking in a subfolder inside the
24_smart_objects folder called Vicenza pics.
| | 00:26 | And if you go ahead and click on Teatro Olimpico-1
and Shift+Click on Teatro Olimpico-4,
| | 00:33 | then you'll select four different files.
| | 00:35 | I'm going to press the Spacebar in order to
preview the image at full screen, and you
| | 00:39 | can see, as I advance from one image to the
other, that while the scene is fairly stationary,
| | 00:45 | I wasn't using a tripod, so
things bounce around a little bit.
| | 00:49 | But the biggest difference is that we have my
friend Colleen walking across the foreground.
| | 00:55 | So let's say, much as I like Colleen, I want to go
ahead and get rid of her where the scene is concerned.
| | 00:59 | Well, here's how.
| | 01:01 | I press the Escape key to return to the Bridge and
then go ahead and select those four images once again.
| | 01:06 | You don't want to have Stack mode Median.psd selected,
because that's the final version of the file.
| | 01:12 | With those four images selected, and by the way,
if you were trying this with your own images,
| | 01:15 | you need at least three shots to make it work.
| | 01:19 | Then go up to the tools menu, choose Photoshop
and choose Load Files into Photoshop layers.
| | 01:24 | And that will go ahead and launch Photoshop and
combine those images into a layered composition.
| | 01:29 | All right, now I'll press Ctrl+0 or Cmd+0
on the Mac in order to zoom in slightly.
| | 01:35 | And I want you to see here, I'm going to
click on the bottommost layer and then Alt+Click
| | 01:38 | or Opt+Click on its eyeball.
| | 01:40 | And now I can press Alt+] to advance through
these layers and you can see that things
| | 01:45 | bounce around quite a bit.
| | 01:46 | We need to go ahead and align these layers together.
| | 01:49 | So I'll go and Shift+Click on the bottommost
layer, so that all four layers are selected
| | 01:54 | and then I'll go up to the Edit
menu and choose Auto-Align layers.
| | 01:58 | And that will bring up this dialog box here.
| | 02:00 | You want to leave Projection set to Auto and leave
the two Lens Correction checkboxes turned off,
| | 02:05 | and then click OK, and Photoshop will
automatically distort and align the layers,
| | 02:10 | so that they better overlap.
| | 02:12 | Now let's check what's happened here.
| | 02:14 | I'll click on that topmost layer to make it
active, so that we have one layer active and
| | 02:18 | it's the only layer that's visible.
| | 02:20 | And then I'll press Alt+[ or Option+[ on the Mac
to advance down the stack, and you can
| | 02:25 | see now that all four of the
images perfectly align.
| | 02:29 | All right, the next thing you need to do is
turn on all the layers, and then click on
| | 02:33 | the bottommost layer, Shift+Click on the
topmost so that all the layers are selected and go
| | 02:37 | to the Layers panel flyout menu and choose
Convert to Smart Object or press that keyboard
| | 02:41 | shortcut of Ctrl+Comma(,),
Cnd+Comma(,) on the Mac.
| | 02:44 | All right, now for the moment of truth.
| | 02:47 | Now Photoshop Extended ships with a bunch
of Stack modes, but you wouldn't know it,
| | 02:50 | because they're so hard to get to.
| | 02:52 | You go up to the layer menu, you choose Smart
Objects, then you choose Stack mode, and if
| | 02:56 | you don't see this command, it's because
you have a standard version of the software.
| | 03:01 | And then you have access to a variety of different
Stack modes that you can apply one at a time,
| | 03:05 | so only one Stack mode can be
applied to any given Smart Object.
| | 03:10 | Now just by way of example, I'll go ahead and
choose Mean, each one of these modes blends
| | 03:15 | the images together differently.
| | 03:17 | And when you choose Mean you end up getting
the average luminance levels from all four
| | 03:21 | of the images inside of the Smart Object,
and as a result we have these Colleen ghost
| | 03:27 | that are traveling across the scene.
| | 03:29 | So if you want that kind of effect,
then Mean is the Stack mode of choice.
| | 03:32 | I'm going to go ahead and expand this layer so
that we can see the Stack mode listed below
| | 03:36 | the Smart Object name.
| | 03:37 | And as long as I'm here I'll go ahead
and rename the Smart Object all layers.
| | 03:41 | All right, so that's pretty interesting, there
are some other ones that are available to you.
| | 03:44 | I'll go up to the Layer menu, choose Smart
Objects again, choose Stack mode, fairly laborious
| | 03:50 | to switch between these guys.
| | 03:52 | And I'll choose Minimum and what that's going
to do is keep the minimum luminance level,
| | 03:55 | in other words, the darkest color
from all of the layers combined.
| | 04:00 | And as a result we're going to get some pretty
flushed out versions of all the Colleens in
| | 04:03 | the scene, because she's
wearing that dark clothing.
| | 04:06 | It doesn't entirely give us just Colleens,
however, because she's got some lines going
| | 04:11 | through the highlights in her face, which
after all are brighter than the background.
| | 04:15 | However, the effect I really want to achieve is
to eliminate Colleen from the scene entirely.
| | 04:20 | And to do that you go up to the layer menu,
choose Smart Objects, choose Stack mode, and
| | 04:24 | then choose this guy right there, Median.
| | 04:27 | And that will find the most popular luminance
level associated with all of the layers, and
| | 04:32 | because Colleen only appears on one layer at any
given position, she ends up being 100% eliminated.
| | 04:38 | All right, I'm going to press Ctrl+0 or Cmd+0
once again in order to back out of the scene.
| | 04:44 | And now I want to go ahead and crop things,
because after all we have some weirdness down
| | 04:48 | here in the corners.
| | 04:49 | So using the Rectangular Marquee tool
I'm just going to draw a selection
| | 04:53 | about yea big here that ends up capturing
what I considered to be more less the ideal
| | 04:57 | composition for the scene.
| | 04:59 | It's certainly symmetrical.
| | 05:01 | And now I'll go up to the
Image menu and choose Crop.
| | 05:04 | Now normally the Crop command is going to delete
all the pixels that are outside the selection.
| | 05:09 | The only exception is when you're using a
Smart Object, because after all Smart Objects
| | 05:13 | by definition cannot be cropped.
| | 05:16 | So I'll go ahead and choose that command and we
end up getting this final version of the scene.
| | 05:20 | I'll press Ctrl+D or Cmd+D
on the Mac in order to deselect.
| | 05:23 | I might want to brighten things up as well,
so I'll click the black/white icon at the
| | 05:27 | bottom of the panel, choose Brightness/Contrast,
and I'll go ahead and take the Brightness
| | 05:32 | value up to 20 and I'll take the Contrast
value down to -20, and we get this final version
| | 05:39 | of the composition.
| | 05:40 | Now I'll press Shift+F in order to fill the
screen with the image and zoom in as well,
| | 05:44 | and that's how you use the Median Stack mode
to eliminate people and other moving objects
| | 05:49 | from a scene.
| | Collapse this transcript |
|
|
25. Shadows/HighlightsLuminance meets sharpening| 00:00 | As a follow-up to Smart Objects, I now present you
with a command that complements Smart Objects.
| | 00:06 | It lives with the Color Adjustments, but it
works as a Smart Filter and it goes by the
| | 00:10 | name Shadows Highlights.
| | 00:13 | Its job is to brighten shadows, that is,
make them less shadowy and darken highlights.
| | 00:19 | So it reduces the contrast of an image,
but it does so like a sharpening filter.
| | 00:23 | In other words, it traces bright halos inside
the shadows and dark halos inside the highlights,
| | 00:30 | which mean that as you correct the luminance
of a photograph, you also increase its impact.
| | 00:35 | For example, over the course of this chapter,
we're going to take this nicely composed photograph
| | 00:40 | and turn it into this.
| | 00:42 | Which I think is interesting, because we
start with the photo that looks fine, right?
| | 00:47 | And then we turned it into
something that looks fantastic.
| | 00:49 | And you know why, I know that, you are going
to learn a lot from this chapter,
| | 00:55 | because I've got this guy and he's just
going to stare the information into you.
| | Collapse this transcript |
| Correcting for lens distortion| 00:00 | Over the course of this project we're going
to take this portrait shot, which has some
| | 00:04 | great composition in my opinion, but is a
little bit flat in terms of the contouring, so in
| | 00:08 | another words, his face is lit from
straight on and ends up washing out a little bit.
| | 00:14 | And we're going to give it some more volume;
we're going to give it some more depth
| | 00:17 | in order to come up with this final effect here.
| | 00:19 | I should say this image once again hails from
the Fotolia Image Library, about which you
| | 00:23 | can learn more and get discounts
by the way at fotolia.com/deke.
| | 00:27 | Now the first thing we need to do is correct for the
Lens Distortion that's associated with this image.
| | 00:32 | Notice if I switch back to the original, not
only is the image crooked so it's leaning
| | 00:38 | down into the right, but his head is leaning
in the opposite direction, almost as if it
| | 00:42 | is skewed, which means once we straighten the
image, he's going to look more crooked than ever.
| | 00:46 | Also, notice that the right half of his face,
his left, appears narrower than the left half
| | 00:52 | of the face, and presumably a lot of
that has to do with Lens Distortion.
| | 00:57 | The idea is that there's curvature associated
with the lens element and as the light enters
| | 01:02 | that element and then lights on to the image
sensor, the light actually distorts on its
| | 01:07 | way into the image and usually that
distortion is found around the outside edge.
| | 01:11 | Fortunately, we can correct for Lens
Distortion using a filter known as Lens Correction.
| | 01:17 | We want to apply that filter as a Smart Filter
of course, so I'm going to convert this image
| | 01:21 | into a Smart Object by double-clicking on
the background here inside the Layers panel
| | 01:25 | and I'm just going to Name this layer dude.
| | 01:27 | And then I'll go up to the Layers panel
flyout menu and choose Convert to Smart Object,
| | 01:31 | or if you loaded DekeKeys, you can
press Ctrl+, or Cmd+, on the Mac.
| | 01:35 | Next, go up to the Filter menu and choose
Lens Correction, which has a factory keyboard
| | 01:39 | shortcut of Ctrl+Shift+R or Cmd+Shift+R
on the Mac, and that's going to bring up this
| | 01:44 | big huge screen-gobbling dialog box.
| | 01:47 | Now you probably want to start things off
inside the Auto Correction tab, and notice
| | 01:51 | down here in the bottom-left corner of the
window, we can see the camera model, which
| | 01:55 | is a Canon EOS 5D Mark II.
| | 01:58 | We might also be able to see the lens model, although
in this case we can't, so we'll have to make that up.
| | 02:03 | But we can see the Focal
Length, which is 40 mm.
| | 02:06 | So let's go ahead and dial in what
we know into the Search Criteria.
| | 02:09 | The Camera Make is already set to Canon.
| | 02:11 | I'll go ahead and select from Camera
Model the 5D Mark II from the list.
| | 02:16 | And by default Photoshop goes ahead and grabs
a 28mm lens, which is good enough where this
| | 02:21 | image is concerned.
| | 02:23 | Presumably a lens like that does work.
| | 02:25 | Now I recommend you go ahead
and turn on all the checkboxes.
| | 02:28 | By default you may only have Geometric
Distortion turned; on you definitely want that turned
| | 02:33 | on of course, because that's the main thing that
we're trying to correct where this image is concerned.
| | 02:38 | We're going to learn more about Chromatic
Aberration when we take a look at Camera RAW
| | 02:41 | in the future chapter, but for now just know
that it's a misregistration of color around
| | 02:46 | the outer edges of the image.
| | 02:48 | Just about every image has some form of
Chromatic Aberration associated with it, so you might
| | 02:52 | as well go ahead and turn that checkbox on.
| | 02:55 | And if your image has vignetting, that is
presumably darkness around the outer edge
| | 02:59 | created by the lens element itself casting a
shadow, then go ahead and turn on the Vignette
| | 03:04 | checkbox, and you'll see that it makes a
slight difference where this image is concerned.
| | 03:08 | All right, the next thing you want to do is
switch over to Custom so that we can modify
| | 03:12 | the Geometric Distortion by hand.
| | 03:15 | If you drag this slider to the left in order
to apply a negative value, then you're going
| | 03:19 | to create a kind of bulging
effect like we're seeing here.
| | 03:22 | If you move the slider to the right that gives you a
positive value and you create a pin-cushioning effect.
| | 03:28 | We do want a pin-cushioning effect, but not
that much, so I'm going to start with a value
| | 03:32 | of 0, and I'm going to press Shift+Up Arrow
a few times in a row in order to increase
| | 03:37 | that value in single digit increments.
| | 03:40 | And by the time you get to a value of +10,
somewhere in that range, things start looking good.
| | 03:45 | You notice that the two halves of his
head look a lot more proportional.
| | 03:48 | Next, I'm going to drop down to this Angle
value and we want to modify it as well, and
| | 03:53 | what I suggest you do here is press Shift+Down
Arrow in order to incrementally rotate that
| | 03:58 | image down into the left; that is
in a counterclockwise fashion.
| | 04:03 | And at about -0.8, you end up getting a
straight horizon, and to confirm that you can turn
| | 04:09 | on the Show Grid checkbox, so that you can
see that grid there, which is going to show
| | 04:13 | you an exactly horizontal line so that you can
compare it to the horizon in the background.
| | 04:19 | And that ends up creating a very nice effect,
so I'll go ahead and click OK in order to
| | 04:24 | correct that lens distortion.
| | 04:26 | So just to give you a sense of what we were
able to accomplish here, this is the before
| | 04:29 | version of the image quite distorted by
comparison, and this is the after version.
| | 04:35 | Thanks to the Lens Correction
filter, here inside Photoshop.
| | Collapse this transcript |
| Introducing Shadows/Highlights| 00:00 | In this movie I'm going to introduce
you to the Shadows/Highlights filter.
| | 00:03 | We first saw it back in Chapter 7 of the fundamentals
course, but in these next couple of movies
| | 00:08 | I'm going to give you a much better
sense of how the filter works.
| | 00:11 | Now if you take a look at the final version
of the image here, you'll see that there are
| | 00:14 | only three filters assigned to the Smart Object,
they're High Pass, Gaussian Blur, and Shadows/Highlights.
| | 00:20 | Notice that Lens Correction is missing and
that's because I needed to apply this Filter
| | 00:25 | Mask, but the Filter Mask could not effect
the Lens Correction filter, because if it did,
| | 00:29 | we would burrow our way down to the distorted
image, which wouldn't work at all. Which means
| | 00:35 | what we need to do is put our current Smart
Object inside of another Smart Object,
| | 00:39 | so that it is not affected by this
Filter Mask, and here's how that works.
| | 00:43 | I'll go ahead and switch back to my image in
progress, and with the dude layer selected
| | 00:48 | go up to the Layers panel flyout menu and choose
Convert to Smart Object or press Ctrl+Comma(,),
| | 00:52 | Cmd+Comma(,) on the Mac and you'll see
that you've put the old Smart Object into
| | 00:57 | a new Smart Object, because after all the filter
list as well as the filter mask have disappeared.
| | 01:02 | All right, now let's go up to the Image menu
and choose Adjustments, and you'll see that
| | 01:07 | Shadows/Highlights is available to you, because
even though it's listed as a color adjustment,
| | 01:12 | it actually functions as a filter, because
it's looking for edges inside of an image
| | 01:17 | much like the Sharpening filters and Gaussian blur
and the other edge filters inside the software.
| | 01:23 | If you loaded dekeKeys, I've given you a
keyboard shortcut of Ctrl+Alt+H or Cmd+Opt+H
| | 01:27 | on the Mac and that goes ahead and
brings up the Shadows/Highlights dialog box.
| | 01:32 | Now the idea behind this filter
is pretty darn simple, initially.
| | 01:36 | The Shadows value allows you to brighten up
the Shadows and the Highlights value allows
| | 01:41 | you to darken the highlights.
| | 01:43 | By default you get a ton of shadow
brightening and no highlight darkening at all.
| | 01:48 | That's exactly the opposite of what we want.
| | 01:51 | Our shadows were bright enough in first place.
| | 01:53 | So I'm going to take that Shadows value down to say
about 10%, until we get this effect right here.
| | 02:00 | And if you want to get a sense for the effect of
the filter, you can turn the Preview checkbox
| | 02:04 | off in order to see the original shadows in
the image, and then turn that checkbox back
| | 02:08 | on, in order to see the brighter shadows.
| | 02:11 | We really need this Highlights value.
| | 02:13 | So I'm going to press Shift+Up Arrow in order
to incrementally take those highlights down.
| | 02:18 | And you can see by the time we get into the 80%
range for example he looks like he's been
| | 02:23 | either slapped around or of
course he has horrible sunburn.
| | 02:27 | Neither of which are the least bit
indicative of that original photo.
| | 02:31 | So I'm going to take this value down, let's
say to 45% where this image is concerned.
| | 02:38 | Now you might say that looks pretty bad, after
all if I turn the Preview checkbox off,
| | 02:42 | you'll see that he looks brighter, more natural
color is going on inside of his face as well.
| | 02:46 | If I turn that Preview checkbox on, well,
we have a lot more potentially volumetric
| | 02:51 | detail going on inside the highlights.
| | 02:53 | We also have this sunburn effect which
is not something that we want at all.
| | 02:58 | Also we've got a fair amount of haloing.
| | 03:00 | I'm going to click inside that Amount value and
then Ctrl+Spacebar+Click, Cmd+Spacebar+Click
| | 03:05 | along the horizon right there and you can see
this bounce of highlight above the horizon,
| | 03:11 | a little bit of extra darkening being applied
below the horizon as well, and that's because
| | 03:16 | this is an Edge filter.
| | 03:18 | It is drawing halos around the image, and
those halos can become awfully darn noticeable
| | 03:24 | in certain areas, notice these halos that are
appearing around his collar into the flesh
| | 03:28 | of his neck as well.
| | 03:30 | And we're enhancing some of the bad stuff
inside the image, such as the posterization
| | 03:34 | along the shadows inside of his neck.
| | 03:37 | And that's all happening
because of those halos.
| | 03:39 | The problem is we have no control over those halos
by default where Shadows/Highlights are concerned.
| | 03:46 | We need control, which is why you have the
Show More Options checkbox, and I'm going
| | 03:50 | to show you what that control
looks like inside the next movie.
| | Collapse this transcript |
| Mitigating halos with Radius values| 00:00 | All right, I went ahead and applied that Shadows/
Highlights modification that I showed you in the previous
| | 00:03 | movie and we end up
getting this sunburn effect.
| | 00:06 | Turns out I'm going to be using those exact
same percentage values, 10% for the Shadows
| | 00:10 | and 45% for the Highlights, in order to
achieve our final much better effect right here.
| | 00:17 | The big difference is I was able to distribute my
radius, and let me show you what that looks like.
| | 00:21 | I'll go ahead and switch back to the image
in progress here, and because I'm working
| | 00:25 | with the Smart Object I applied
Shadows/Highlights as a Smart Filter.
| | 00:28 | I'll go ahead and double-click on the words
Shadows/Highlights to bring up my settings
| | 00:32 | because after all Smart
Filters are fully editable.
| | 00:35 | And I'm going to turn on this
Show More Options checkbox.
| | 00:38 | So the idea is there is a Product Manager
somewhere saying, we can't have this many
| | 00:42 | options inside this filter,
because it will just overwhelm folks.
| | 00:45 | And there is this engineer in the background
saying, no, you know what, we need all these
| | 00:49 | controls, which we definitely do.
| | 00:51 | So let's give the user the
option to turn them on or off.
| | 00:54 | Anyway, in our case we need them turned on.
| | 00:56 | We've got a couple of Tonal Width values,
notice that right there, and what they determine
| | 01:01 | is how much of the image
comprises shadows and highlights.
| | 01:04 | So right now by default we're saying that
the darkest 50% of the image are shadows,
| | 01:10 | and the lightest 50% of the
image are considered highlights.
| | 01:12 | And it drops off over the luminance range.
| | 01:15 | So in other words, if I were to increase that
Tonal Width value to 100%, then I'm saying
| | 01:19 | that black is definitely a shadow and white
is considered just barely to be a shadow and
| | 01:25 | everything else is ramping in between.
| | 01:28 | So you can see as a result by cranking up
the Tonal Width value, I'm brightening more
| | 01:32 | the image than I was before.
| | 01:33 | So if I restore this value to 50% that's what
we were seeing before, just the brightening
| | 01:37 | of the darkest 50% of the colors.
| | 01:40 | And if I change this to 100%, now we're
brightening to some extent or rather all of the
| | 01:44 | luminance levels inside the image.
| | 01:46 | The thing is when in doubt I
recommend you leave this set to 50%.
| | 01:50 | If you're going to modify, you want to
modify the other value and kind, for example,
| | 01:53 | if I'm saying all right, 70% of the colors are
in the shadow range, then I don't want 50%
| | 01:59 | of the colors to be in the highlights range,
because that would mean that 20% of the luminance
| | 02:03 | levels inside the image are being first brightened
and then darkened, which doesn't make any sense.
| | 02:08 | So I would take this value down to 30% in
order to compensate, but in most cases you
| | 02:15 | want to leave both values set to 50,
and in this case I do as well.
| | 02:19 | What I'm really interested in changing where
this image is concerned, and this will be true
| | 02:23 | for most of the images you work
on as well, is this Radius Value.
| | 02:27 | Right, now both values are
set to Radius of 30 pixels.
| | 02:30 | And if I were to crank this value down, let's
say I take the Radius value for Highlights
| | 02:35 | down to 10 pixels here, you'll see that I
have much sharper halos around the image,
| | 02:40 | especially between the collar and his neck,
and it's almost like we're applying a kind
| | 02:44 | of sharpening effect.
| | 02:45 | What you want to do is get rid of those
halos by distributing them as much as possible,
| | 02:50 | and that means raising this radius value as
high as you can go, really, and get the effect
| | 02:55 | you want to achieve inside the image.
| | 02:57 | For example, if I take this value up to 100
pixels that means that I'm going to get rid
| | 03:01 | of my halos, as you can see they're
almost altogether gone throughout the image.
| | 03:06 | However, that also means that I'm not going to
produce much of an effect inside the Highlights
| | 03:11 | for example, inside the eyes, because I
just don't have enough room to work.
| | 03:14 | There isn't a 100 pixels worth of
information inside of those eyes.
| | 03:18 | So it's a bit of a trade-off, but in my case
100 pixels works just fine, and I'm also going
| | 03:23 | to take the Radius value for Shadows up to
100 pixels as well, and you could take it
| | 03:28 | even higher if you wanted to.
| | 03:29 | We can try something like 200 pixels and that
definitely spreads the shadows out that much more.
| | 03:34 | So let's go for it.
| | 03:36 | All right, now I'll go ahead and click OK
in order to apply the modifications we've
| | 03:40 | made so far, and just to give you a sense
of the dramatic difference we've been able
| | 03:44 | to achieve here, I'll press Ctrl+Z or Cmd+Z on
the Mac; you can see that my previous application
| | 03:49 | of Shadows/Highlights was much
flatter and surreal, as well, by comparison.
| | 03:54 | And if I press Ctrl+Z or Cmd+Z on the
Mac in order to reapply those modifications,
| | 03:59 | my halos will almost entirely disappear and
we'll get a lot more volumetric information.
| | 04:05 | Problem is, we still have too much color
saturation in the form of that synthetic sunburn there,
| | 04:11 | and we might want to bring out a little bit
of midtone action as well, and I'll show you
| | 04:15 | how to do just that in the next movie.
| | Collapse this transcript |
| Enhancing the effects of Midtone Contrast| 00:00 | In this movie I'll show you how to correct for
the overly saturated colors inside this image,
| | 00:04 | and also show you how to
increase the contrast of the midtones.
| | 00:07 | We accomplished both feeds from
the Shadows/Highlights dialog box.
| | 00:11 | So I'll double-click on word Shadows/Highlights
here inside the Layers panel in order to bring
| | 00:15 | the dialog box back up on screen.
| | 00:18 | Notice this Color Correction value right there.
| | 00:20 | If you increase that value, you're not going to
correct the colors; you're going to increase
| | 00:23 | the saturation of the colors inside the image,
so it's ultimately a saturation slider.
| | 00:28 | And notice if you want to get rid of the saturation,
you would take that Color Correction value down.
| | 00:33 | By default it's set to 20, which I think is
absolutely insane, given that what you want is 0,
| | 00:39 | because when you set that value to 0, you do not
modify the saturation of the original colors at all.
| | 00:46 | Now you may end up getting a little bit of
grayness inside of some areas of the image,
| | 00:52 | especially where the midtones are concerned.
| | 00:54 | We can see a little bit of grayness for
example, around this right-hand ear.
| | 00:58 | However, that can be adjusted for in better
ways, than just cranking up the saturation
| | 01:03 | of all colors throughout the image.
| | 01:06 | And the better way is to adjust
this midtone contrast value.
| | 01:09 | So notice, if I take this value up, we increase
the contrast, the luminance levels in general.
| | 01:15 | This one is not an edge detection effect,
so it's not using haloing; it's closer to
| | 01:19 | a straight contrast adjustment, like you would
achieve using the Brightness/Contrast command.
| | 01:23 | And of course, if you want less contrast,
you would reduce that contrast value, but
| | 01:28 | that's when you start seeing a lot of grays
throughout the midtones inside the image.
| | 01:33 | So what I'm going to do is start at 100, just
the maximum value and then press Shift+Down Arrow
| | 01:38 | in order to reduce that
value in increments of 10.
| | 01:41 | And at about 40 we end up
getting an effect that I really like.
| | 01:44 | And we also have a Black Clip and White Clip.
| | 01:47 | What these are saying, by default once again,
is that Photoshop is going to clip up to 0.01%
| | 01:55 | of the luminance levels inside the image.
| | 01:56 | In other words, a hundredth of a percent of
luminance levels are going to clip to black,
| | 02:01 | and a hundredth of a percent of luminance
levels are going to clip to white.
| | 02:04 | If you were all worried about that, just
change these values to 0, and you're going to see
| | 02:08 | a subtle difference, if you take the Black Clip
value down to 0%, so no clipping is occurring.
| | 02:12 | You're not going to see much difference at
all if you take that White Clip value down to 0%,
| | 02:16 | and then, if you like what you see,
you can always save these settings as your
| | 02:20 | new defaults, which will be great because
you've got big Radius values, you've also
| | 02:25 | got 0 for Color Correction, which is a great
place to start, and we have a pretty
| | 02:30 | enthusiastic Midtone Contrast value as well.
| | 02:32 | In my case I'm going to leave things alone,
and I'll click on the OK button in order to
| | 02:36 | accept my changes.
| | 02:38 | And once again let's see
the before and after here.
| | 02:40 | This is the before version of the image.
| | 02:42 | More than anything else you can see that the
colors were just ridiculously saturated and
| | 02:46 | he has got that sunburn effect to
just about all of the skin tones.
| | 02:50 | And this is the after effect, with not only
much better colors inside the image, but more
| | 02:55 | of a dynamic effect throughout the midtones with a
striking degree of contrast throughout this image.
| | 03:01 | And just to get a sense for the overall effect
of the filter, I'll turn Smart Filters off.
| | 03:06 | This is the original version of the
image, quite washed out by comparison.
| | 03:10 | And if I press Ctrl+Z or Cmd+Z on the
Mac; that turns the filter back on to show
| | 03:15 | a much more dramatic effect.
| | Collapse this transcript |
| Creating a "bounce" with Gaussian Blur| 00:00 | In the next few movies we're going to further
enhance the impact of this image using a combination
| | 00:05 | of Gaussian Blur and High Pass.
| | 00:07 | While these steps don't have anything to do
specifically with the Shadow/Highlights command
| | 00:11 | they will further impact the shadows and
highlights inside the image and you'll get a sense of
| | 00:16 | how to work with multiple Smart Filters along
with the filter mask here inside Photoshop.
| | 00:21 | So let's start things off with very
traditional Gaussian Blur effect.
| | 00:25 | I'm going to go up to the Filter menu,
choose Blur, and then choose Gaussian Blur
| | 00:30 | or if you loaded dekeKeys you can use
my keyboard shortcut Shift+F6.
| | 00:34 | I'm going to take that Gaussian Blur value
up very high to 15 pixels and essentially
| | 00:40 | what I'm trying to do is blur way pretty
much all of the edges inside of this image.
| | 00:45 | Then go ahead and click OK in
order to apply that a fact.
| | 00:49 | Now so far we are not doing much to
increase the impact of the image at all.
| | 00:52 | In fact, we are just making the image
appears as if we've taken off our glasses.
| | 00:56 | What we need to do is adjust the Blend mode
for this specific filter by double-clicking
| | 01:01 | on this little slider icons to the right of
the words Gaussian Blur here inside Layers
| | 01:05 | panel and that'll bring up the
Blending Options dialog box.
| | 01:09 | I'm going to click on the fellow's face there
in order to center the portion of the image
| | 01:13 | so we can see inside of the dialog box and
then I'll zoom out little bit as well so we
| | 01:17 | can see is eyes and nose.
| | 01:19 | I'm to change the mode from Normal to the
first of the contrast modes which is Overlay,
| | 01:24 | and you can see that restores all of the detail
and clarity of the image, but we get a little
| | 01:29 | bit of an edge bounce as well.
| | 01:31 | Now I'll go ahead and click OK
in order to accept that effect.
| | 01:35 | Now just so you have a sense of the effect
of this filter I'll turn Gaussian Blur off.
| | 01:39 | This is the way the image look before.
| | 01:41 | If I turn the filter back on,
this is the way it looks now.
| | 01:43 | The problem is the Overlay Blend mode not
only goes ahead and increases the contrast
| | 01:48 | of the luminance levels inside the image, it also
increases the saturation of the color values.
| | 01:54 | To compensate we need to take the saturation levels
down and we can do that using Shadows/Highlights.
| | 02:00 | So I'm going to double-click on Shadows/Highlights
once again and most likely, you'll get an
| | 02:05 | alert message which is telling you that as
you work inside Shadows/Highlights you're
| | 02:10 | not going to see the effects of any
filters applied on top up that filter.
| | 02:14 | Meaning we won't see Gaussian Blur.
| | 02:16 | Just go head and click OK in
order to bring up the dialog box.
| | 02:19 | Notice that we're seeing
shadows highlights by itself.
| | 02:22 | Then drop down to the Color Correction value
and let's take it all the way down to -100
| | 02:28 | which is as low as it can go.
| | 02:30 | Notice that; that doesn't entirely
get rid of the saturation values.
| | 02:33 | In other words, we're not creating a grayscale
image, but we are diminishing the saturation
| | 02:37 | levels pretty significantly.
| | 02:39 | Now click OK and Photoshop will go ahead and
show you the results of both Shadows/Highlights
| | 02:44 | and Gaussian Blur working together.
| | 02:47 | So just so you have a sense of what just
happened I'll press Ctrl+Z or Cmd+Z on a Mac.
| | 02:52 | These are the saturation values that are evident
if we don't reduce the Color Correction value
| | 02:56 | inside shadow highlights and this is what
we get by taking the saturation values down
| | 03:02 | before Gaussian Blur is applied.
| | 03:04 | I also wanted you to see what we
pulled off over the course of this movie.
| | 03:07 | So I'll press the F12 key in order to revert
the image to its original appearance with
| | 03:12 | just shadows highlights applied.
| | 03:14 | So this is the image with shadows highlights
by itself and if I press Ctrl+Z or Cmd+Z
| | 03:18 | on a Mac, this is the new version of the
image with that bounce of luminance and contrast
| | 03:24 | created using Gaussian Blur combined
along with the Overlay Blend mode.
| | Collapse this transcript |
| Sharpening on top of blur| 00:00 | Now I need to compensate for the effects of
Gaussian Blur, which has slightly blurred
| | 00:04 | the detail inside this image, and that means
we need to sharpen the image slightly,
| | 00:09 | and because this is a portrait shot, the
best filter for the job is high pass.
| | 00:13 | So I'll go up to the Filter menu, choose Other,
and then choose High Pass, and notice if you
| | 00:18 | loaded dekeKeys it's got a
keyboard shortcut, a Shift+F10.
| | 00:22 | And what you want to do is set the High Pass
Filter to a radius that still allows you to
| | 00:28 | see the edges, now ten is way too much but I
found if I took it down to about five pixels
| | 00:33 | I could still see a little bit of edged
detail while most of the image turns gray.
| | 00:37 | Then I will go ahead and click OK
in order to accept that effect.
| | 00:41 | Now we need to turn this filter into Sharpening
Effect and we'll do so by modifying the Blend mode.
| | 00:47 | So double-click on the slider icon
to the right of the words High Pass.
| | 00:51 | Now we'll bring up the
Blending Options dialog box.
| | 00:54 | Now most of the time you want to start
things off with the first of the contrast modes,
| | 00:58 | which is Overlay, and that will end up
providing us with a little bit of sharpening,
| | 01:02 | and just to get a better sense of what's
going on I'll Zoom in to 50%.
| | 01:06 | And so you can see how we have some more tactile
detail side of the photograph, it's not enough, however.
| | 01:12 | So the next thing you'd want to do when you
are fooling around with High Pass like this,
| | 01:16 | is try out a Blend mode that has a little
bit more impact, and that would be the
| | 01:20 | Hard Light mode, and that's going to end
up increasing the sharpness slightly.
| | 01:24 | If that's still not enough which I don't believe
it to be, then you want to dropdown two more
| | 01:28 | blend modes to Linear Light and go ahead and
try that one out and that gives us a very
| | 01:33 | sharp effect indeed.
| | 01:34 | The problem is, the
Radius value is set too high.
| | 01:37 | So I will go ahead and click OK in
order to accept the effect so far.
| | 01:40 | And by the way I am working on a standard
density screen here, so a zoom level of 50%
| | 01:45 | is ideal for gauging how sharp this image is
going to look when I print it at say 300 ppi.
| | 01:52 | But you may be lucky enough to be working
on a retina display like the one included
| | 01:56 | with the new MacBook Pro, in which case you
should be able to zoom all the way into a 100%,
| | 01:59 | because there are so many
pixels packed on those screens.
| | 02:04 | All right, now I am going to take down the Radius
value for my High Pass Filter by double-clicking
| | 02:09 | in the words High Pass here inside the Layers
panel, and then I'll go ahead and click on
| | 02:13 | the eye in order to center it inside the
dialog box, and I will take the Radius value down
| | 02:18 | by pressing Shift+Down Arrow couple of times
in a row until I get a Radius of 3 pixels,
| | 02:23 | which looks a lot better.
| | 02:24 | The details in other words look more sharply
defined and then I will click OK in order
| | 02:29 | to accept that effect.
| | 02:31 | So if I turn-off High Pass you can see this
is the slightly blurred version of the image
| | 02:35 | and then if I press Ctrl+Z
or Cmd+Z on the Mac.
| | 02:38 | this is the sharper version.
| | 02:40 | Thanks to the High Pass Filter combined with the
Linear Light Blend mode here inside Photoshop.
| | Collapse this transcript |
| Masking a group of Smart Filters| 00:00 | Now at this point we are
losing too much shadow detail.
| | 00:02 | You will notice, if you check out the final
version of the image that the shadows are
| | 00:06 | brighter and that's what we want.
| | 00:08 | So what we need to do is create a Filter Mask
and we have a Filter Mask available to us
| | 00:14 | here inside the Layers panel, but it happens
to be empty, thereby indicating that were
| | 00:19 | not masking the filters at all.
| | 00:21 | Now we are going to create what might be the
easiest kind of mask to make inside of Photoshop,
| | 00:26 | which is a Luminance Mask.
| | 00:27 | That is to say we are drawing out the
natural luminance levels inside the image.
| | 00:32 | That will allow us to mask away the dark stuff and
keep the bright stuff where the filters are concerned.
| | 00:38 | So I am going to start things off by turning
off the eyeball in front of Smart Filters.
| | 00:42 | That will temporarily hide the filters.
| | 00:45 | Then you want to go up to the Channels panel
to check out the channels that are associated
| | 00:49 | with the original image.
| | 00:50 | We will start with the Red channel; which
of course, because this is a portrait chart,
| | 00:54 | is going to be the brightest, because we all
resonate most brightly inside the Red channel.
| | 00:59 | The Green channel is going to give us the
best detail information; it's the closest
| | 01:03 | to the composite grayscale version of the image.
| | 01:05 | And then finally, we have got the Blue channel in which
the skin tones are going to appear relatively dark.
| | 01:11 | And basically really everything inside the
image darkens up quite a bit, except for the
| | 01:15 | shirt which appears brighter.
| | 01:17 | We want that shirt to appear as dark as possible and
the flesh tones to appear as bright as possible.
| | 01:22 | So we want to lift the Red channel.
| | 01:24 | So all you have to do in order to turn that
into a filter mask is press the Ctrl key or
| | 01:29 | the Cmd key on the Mac and click on that Red
channel in order to load it up as a selection.
| | 01:34 | So that is to say the highlights become the most
selected and the shadows become the most deselected.
| | 01:40 | Then switch back to the RGB image.
| | 01:42 | Go back to Layers panel and turn
the Smart Filters set back on.
| | 01:46 | Now at this point we can work with the existing
layer mask if we had to, but that would mean
| | 01:50 | reversing the selection by
choosing the inverse command.
| | 01:53 | The easier way to work is just to right-click
inside of this Filter Mask and choose Delete
| | 01:58 | Filter Mask to get rid of it, or if you loaded
dekeKeys by the way, you can press the keyboard
| | 02:03 | shortcut Ctrl+Alt+Q or
Cmd+Option+Q on the Mac.
| | 02:07 | The idea being we are quitting that filter
mask, and now we will create a new one by
| | 02:11 | right-clicking on the word Smart Filters and
choosing Add Filter Mask and that will convert
| | 02:17 | the selection outline into a mask like so.
| | 02:20 | And notice, thanks to the mask, we are now
revealing the original shadow detail inside the image.
| | 02:25 | And so if I were to Shift+Click on this
Filter Mask Thumbnail, I temporarily turn it off
| | 02:29 | like so, and you can see that the image darkens up
considerably, especially inside the shadow detail.
| | 02:35 | And if I Shift+Click in the Mask Thumbnail
again, to turn it on, then we can see the
| | 02:39 | new brighter shadows.
| | 02:41 | Now to my eye it looks like we have taken
a little bit too much of the oomph out of
| | 02:45 | the shadows, and so to compensate, we need
to reduce the density of this filter mask,
| | 02:50 | and I will show you how
that works in the next movie.
| | Collapse this transcript |
| Reducing the density of a layer mask| 00:00 | In this movie, I'll show you how to
reduce the density of a filter mask.
| | 00:03 | So, here is the idea.
| | 00:05 | If the mask doesn't have enough impact, if
you want to increase its contrast, then you
| | 00:10 | select the filter mask by clicking on it here
inside the Layers panel, and then you press
| | 00:15 | Ctrl+L, or Cmd+L on the Mac in order to
bring up the Levels dialog box, and you'd
| | 00:20 | increase the Black point value like so, and
then you decrease the White point value.
| | 00:26 | And I am doing so in both cases
by pressing Shift+Down Arrow.
| | 00:29 | That would preserve more of the shadow detail
from the original image, and bump up the degree
| | 00:34 | to which the filters are impacting the highlights.
| | 00:36 | But we also end up with these strange edges,
definitely not an effect we're looking for.
| | 00:41 | If you want to reduce the impact of the mask
which is what we're looking to do, then you
| | 00:45 | can modify the Black point and White
point values for the output levels.
| | 00:49 | However, there's a better way to work.
| | 00:50 | So, I'm going to cancel out of the Levels
dialog box, and I'll double-click on the filter
| | 00:55 | mask thumbnail in the Layers panel to bring
up the Properties panel which includes the
| | 00:59 | total of five options when you're working
on a mask, starting off with Density which
| | 01:04 | is the option that we're looking for.
| | 01:06 | And as I reduce this Density value from 100%,
keep your eye on the filter mask thumbnail
| | 01:12 | here inside the Layers panel and you can see
that we're reducing the contrast of the mask,
| | 01:16 | specifically we're brightening the shadows.
| | 01:19 | That is to say we're turning the blacks,
incrementally brighter shades of gray.
| | 01:23 | Now, I can take this Density value all the
way down to 0% in which case we eliminate
| | 01:29 | that mask entirely, or so it would seem.
We've actually only done so on-the-fly.
| | 01:34 | So I could go ahead and hide the panel, I
could close this image, I can wait five weeks,
| | 01:39 | I can open the image again, double-click on
that filter mask thumbnail, and that Density
| | 01:44 | value is still sitting there at 0%.
| | 01:46 | If I take it all the way back to 100%, then I
restore that filter mask, because it's still
| | 01:52 | actually sitting there, no matter what
modifications I make to this Density value.
| | 01:56 | In other words, Density is a parametric effect,
that is, it relies on the numerical parameter
| | 02:02 | and you can modify it anytime you like.
| | 02:04 | In my case, I want to take that Density value
down to about 80% to achieve this effect here,
| | 02:11 | and so that just takes a little bit of the
wind out of the mask, meaning that I'm restoring
| | 02:16 | some degree, 20%, of the impact associated
with these three Smart Filters, and now
| | 02:23 | I'll hide the Properties panel in
order to get it off screen.
| | 02:25 | Now, at this point, you may feel like you've
gone a little bit too far with the contrast
| | 02:30 | inside the image.
| | 02:31 | If you want to back it off a little bit, then
drop down to the Black/White icon at the bottom
| | 02:35 | of the Layers panel and choose
the Brightness/Contrast command.
| | 02:39 | And that will bring up the Brightness/Contrast
controls in the Properties panel, press Shift+Enter,
| | 02:43 | or Shift+Return on the Mac to highlight the
Brightest value, press the Tab key to highlight
| | 02:48 | the Contrast value, and then press Shift+Down
Arrow perhaps three times in a row to reduce
| | 02:53 | the contrast to -30, and then go ahead and
hide the Properties panel in order to achieve
| | 02:58 | the final effect.
| | 03:00 | And just to see what we've been able to
achieve over the course of this project, I'm going
| | 03:04 | to double-click on the dude thumbnail here in
order to open up the original Smart Object,
| | 03:09 | and I'll zoom in as well.
| | 03:10 | Then I'll switch back to the composition at
hand, zoom in it too, and press Shift+F in
| | 03:15 | order to switch to the Full Screen mode and
now I'll go ahead and Shift+Spacebar+Drag
| | 03:20 | these images to scroll both of them.
| | 03:22 | So, this is the image as it appeared after
we corrected for the lens distortion, and
| | 03:27 | this is the final version of the image;
thanks to the combination of Shadows/Highlights,
| | 03:31 | Gaussian Blur, High Pass, and a Filter
Mask working together here inside Photoshop.
| | Collapse this transcript |
|
|
26. Using CurvesUsing Curves| 00:00 | As you may recall the luminance of a pixel
is its brightness, from black to white.
| | 00:06 | In previous courses I showed you how to
adjust luminance using the very simple brightness
| | 00:10 | contrast and the more complicated levels.
| | 00:13 | And now, in this chapter, I'll introduce you to
the most capable luminance adjustment command
| | 00:18 | in all of Photoshop, which
goes simply by the name Curves.
| | 00:23 | As I did back in Chapter 12, when I showed you
levels, I'll stand in for the problem image.
| | 00:28 | But this time I am too high contrast, my
shadows are filled in, my highlights are blown out.
| | 00:34 | You can't fix this kind of problem
with levels, but you can with curves.
| | 00:39 | The curves command takes the Histogram, which
is that Bar Graph of luminance levels from
| | 00:43 | black to white, and scales it to fit inside this
square graph, which is pretty intimidating, I grant you.
| | 00:51 | But it means that you can map any luminance
level to another one which is to say you have
| | 00:55 | complete control over the
brightness and contrast of an image.
| | 01:00 | To simplify things I'll go ahead and hide the
Histogram, and we'll focus on this diagonal
| | 01:05 | line which is the curve itself.
| | 01:08 | I know, it doesn't look like a
curve, but it will in a moment.
| | 01:12 | The current state of the image is the horizontal axis,
with black on the left and white on the right.
| | 01:18 | The modified state of the image is the vertical axis,
with black at the bottom and white at the top.
| | 01:24 | So this straight diagonal line indicates no
change, black is black and white is white,
| | 01:30 | same goes for everything in between.
| | 01:33 | Of course, you want to make a change, that's
why you are here, which means you need to
| | 01:37 | set a point on the curve and
drag it to a new location.
| | 01:41 | Let's say I want to brighten my midtones.
| | 01:43 | I'd click to add a point to the center
of the line, then I drag it upward.
| | 01:48 | Now we have a curve.
| | 01:50 | My medium grays have become brighter but so
do all the other luminance levels in between,
| | 01:55 | except for black and white.
| | 01:57 | which remained fixed.
| | 01:59 | But the midtones really aren't my problem.
| | 02:02 | My problem are the shadows down
here and the highlights up here.
| | 02:06 | So I will set a shadow point
here and then I will drag it up.
| | 02:11 | Notice that elevates the shadows, the midtones are
protected by this point and then the highlights
| | 02:16 | bend down but only slightly.
| | 02:19 | We need to darken the highlights more.
| | 02:21 | So I'll set a point here and
then I'll drag it downward.
| | 02:25 | Now we have an inverted S curve,
and look at my highlights and shadows.
| | 02:29 | They are in very better shape.
| | 02:31 | I can't promise to make you fall in love with
curves, it's a graph after all, but you will
| | 02:37 | learn how to make it work
in the following movies.
| | Collapse this transcript |
| Introducing the Curves adjustment| 00:00 | In this movie I will introduce you to the
Curves adjustment, because when you first
| | 00:03 | encounter it, it's a little
bit of a head scratcher.
| | 00:05 | And by way of example I have opened one of
those black and white variations that we created
| | 00:10 | back in Chapter 20 of the Intermediate Course and
while I think the world of the black and white
| | 00:15 | adjustment here, if I have one complaint it's
that it tends to deliver images that lack heft.
| | 00:21 | That is to say the shadows and even the midtones in
the case of this image just aren't dark enough.
| | 00:28 | What I want is an effect
more like this one here.
| | 00:31 | The difference between this dramatic unambiguous
black and white image and the one we saw
| | 00:35 | a moment ago is that the one we are looking
at now includes a Curves adjustment and the
| | 00:40 | one we created in Chapter 20 does not.
| | 00:42 | So let's start things off by getting a
sense of when you want to use Curves.
| | 00:46 | It's basically that luminance adjustment
command that you go to when Brightness/Contrast
| | 00:51 | and Levels just don't do the trick.
| | 00:54 | So I will start by showing you what we can
do with Levels and Brightness/Contrast where
| | 00:58 | this image is concerned.
| | 00:59 | I will go up to the Image menu and choose a
Duplicate command and then I will go ahead
| | 01:04 | and call this new version of the
image Levels and zoom in on it.
| | 01:07 | Then I will drop down to the black/white icon at the
bottom of the Layers panel and choose Levels command.
| | 01:13 | I am going to go and expand the Properties
panel as well so that I can see the full width
| | 01:17 | of the histogram like so.
| | 01:19 | Presumably, what I do is I would, for
example Alt+Drag or Opt+Drag this black slider
| | 01:25 | triangle in order to preview the clip pixels
on screen and notice that they're appearing
| | 01:30 | in black and white as
opposed to the various colors.
| | 01:33 | That's because all of the colors in this particular
image have been converted to shades of gray.
| | 01:38 | So at a black point of about 10 we are seeing
probably about as much clipping as we want.
| | 01:42 | So we will go ahead and release.
| | 01:43 | Now I could do the same with the white triangle here;
I could Alt+Drag or Opt+Drag it over to say 240.
| | 01:51 | But if I do that I'm going to blow some
highlights and I am going to overly brighten this image.
| | 01:55 | I'm not interested in adding more brightness to it.
| | 01:58 | So I will just go ahead and
restore that value to 255.
| | 02:01 | That leaves me with just one more point
of control and that's the Gamma value.
| | 02:06 | So I will go ahead and click in it and press
Shift+Down Arrow three times in a row to reduce
| | 02:11 | that value to 0.7.
| | 02:13 | That's about as much work as
I can get done with Levels.
| | 02:16 | So let's go ahead and close the
Properties panels so we can see what we have got.
| | 02:19 | Things are in pretty good shape.
| | 02:21 | We have some very dark shadows; that's good.
| | 02:23 | The midtones are looking okay.
| | 02:25 | But if you compare that to what I was able
to achieve with curves which is this image
| | 02:29 | here you can see that we have got a lot
more detail going on inside the hair.
| | 02:33 | We've got much better shading and detail
inside the flesh and we've got all kinds of great
| | 02:38 | shadow detail as well.
| | 02:40 | So while Levels is pretty good, it's not
nearly as great as what I am hoping for.
| | 02:45 | So now let's see what we can
achieve using Brightness/Contrast.
| | 02:47 | I will go ahead and
switchback to my starter image.
| | 02:49 | Go up to the Image menu, choose the Duplicate command,
and call this one Brightness contrast, of course.
| | 02:56 | Then click OK in order to create the new
version of the image, zoom on in as well, drop down
| | 03:00 | to the black white icon at the bottom of
Layers panel and choose Brightness/Contrast.
| | 03:05 | Then I will go ahead and crank that Contrast
value up to its absolute maximum of 100,
| | 03:11 | which does a great job of making the shadows very
dark, the highlights get overly light in my
| | 03:16 | opinion, however nothing ends up
clipping inside the image. So that's good.
| | 03:21 | Then I'll take that Brightness value down
to let's say -40 in order to tame some of
| | 03:26 | those highlights and bring
the midtones down as well.
| | 03:29 | Again, things look pretty good and you might
argue compared with Levels that Brightness/Contrast
| | 03:36 | ends up performing little better,
but I am not so sure actually.
| | 03:39 | But again we are losing detail inside of the
hair and inside of the shadows particularly
| | 03:44 | when compared to that final version that we are
going to achieve using the Curves adjustment.
| | 03:50 | So let's see what Curves looks like.
| | 03:51 | I'm going to switchover to that starter once
again and I am going to drop down to the black/white
| | 03:56 | icon at the bottom of the panel and you can
see that the Curves command immediately follows
| | 04:01 | Levels and Brightness/Contrast.
| | 04:02 | It really does go like this.
| | 04:04 | Try Brightness/Contrast first,
if that does the trick, great.
| | 04:07 | Try Levels second, if
that does the trick, great.
| | 04:10 | And if neither of them work,
then move on to Curves.
| | 04:13 | Exposure is never useful in my opinion.
| | 04:16 | I am going to go ahead and
choose the Curves command.
| | 04:19 | Notice that you end up
seeing this big square graph.
| | 04:21 | Well, even though it's pretty darn unfamiliar,
a lot of the stuff we are seeing is very similar
| | 04:26 | to what's going on with Levels.
| | 04:28 | For example, the centerpiece of this graph
is a histogram and even though it looks like
| | 04:33 | a squished histogram at first, it's actually
exactly the same width as the histogram that
| | 04:38 | appears along with levels adjustment.
| | 04:40 | The difference is that the Curves histogram is
stretched vertically in order to fit inside
| | 04:45 | of square, which is perfectly fine, by the
way, because after all these vertical lines
| | 04:50 | inside of the graph, they
don't represent absolute numbers.
| | 04:53 | In other words, this one right here isn't
a heap of all of the pixels that are that
| | 04:59 | dark shade of gray.
| | 05:00 | Rather, those are the number of dark gray pixels
when compared with these very light gray pixels
| | 05:06 | represented by this tall
line on right-hand side.
| | 05:10 | We've also got a black
triangle and a white triangle.
| | 05:13 | They let you modify the black point
and white point inside the image.
| | 05:16 | Then we have this diagonal line which is the
curve itself which may seem odd, because after
| | 05:22 | all it starts off as a straight line.
| | 05:24 | You make this line curve by clicking
somewhere in the graph in order to set a point.
| | 05:30 | So in my case I've clicked
right there at the center.
| | 05:33 | So what I'm seeing here is that I've set
a point and 128 which is medium gray.
| | 05:37 | So you may recall 0 is black, 255 is white.
| | 05:41 | So right there in the center is 128.
| | 05:43 | I am mapping shades of gray that were
formerly 128 to an output level of 128 once again.
| | 05:50 | So I am not changing them at this point
until I drag that point to another location.
| | 05:54 | So let's say I drag the point directly up.
| | 05:57 | Now I am mapping an input
of 128 to an output of 171.
| | 06:01 | So all the shades of gray that were formerly
128 are now being mapped to 171, which of
| | 06:05 | course is lighter gray.
| | 06:07 | The other shades of gray move along with,
because after all the line is gradually tapering
| | 06:12 | as you can see here.
| | 06:13 | You can also drag this point down if you
like in order to darken the shades of gray.
| | 06:19 | For example, if I take this value down to
let's say 86, I am mapping what were formerly
| | 06:24 | medium grays to dark grays.
| | 06:26 | If you just drag a point up and down like,
this is very much like modifying the Gamma
| | 06:30 | value when working with Levels.
| | 06:33 | If I want to achieve an effect that's very much
like what we saw with Levels just a moment ago,
| | 06:37 | then I would also press the Alt key or the
Option key on the Mac and drag this Black
| | 06:42 | slider triangle, so you can preview your clipping
inside curve just as you can when working with Levels.
| | 06:47 | I can see that some of those shadows are
clipping over on the left-hand side of the image.
| | 06:51 | So I'll go and release.
| | 06:53 | So at this point I am saying anything that
has a luminous level of 10 or darker is going
| | 06:57 | to map to an output of 0, which is black.
| | 07:01 | Let's go ahead and hide the Properties panel
for a moment so we can compare the effects.
| | 07:05 | This is what we're able to achieve with curves so far
bear in mind and this is what we achieved with levels.
| | 07:12 | If anything the Curves adjustment is already
better even though it's remarkably similar,
| | 07:16 | the Curves adjustment has slightly better
detail going on inside the shadows and a bit
| | 07:20 | more detail inside of the highlights as well.
| | 07:24 | So there's your introduction.
| | 07:25 | But here's the thing.
| | 07:26 | If we were able to achieve an effect just
as good as anything we might achieve with
| | 07:30 | Levels that easily with Curves, just imagine
how much better we can do in the next movie.
| | Collapse this transcript |
| Adding and editing points on a curve| 00:00 | In this movie, I'll show you how to
add and edit points inside curves.
| | 00:04 | I'll start things off here by double-clicking
on the thumbnail for the Curves 1 layer; that
| | 00:08 | brings up Curves inside the Properties panel.
| | 00:11 | And I'm also going to drag this black triangle
back to the far left-hand side of the graph,
| | 00:15 | and that's because you can typically achieve
more control over your shadows in particular
| | 00:20 | by adding points along the left-hand portion
of the graph, and I'll show you what I mean
| | 00:24 | in just a moment.
| | 00:25 | But first, I'm going to scroll the image over
so that I can better keep track of the woman
| | 00:28 | in the foreground here.
| | 00:29 | And now I could just click at some point inside of the
shadow region here in order to set a point like so.
| | 00:36 | And so in my case I've set a point at Input
32 and Output 16, so I'm taking any shades
| | 00:42 | of gray that formerly had a luminance
level of 32 and I'm darkening them to 16.
| | 00:48 | And that's just by virtue of the
natural curvature of the graph so far.
| | 00:51 | All right, let's say I
want to modify that point.
| | 00:53 | Well, I could drag it of course if I want
to, or I can modify the numerical values,
| | 00:58 | but typically the easiest way to
work is to press the arrow keys.
| | 01:02 | So if you press the Left Arrow Key, you're
going to nudge the Input value down,
| | 01:06 | and if you press the Right Arrow Key, you're
going to nudge the Input value up.
| | 01:09 | Now, at first that might not make any sense,
why left for down and right for up?
| | 01:14 | And that's because you're moving the point
back and forth to either left or the right.
| | 01:19 | And the more you work with it, the more
you'll get a sense of what's going on there.
| | 01:23 | And so I'm going to go ahead and
scoot this Input value over to 30.
| | 01:27 | And then if I press the Up Arrow Key,
I'm going to raise the Output value.
| | 01:31 | And if I press the Down Arrow Key,
I'm going to lower that value.
| | 01:34 | And in my case I want to take that value down
pretty darn far, to an Output level of 10.
| | 01:40 | So that darkens up the shadows considerably,
but it also takes away some of the detail
| | 01:44 | inside of the hair.
| | 01:46 | So what I need to do is lift the brightness of the
lightest hairs, but first I need to find them.
| | 01:51 | And the easiest way to find luminance levels
inside of an image is to take advantage of
| | 01:56 | the bouncing ball, and here's what I mean.
| | 01:59 | You switch over to your Target Adjustment
tool, so that same tool we saw at work with
| | 02:03 | Hue/Saturation, and Black/White is
available to us with curves as well.
| | 02:08 | And by the way, if you loaded dekeKeys,
you can get to it by pressing the K key.
| | 02:12 | And then notice, I want you to watch this
dark section of the curve right there, you'll
| | 02:16 | notice the ball bouncing back and forth as
soon as I move my cursor over the dark hairs.
| | 02:21 | And I want to emphasize, I'm not dragging,
I don't have the mouse button down,
| | 02:25 | I'm just moving the cursor around.
| | 02:27 | And so right about this point I think
I'll click in order to set a point.
| | 02:32 | So notice as soon as you click inside the
image, you've set a point in the graph, and
| | 02:35 | in my case the Input value is 61 and the
Output is 27, I want to go ahead and back off
| | 02:41 | that Input value to 60 and then I'm going to take
the Output value up by pressing the Up Arrow
| | 02:46 | Key several times until I get a value of 35.
| | 02:50 | That ends up brightening that shadow detail inside
of the hair and elsewhere throughout the image.
| | 02:57 | And something that's very important, by the
way, if you want to get a sense of what the
| | 02:59 | values actually are, if you're not seeing
your values change properly, that's because
| | 03:04 | you've left your cursor
outside here inside the image.
| | 03:07 | And so for example, I'm seeing Input 172 and
Output 134, that doesn't have anything to
| | 03:12 | do with the selected point; that has
everything to do with the location of my cursor.
| | 03:17 | So you need to move the cursor back
inside the panel, like so. All right.
| | 03:21 | Now, I'm going to switch to the next point,
the one that I've already created in advance
| | 03:25 | here at the center of the curve.
| | 03:27 | And I can get to it just by clicking on it
of course, but when you click on a point,
| | 03:31 | it's very easy to nudge it, to move it to a
new location, so oftentimes it's preferable
| | 03:36 | to cycle to a point from the keyboard.
| | 03:38 | And here's how you do it, you press the Plus
(+) key to advance to the next point like so.
| | 03:43 | So if I press the Plus (+) key a second time,
I would advance to that final point.
| | 03:47 | if I press it again, I'll advance to the very
first point in the graph, and so forth.
| | 03:52 | If you press the minus (-) key,
you'll back up through the points.
| | 03:56 | And I love this shortcut, because notice if
I click on the panel, then I deselect all
| | 04:00 | the points and now I can make any one of the
points active anytime I like just by pressing
| | 04:05 | the Plus (+) key, and that will go ahead and
select the very first point in the graph,
| | 04:09 | that is the point in the lower left corner,
and then I'll advance onward. All right.
| | 04:13 | So I'll press Plus (+) enough times to get
to that center point right there, and then
| | 04:17 | I'm going to press Shift+Right Arrow to move
that Input value in the increments of 10,
| | 04:23 | and eventually I want that value to be 155.
| | 04:27 | And then I'm going to press Shift-Up Arrow
a couple of times there in order to raise
| | 04:31 | that Output value ultimately to a 110, so
you may have to press the Up Arrow Key a few
| | 04:36 | times by itself as well.
| | 04:38 | And that ends up brightening the midtones just a bit.
| | 04:41 | And then finally, I want to brighten the highlights
a little, because they've gotten dragged down
| | 04:44 | by this midpoint here.
| | 04:46 | And so once again, using the Target Adjustment
tool, I'll click inside a highlight inside
| | 04:51 | the eye, for example, in order to set a point,
in my case at 225, with an Output of 206.
| | 04:58 | And in order to see those values, you're going
to have to move your cursor inside the panel,
| | 05:03 | and then I'll press Shift+Right Arrow in
order to nudge that Input value to 235, and I'll
| | 05:07 | press Shift+Up Arrow a couple of times, and then Up
Arrow a little more to set the Output value to 230.
| | 05:15 | And so just so you can get a sense of what
kind of difference I made there, I'll go ahead
| | 05:18 | and press the Ctrl key or the Cmd key on
the Mac and click on that highlight point
| | 05:23 | in order to delete it.
| | 05:24 | So Cmd+Click or Ctrl+
Click on a point deletes it.
| | 05:27 | This is how the image looked without that
point, and then if I press Ctrl+Z or Cmd+Z
| | 05:31 | again, this is what the image
looks like with this point.
| | 05:34 | All right, that's the extent
of our graph right there.
| | 05:37 | So I'm going to go ahead and hide the panel and
then zoom out and scroll over just a little bit.
| | 05:41 | And so just so you have a sense of what we've
accomplished, I'll turn off that Curves 1 layer.
| | 05:45 | This is the image as it appeared when we
finished working on it back in Chapter 20, and this
| | 05:50 | is the new deeper, darker, more dramatic image,
thanks to our addition of a Curves Adjustment.
| | 05:55 | Now, I just want to say one more thing before
we quit this movie here, even though I just
| | 06:01 | got done closing the Curves panel, my Target
Adjustment tool remains selected, and that
| | 06:06 | can get you in trouble or at least provide
unexpected results if you, for example, think
| | 06:10 | that the Rectangular Marquee tool is selected
and you begin dragging inside the image and
| | 06:15 | you get an effect like this one here.
| | 06:18 | In which case just go ahead and press Ctrl+Z
or Cmd+Z on the Mac to undo that change,
| | 06:22 | and then press the M key to switch
back to the Rectangular Marquee.
| | Collapse this transcript |
| Winning Curves tips and tricks| 00:00 | In this movie, I'll share with you a few tricks that
should make your life easier when working with curves.
| | 00:05 | You will notice that I've gone
ahead and renamed my layer contrast.
| | 00:07 | I'll double-click on it to bring up curves
inside the Properties panel, and just to make
| | 00:12 | sure that I'm protected, because I am
going to make a bunch of modifications here.
| | 00:15 | I am going to go up to the flyout menu and
choose Save Curves Preset and I will go ahead
| | 00:20 | and name this file Black & white heft for example.
| | 00:23 | Make sure to save your preset to the default
Curves folder which is the subfolder someplace
| | 00:27 | in your hard drive and then click the Save
button, and you'll see Black & white heft
| | 00:32 | in my case listed among your Presets, which means
you can come back to this graph anytime you like.
| | 00:37 | Now it's showing you how you can press the
Control key or the Command key on the Mac and
| | 00:41 | click on a point in order to delete it.
| | 00:43 | I'll go ahead and press Ctrl+Z or
Cmd+Z on the Mac to undo that change.
| | 00:47 | What happens when you Alt+Click
or Opt+Click or Shift+Click?
| | 00:51 | Well, if you Alt+Click inside the graph you
are going to increase the number of gridlines,
| | 00:55 | that would be an Opt+Click on the Mac.
| | 00:56 | If you Alt+Click or Opt+Click again,
you will reduce the number of gridlines.
| | 00:59 | And all that is, is a preference.
| | 01:01 | This is not a snapping grid.
| | 01:03 | So it won't help you nail
the location of points.
| | 01:05 | If you Shift+Click on points, you will
select multiple points at the time.
| | 01:09 | So I'm going to click and then Shift+Click
on these three points right there.
| | 01:13 | For example, I will drag them upward and
typically this is what you want to do.
| | 01:16 | If I were brightening the darkest colors for
example, I would drag these points upward
| | 01:22 | or I could darken them by dragging downward.
| | 01:25 | You typically don't want to drag back and
forth, because in my case if drag to the left,
| | 01:29 | I end up losing some of those points and I have to
drag back to the right again in order to regain them.
| | 01:35 | What you most typically do hear--I'll go ahead
and press Ctrl+Z or Cmd+Z on the Mac to
| | 01:39 | reset those points--is just select a handful of
points and then nudge them from the keyboard.
| | 01:44 | So if I wanted to brighten my shadows and
midtones I would press the Up Arrow key a
| | 01:48 | few times in a row and notice
that the Output value now reads 8.
| | 01:52 | That is not an absolute
luminance level as in almost black.
| | 01:55 | That is a relative luminance level meaning that we
have brightened all three of these points by eight.
| | 02:01 | All right.
| | 02:02 | So far I've showed you how to set and modify
points on a curve, but you can also draw a
| | 02:07 | custom curve graph using this Pencil right here.
| | 02:10 | So for example I could go ahead and just draw a
curve across the graph and presumably you're
| | 02:16 | going to start somewhere down left and move
your way up right, because if you go in the
| | 02:20 | opposite direction, for example from up left to down
right, you'll end up inverting the image like so.
| | 02:28 | You can also draw crazy graphs if you want to.
| | 02:30 | I will go ahead and turn off these two
grayscale layers right there so that we can see curves
| | 02:36 | applied to the full-color image, and now
notice if I draw something along these lines,
| | 02:42 | I'm creating what's known as an arbitrary map,
which among other things can end up generating
| | 02:48 | psychedelic effects like these here, and you're
probably not going to take advantage of this
| | 02:52 | very often, but you may sometimes find these
sorts of arbitrary maps to be useful when
| | 02:57 | working with masks.
| | 02:58 | Now if your curve ends up having a bunch of
gaps in it as mine does or it ends up spiking
| | 03:04 | in certain locations, you can soften the
transitions by clicking on the Smooth button.
| | 03:09 | So notice each time I click Smooth, I end
up smoothing out my graph like so and then
| | 03:14 | I could decide this wants to go back up and
then I could click Smooth a few more times.
| | 03:19 | Now a more practical way to take advantage of
the Pencil combined with Smooth is to Shift+Click
| | 03:25 | inside the graph.
| | 03:26 | Let me show you what that looks like.
| | 03:27 | I'll go and turn those two grayscale layers
back on and then I'll click in the bottom
| | 03:32 | left corner and Shift+Click at this location
here and Shift+Click again, and notice each
| | 03:37 | time I Shift+Click I end up connecting
my click points with straight segments.
| | 03:43 | So that's a quick way to roughen a graph,
that ends up giving us this posterization
| | 03:47 | as you can see here inside
the image window, however.
| | 03:50 | So get rid of the posterization and smooth
out the transitions you click on the Smooth
| | 03:55 | button, probably three or four
or even five times in a row.
| | 04:00 | Now the great thing about working this way
is you don't have to mess with the values
| | 04:04 | and Photoshop will actually create the
values for you if you just go ahead and click on
| | 04:08 | this little Points button there, notice Photoshop
adds points to the graph, automatically sets
| | 04:13 | the Input and Output values,
and you're done. All right.
| | 04:16 | Another thing to note, if I grab the Target
Adjustment tool, I was showing you how if
| | 04:20 | you move your cursor in the image, and my
cursor is in the woman's forehead right here,
| | 04:25 | you can see the bouncing ball, in my case
in the upper right portion of the graph
| | 04:29 | and if you click, you end up
setting a point to that location.
| | 04:32 | Well, you also have three other graphs to work
with when you're working inside of an RGB image.
| | 04:37 | You can independently modify the
Red, Green, and Blue channels.
| | 04:41 | So there might be times where you want to set,
instead of a composite point as we created
| | 04:45 | just a moment ago, a channel by channel point.
| | 04:48 | So in my case, let's say I move down her
brow here so I can get a kind of darker color,
| | 04:53 | and right about there I will press the Ctrl+Shift
keys or Cmd+Shift on the Mac and I'll click.
| | 05:00 | And that goes ahead and sets a point inside
of each one of the independent channels.
| | 05:05 | So notice if I switch to the Red channel,
I've got a point right there, and so I can
| | 05:08 | press the Up Arrow key to add a little bit
of redness to my otherwise grayscale image
| | 05:13 | and now I'll switch to the Blue channel and
press the Escape key so that the menu is no
| | 05:18 | longer active and press the Down Arrow key
in order to achieve a kind of Sepia effect there,
| | 05:22 | and then I might switch over to the
Green channel and press Escape once again
| | 05:27 | and then press the Up Arrow key, maybe just a
couple of times so that I don't end up making
| | 05:32 | the image look too yellow and I
achieve this effect here. All right.
| | 05:35 | Now I am going to switch back to the
Composite version of the image like so, and you can
| | 05:39 | see those channel by channel curves represented in
Red, Green, and Blue inside the composite graph.
| | 05:46 | All right.
| | 05:47 | Let's end things with a look at what happens
when you're working inside of a grayscale image.
| | 05:51 | So for the moment I am going to go ahead and
click on this Curves layer here inside the
| | 05:54 | Layers panel, and press the Backspace key
or the Delete key on the Mac to get rid of it,
| | 05:58 | and then I'll go up to the Image menu,
choose mode, and choose Grayscale and I will
| | 06:03 | a get series of alert messages asking me
if I want to rasterize my Smart Object.
| | 06:08 | I do, so I'll click the Rasterize button.
| | 06:10 | Do I want to get rid of my
adjustment layers or merge them?
| | 06:13 | I want to merge them, because
otherwise I'll lose those adjustments.
| | 06:17 | And then finally, do I want to
discard the color information?
| | 06:19 | I do, so I will click Discard and I am left
with a single layer as well as the single
| | 06:25 | channel gray here inside the Channels panel.
| | 06:27 | Now if I dropdown to the Black/White icon
and I choose the Curves command, you can see
| | 06:32 | here in the Properties panel
that everything is backward.
| | 06:34 | We have the white triangle on the left-hand
side and the black triangle on the right side.
| | 06:39 | And the reason for this is these guys no longer represent
Luminance levels, instead they represent ink values.
| | 06:46 | So if I were to click on this lower left
point, you can see that the value is 0.
| | 06:51 | By that it means 0% ink which is paper white
and if I press the Plus (+) key in order to
| | 06:56 | advance to the upper right point, its
value is 100 meaning a 100% ink, so black.
| | 07:03 | What that does is it ends up just messing with the
way your brain works inside Photoshop in my opinion.
| | 07:09 | I can go ahead and reload that preset I created
a moment ago by choosing Black & white heft,
| | 07:15 | but now the whole thing is
upside down and backwards.
| | 07:18 | So I'm raising the points in order to darken
those shadows in the upper right region of
| | 07:23 | the graph and everything that's occurring with the
highlights is in the down left region of the graph.
| | 07:29 | If you don't like to work that way then I
have to admit I don't, because everything
| | 07:33 | else in Photoshop is based on luminance.
| | 07:36 | Then you can click on the flyout menu icon
and choose Curves Display Options and then
| | 07:41 | switch Show Amount of from Pigment/Ink% to
Light (0-255) and that restores the graph
| | 07:48 | to its more familiar behavior.
| | 07:50 | Then click OK, and by the way, this will change the
graph for all future grayscale images as well.
| | 07:56 | If you work in CMYK and you prefer to work
with luminance, as we have so far, then you
| | 08:02 | would want to run through those
same steps with the CMYK image.
| | 08:06 | Those are a few tips and tricks for working
with Curve Adjustments here inside Photoshop.
| | Collapse this transcript |
| Correcting a challenging image| 00:00 | In this movie, I'll show you how to use
Curves to correct the most challenging of full-color
| | 00:05 | photographs, specifically, we will be
starting with this absurdly high contrast image in
| | 00:10 | which the foreground subject could not be
darker and the background is so bright, we
| | 00:15 | can barely make out any detail and we will adjust
the image so it comes out looking like this.
| | 00:21 | With this wonderful detail inside the barn,
this contouring inside the snow and even some
| | 00:26 | variation in the sky and if nothing else,
this is proof of the shear power of Curves.
| | 00:31 | It really is that one command that can correct
the luminance of just about any photograph.
| | 00:37 | So I will go and switch back to my original
photo here and I'll go up to the Image menu
| | 00:42 | for a moment and choose Adjustments and by
way of a reminder, if you loaded dekeKeys,
| | 00:46 | you will see the Brightness/Contrast is a
keyboard shortcut of Ctrl+/(slash) or Cmd+/(slash)
| | 00:51 | and then we have the factory default shortcuts
of Ctrl+L or Cmd+L and Ctrl+M or Cmd+M
| | 00:57 | for Levels and Curves respectively.
| | 00:59 | Now of course, those apply static adjustments,
but if you loaded dekeKeys, then you can add
| | 01:03 | the Shift key to create the
corresponding Adjustment layer.
| | 01:07 | So Ctrl+Shift+/ or Cmd+Shift+/ gives you
Brightness Contrast layer Ctrl+Shift+L or
| | 01:12 | Cmd+Shift+ L gives you the Levels
layer and Ctrl+Shift+M or Cmd+Shift+M.
| | 01:16 | gives you a Curves layer.
| | 01:18 | Now just looking at this image you should
know that it's a job for Curves, and that
| | 01:22 | is because it is so high contrast.
| | 01:25 | The Levels Adjustment, while great for bringing
out the detail in a washed out image where
| | 01:30 | you need to increase the contrast, does not
allow you with any degree of control to reduce
| | 01:35 | the contrast of the image.
| | 01:37 | Whereas Brightness/Contrast, if I was to
press Ctrl+Shift+/ or Cmd+Shift+/ on the Mac
| | 01:43 | in order to create a Brightness/Contrast layer,
and call it let's say reduced contrast, does
| | 01:47 | not go far enough.
| | 01:48 | So you could reduce the contrast value to
its absolute minimum, to bring out some of
| | 01:52 | the detail in the barn and then you would
have to increase the brightness as well,
| | 01:57 | to, let's say 30, and that does a decent job of
bringing out the detail in that barn, but
| | 02:02 | it wipes out the background, because we
had to ratchet up that brightness value.
| | 02:06 | So it's just not going to
get us anywhere we want.
| | 02:09 | I will press the Backspace key or the Delete
key on the Mac to get rid of that layer,
| | 02:13 | and instead, I'll press Ctrl+
Shift+M or Cmd+Shift+M.
| | 02:16 | Again, this assumes that you loaded dekeKeys
in order to create a New Curves layer and
| | 02:20 | I'll call it reduced contrast as well.
| | 02:23 | All right, now that I have the Properties
panel open, I am going to take advantage of
| | 02:27 | the Target Adjustment tool.
| | 02:28 | So go ahead and click on it or if you loaded
dekeKeys you can press the K key and I am
| | 02:33 | going to zoom in on this little knot on the
side of the barn, and then I will find a point
| | 02:37 | in the upper right corner here.
| | 02:39 | You'll notice over in the Curves panel that
the Input value is reading 19 and now I'll
| | 02:44 | click and drag and you drag down with the
cursor in order to darken the colors,
| | 02:50 | you drag up, in order to brighten the colors.
| | 02:52 | I want to take that Output value
to about 36 as you see here.
| | 02:57 | So you'd have to move your cursor into the
panel to see the result of your work and
| | 03:01 | I really want the Input value to be 20.
| | 03:04 | So I'll press the Right Arrow key to make it so.
| | 03:06 | So we are mapping luminance levels that were
formerly 20, to 36, which means that we are
| | 03:11 | brightening not only the
shadows, but the image overall.
| | 03:14 | All right, now I am going to scroll over to
a portion of the snow below this section of
| | 03:19 | the barn here, and I'm trying to find a very
bright color, something around 230 will do,
| | 03:25 | so you can see at this point here, my cursor
is in the lower left section of the screen,
| | 03:29 | and my Input value is to 230 at the bottom of
the Properties panel and now I'll go ahead
| | 03:34 | and click and drag down in order to darken
the details inside the snow, so we can see
| | 03:40 | a little bit of that contouring, and
I'll take that Output value down to 260.
| | 03:45 | So if I bring my cursor back into the panel,
you can see Input is 230, Output 216 and finally,
| | 03:52 | I want to brighten my quarter
tones just a little bit here.
| | 03:55 | So I am going to scroll over to another location.
| | 03:58 | On the right side of the barn, we have a little bit
of snow and I'm looking for an Input that's 195.
| | 04:03 | I am finding one that's 192, so
that's probably a good place to start.
| | 04:08 | And notice that Output is showing as 174,
because of the shape of my curve so far.
| | 04:12 | I want to brighten those values, so I will
go ahead and drag up until the Output value
| | 04:17 | reads 183, is what I'm looking for.
| | 04:20 | And again, if you don't quite get these values,
if you're hovering around inside the image
| | 04:24 | and you can't match my Input values and
so forth, you can just dial these in.
| | 04:29 | So I will move my cursor back into the panel.
| | 04:30 | In my case, I need to press the Right Arrow
key a few times in order to raise the Input
| | 04:35 | value to 195 and then I will press the Up Arrow
key in order to increase my Output value to 183.
| | 04:41 | All right, now I will go ahead and hide the
Properties panel and press Ctrl+0 or Cmd+0
| | 04:46 | on the Mac to zoom out.
| | 04:48 | So let's see what we've managed to achieve here.
| | 04:50 | This is the original version of the image
and this is the image, thanks to Curves,
| | 04:55 | and notice that we've brightened the barn
just every bit as much as we were able to
| | 04:59 | with Brightness/Contrast.
| | 05:00 | But we've also reduced the luminance of
the snow, thereby increasing its contrast.
| | 05:06 | Now I want to add a little bit of color to
the image, and I'm not going to do so subtly.
| | 05:10 | We are just going to amp the colors up like
crazy, by pressing the Alt key or the Option
| | 05:15 | key on the Mac, clicking the black/white icon
and choosing Vibrance, or if you loaded dekeKeys,
| | 05:20 | you can just press Ctrl+Shift+V or Cmd+Shift+V
on the Mac and I'll go ahead and Name this
| | 05:25 | layer superblaster, because we are going to be
blasting those colors and I will click OK.
| | 05:31 | We don't need this panel to be so large this
time around, so I will go ahead and shrink it,
| | 05:35 | and then I'll click in the Saturation
value and press Shift+Up Arrow four times
| | 05:39 | in a row to increase the Saturation to 40
and then I'll press the Tab key to advance
| | 05:44 | to the Vibrance value and crank it up to its
absolute maximum of 100, and we end up with
| | 05:50 | this effect here.
| | 05:51 | All right, now I'll once again hide the Properties
panel and just so we can see what we've achieved
| | 05:55 | over the course of this movie, I'll Alt+Click or
Opt+Click on the eye in front of the background.
| | 06:00 | This is the original version of the image
and if I Alt+Click or Opt+Click again,
| | 06:05 | this is our corrected version.
| | 06:07 | Thanks to the power of Curves and Vibrance
working together, and it really is amazing,
| | 06:11 | just how much luminance detail is inside
this image, when it looked so bad in the first
| | 06:17 | place and ends up coming out so great.
| | 06:21 | But not great enough, because I'd still like
to sync some of the contrast associated with
| | 06:26 | the snow and so I will show you how to
selectively modify the luminance of the highlights
| | 06:30 | in the next movie.
| | Collapse this transcript |
| Selecting and darkening highlights| 00:00 | In this movie, I'll show you how to select
the highlights in this image using a Luminance
| | 00:04 | Mask and then we'll dramatically
darken those highlights using curves.
| | 00:09 | So for starters, I am going to Alt+click or Opt+click
on the eye in front of the Background layer,
| | 00:13 | so we can restore the original high contrast
version of this photo which is going
| | 00:17 | to work beautifully for masking this dark
barn away from this bright sky and snow.
| | 00:23 | So really the image is going to select itself.
| | 00:25 | I'll switch over to the Channels panel and we are
looking for the highest contrast of the channels.
| | 00:31 | The Red channel is going to be
brightest because the barn is made of wood.
| | 00:34 | The Green channel is going to be slightly darker
and the Blue channel is going to be darker still.
| | 00:39 | So obviously, the Blue
channel is the one we want.
| | 00:42 | To load it up as the selection, press the
Ctrl key or the Cmd key on the Mac and
| | 00:46 | click on the Blue channel.
| | 00:48 | Then switch back to the RGB image, return to
the Layers panel and Alt+click or Opt+click
| | 00:53 | on the eye in front of the Background
to restore all the layers.
| | 00:57 | Then assuming you loaded dekeKeys, press Ctrl+
Shift+M or Cmd+Shift+M on the Mac in order to
| | 01:02 | create a new curves layer and I'm going to
call this layer darken snow because that's
| | 01:07 | its purpose, and then I'll click the OK button.
| | 01:10 | And notice that Photoshop goes ahead and automatically
converts that selection to a layer mask so
| | 01:15 | we are actually seeing the original Blue channel
inside that layer mask which means we'll apply
| | 01:20 | the Curves Adjustment to the
highlights and nothing more. All right.
| | 01:23 | Now I'll expand the size of my Curves
panel, so I can see the entire graph.
| | 01:27 | And this time around, you don't need
to use the Target Adjustment tool.
| | 01:31 | I am just looking for an Input of 165 which
is right about there and then I'm going to
| | 01:38 | click and drag down.
| | 01:40 | So ultimately the Input value wants to be 165
and then the Output value wants to be 85
| | 01:45 | and you can just drag to that location
if you like or you can create the point and
| | 01:51 | then nudge it from the keyboard, but again
Input 165 dropping down to an Output of 85.
| | 01:57 | So we're darkening all of those
colors dramatically. All right.
| | 02:01 | Now I'll go ahead and hide the Properties panel.
| | 02:04 | Now if I turn off this layer for a moment,
you can see that I've managed to not only
| | 02:08 | darken up the snow by I had darken the barn
as well and you can watch it brighten up as
| | 02:12 | soon as I turn layer the layer off and then
if I turn the layer back on, you see that
| | 02:17 | barn get darker, you see the Background get darker,
but the Background is not getting dark enough.
| | 02:22 | So what I need to do is increase
the contrast of this layer mask.
| | 02:26 | So I'll Alt+click on it or Opt+click on the
layer Mask thumbnail here inside the Layers panel
| | 02:30 | to view it independently of the rest of
the image and then the great tool for increasing
| | 02:35 | contrast inside Photoshop is the Levels command.
| | 02:39 | We have to apply a static version of the command
because you can't apply an adjustment layer to a mask.
| | 02:44 | So go up to the Image menu, choose Adjustments
and then choose Levels or you can just press
| | 02:49 | Ctrl+L or Cmd+L on the Mac.
| | 02:51 | And you'll see if I move this dialog box over
to the right, there is our barn over on the
| | 02:56 | left-hand side of the histogram and there is our
snow and sky over on the far right-hand side.
| | 03:02 | So because this is a mask, I want to
clip away all of that sky and snow.
| | 03:06 | So I am going to drag this white point
triangle over to 200 which tells Photoshop to take
| | 03:11 | everything that has a Luminance Level of 200
or brighter and make it absolutely white.
| | 03:17 | Then I'll drag the black triangle all the
way over to let's say 90 is what I am looking
| | 03:23 | for and that tells Photoshop to take
everything with a Luminance Level of 90 or darker and
| | 03:29 | make it absolutely black which is why the
barn is turning nearly completely black and
| | 03:35 | the sky and the snow are
turning completely white.
| | 03:37 | We are turning some of the weeds black
as well as you can see. All right.
| | 03:41 | Now go ahead and click OK to apply that
modification and then Alt+click or Opt+click on the
| | 03:46 | layer Mask in order to
return to the full color image.
| | 03:50 | So to see the difference, I'll
press Ctrl+Z or Cmd+Z on the Mac.
| | 03:53 | This is what the barn and sky looked like
before we modified that layer mask and this
| | 03:57 | is how the barn and sky look now.
| | 03:59 | And if I turn this layer off and then back on,
you can see that the barn is barely changing
| | 04:04 | at all, but the snow and sky
are becoming much darker.
| | 04:08 | And while that's a lot better, we have got
a lot more detail inside the snow and sky
| | 04:12 | for example, the composite
image is by no means perfect.
| | 04:15 | I'll go ahead and zoom in to this lower right
corner of the image and you can see that the
| | 04:19 | snow and sky are turning kind of purplish
on this, especially in the shadow regions
| | 04:24 | and we've got a ton of posterization
happening at the edges of the mask.
| | 04:29 | And I'll show you how to fix both problems, by
modifying the mask and adjusting the curves
| | 04:35 | on a channel-by-channel
basis in the next movie.
| | Collapse this transcript |
| Neutralizing colors and smoothing transitions| 00:00 | In this movie, we'll get rid of that purple
colorcast and the snow and sky by adjusting
| | 00:05 | our Curves Settings on a
channel by channel basis.
| | 00:07 | And you can see just what a difference we're
going to make here by switching to the final
| | 00:12 | version of the image, in which both
the snow and sky are perfectly neutral.
| | 00:18 | And here's how that works.
| | 00:19 | I'll go ahead and switch to our composition
in progress, and then I'll double-click on
| | 00:23 | the thumbnail for the darken snow
layer to bring up the Properties panel.
| | 00:26 | And I'm going to go ahead and zoom
in on a region of purplish snow.
| | 00:30 | And then I'll select my Gray Eyedropper,
which lets me do the same thing it does when
| | 00:35 | I'm working with Levels, that is you click
inside the image to make a color neutral.
| | 00:40 | And then I'll click on what appears to be a
sort of purplish color there in the snow.
| | 00:46 | And that does make the image more neutral,
however, it appears to me as if I'm making
| | 00:51 | the image sort of green.
| | 00:53 | And in order to sort of test if I've gotten
things right here, I can drag the darken snow
| | 00:58 | layer below superblaster, and that way the
effects of this adjustment will get exaggerated.
| | 01:04 | So notice as soon as darken snow is below
superblaster, I'm increasing the Saturation
| | 01:09 | and Vibrance of these colors like crazy, and I
can see that, yes, my snow is now super green.
| | 01:15 | All right.
| | 01:15 | So notice now here inside the Curves panel that
I can see some independent channel adjustments
| | 01:20 | in the form of these green and blue
curves; you may see a red curve as well.
| | 01:24 | So obviously the main culprit is the green
curve, so I'll go ahead and switch from the
| | 01:28 | RGB composite to the Green Channel.
| | 01:30 | And on the PC I have to press the Escape
key in order to deactivate that menu.
| | 01:36 | Then I'll press the Plus (+) key a couple of
times in order to select that central point.
| | 01:39 | You'll just have one new point
in the center of each curve.
| | 01:43 | And I'm going to go ahead and move it to the
center, so it's right there, at an Input of 128.
| | 01:48 | And based on my experience,
I want the Output value to be 130.
| | 01:52 | So I'll press the Down Arrow
key in my case to make it so.
| | 01:55 | And then I'll switch from Green to
Blue and press the Escape key again.
| | 02:00 | And my central point is still
selected, so that's great.
| | 02:02 | I'll just go ahead and nudge it over by pressing the
Right Arrow Key a few times to an Input of 128.
| | 02:08 | And then I'll nudge it down
to an Output value of 125.
| | 02:12 | And finally, I'll switch over to the Red Channel,
press the Escape key, nudge the Input value
| | 02:18 | over to 128, and nudge the
Output value down to 124.
| | 02:22 | And the reason I'm making both the green and
blue curves darker is because, bear in mind,
| | 02:27 | our snow used to be very purplish, which is a
combination of red and blue working together,
| | 02:32 | and therefore we need to darken the Red and
Blue channels and brighten ever so slightly
| | 02:37 | the Green Channel.
| | 02:38 | All right, that takes care
of our Curves adjustments.
| | 02:41 | Now, if you zoom in you're going to see some
mottling in that snow, a lot of color noise,
| | 02:46 | for example, but that's mostly because we're
exaggerating the saturation like crazy with
| | 02:51 | that superblaster layer.
| | 02:53 | So now, go ahead and drag the darken snow
layer back to the top of the stack and much
| | 02:58 | of that color noise will go away, not quite all,
we'll take care of that problem in a moment.
| | 03:03 | But we've got a bigger problem right now in
the form of this hideous posterization that's
| | 03:09 | surrounding the edge of the mask.
| | 03:11 | So you can see these areas of gray right here,
if I Alt+Click or Opt+Click on the layer
| | 03:16 | Mask thumbnail here inside the Layers panel,
they represent these choppy transitions between
| | 03:21 | the black pixels in the
mask and the white pixels.
| | 03:24 | So what we need to do to solve this problem
is blur the mask, and the best way to do that
| | 03:29 | is to Alt+Click or Opt+Click on the layer Mask,
so that we can see the full color composite image.
| | 03:34 | Then double-click on the thumbnail to bring
up the Properties panel, and I'm going to
| | 03:37 | reduce the size of this panel
so I can see what I'm doing.
| | 03:40 | The solution is this guy right here, the Feather
value, which allows you to blur the mask dynamically.
| | 03:46 | And if you click inside that value and press
Shift+Up Arrow a few times, you'll see those
| | 03:50 | ratty posterized edges
disappear before your very eyes.
| | 03:54 | And at a value of about 5 pixels
everything looks to be in good shape.
| | 03:58 | Now, this is another one of those parametric
settings, so you can come back and modify
| | 04:02 | the blurriness of this mask anytime you like.
| | 04:05 | All right, now I'll go ahead and hide the
Properties panel, and I'll zoom out once again
| | 04:10 | to take in the entire image.
| | 04:11 | Now, we have one additional problem, which is
we still have some very obvious color noise
| | 04:18 | going on inside of the sky
and snow of this image.
| | 04:22 | And we can solve that problem by masking away
the effects of the superblaster adjustment,
| | 04:27 | specifically in the sky and snow,
and here's how we'll do that.
| | 04:30 | Go ahead and Alt+drag or Opt+drag the layer
Mask thumbnail from darken snow to superblaster
| | 04:36 | in order to duplicate that layer Mask.
| | 04:38 | Now, that's giving us exactly the opposite
effect of what we're looking for, that is
| | 04:42 | to say, we're removing the saturation from
the dark areas, that is the barn; and we're
| | 04:47 | keeping the saturation in the
bright areas, that is the sky and snow.
| | 04:51 | So with this layer Mask thumbnail
selected, go ahead and click on it.
| | 04:56 | Then press Ctrl+I or Cmd+I on the mask to
Invert that mask, and you'll take the saturation
| | 05:02 | out of the sky and you'll leave the
saturation in the barn, just as you see here.
| | 05:06 | All right, now I'm going to zoom out slightly
here by reducing my Zoom value in the lower
| | 05:11 | left corner of the image window.
| | 05:13 | And this is the final effect, folks, and what's
interesting about it is how much detail we have.
| | 05:18 | Notice that we have all this contouring
in the snow, which is absolutely great.
| | 05:22 | We have all this detail in
the weeds and the barn.
| | 05:25 | We can even see the distinction between the
snow on the ground and the grayness of the
| | 05:29 | sky, none of which was
visible in the original image.
| | 05:32 | If I Alt+Click or Opt+Click on the
eyeball in front of the background item here,
| | 05:36 | you can see that there's barely any distinction
between snow and sky at all; the barn is so
| | 05:40 | dark it looks like it was set on fire; and
the ground looks as if we're snow blind.
| | 05:46 | Compare that of course to our final corrected
version of the image, in which all sorts of
| | 05:50 | details are fully evident, including this
strange effect right there, where the sun
| | 05:56 | is darker than the sky.
| | 05:58 | And that's how you apply the full power of
curves to correcting even the most challenging
| | 06:03 | of photographic images.
| | Collapse this transcript |
| The new automatic Curves function| 00:00 | Now I would be a remiss if I failed to mention
that just like Brightness/Contrast, and Levels,
| | 00:05 | Curves offers its own unique auto
function, and it's new to CS6.
| | 00:10 | So we might as well see how it compares to
the other two and how it might serve as a
| | 00:14 | jumping off point for a custom correction.
| | 00:17 | So I have opened this image that we first
saw in Chapter 12 of the Intermediate course
| | 00:22 | and I'm going to duplicate it a couple of
times by going up to the Image menu and choosing
| | 00:25 | the Duplicate command and then I will call
this image Auto Levels and press the Enter
| | 00:29 | key or the Return key on the Mac, Zoom on in,
then create another Duplicate by going
| | 00:34 | back to that same command and this time I'll
call my image Auto Curves and press Enter
| | 00:39 | or Return on the Mac and zoom in as well.
| | 00:41 | All right, let's start off with the first image
here and I will drop down to the black/white
| | 00:45 | icon and choose Brightness/Contrast and I'll
go ahead and click on Auto, it's going to
| | 00:50 | take a moment to calculate, and then you'll
see the correction in the background, and
| | 00:54 | quite honestly for this particular exercise,
we don't need a big huge properties panel.
| | 01:00 | So that's the Brightness/Contrast correction.
| | 01:01 | I am going to switch over to the Auto Levels
image, drop down to the black/white icon and
| | 01:07 | choose Levels and then I will click on its
Auto button and we end up with this variation.
| | 01:13 | And then I'll switch over to the final Image
drop down to the black/white icon and choose
| | 01:17 | Curves and I will click on its Auto
button, and we end up with this.
| | 01:22 | So for the sake of comparison here, this is
the automatic Brightness/Contrast variation.
| | 01:28 | This is the Automatic Levels variation, not
nearly so garish, probably the most successful
| | 01:32 | of the bunch where this particular image is
concerned, and this is the Auto Curves variation.
| | 01:39 | Now naturally, everything we are seeing is
specific to this particular photograph, your
| | 01:43 | results may vary dramatically, but the real
point is you may luck out and Photoshop may
| | 01:48 | do a great job or what Photoshop comes up
with may be a great jumping off point.
| | 01:53 | Now when I corrected this image back in Chapter
12 using Levels, I had to apply two applications
| | 01:58 | of a Levels Adjustment layer.
| | 02:00 | One, across the entire image and another
just to brighten up the shadow regions and the
| | 02:05 | awnings on these wooden shutters here, whereas,
I can correct this whole image using one pass
| | 02:11 | of curves, as I'm about to show you.
| | 02:13 | So I will go ahead and double-click on the
thumbnail for this Curves 1 layer, and I will
| | 02:17 | also increase the size of my Properties panel,
so that I can take in the entire curves graph.
| | 02:21 | I am going to start things out by dragging
this white slider triangle, until I get to
| | 02:26 | an input value of 194.
| | 02:29 | So I am mapping everything, that's 194 or
brighter to 255 which of course is white.
| | 02:33 | Then I will press the minus key in order
to select that bright point right there.
| | 02:38 | Notice that it has an Input of 173, I am
going to press the left arrow key a few times to
| | 02:42 | back it off to 170, and then I will press Shift+
Down arrow to take the Output value down to 220.
| | 02:48 | All right, so that takes down some of the
heat inside of those highlights, but now
| | 02:53 | I need to brighten the shadows, and I will do
so by switching over to the Target Adjustment
| | 02:56 | tool and I'm going to search for a very dark
color like right about there, you can see
| | 03:01 | that my cursor is very close to the top of
the image, above the wooden shutters and
| | 03:06 | I found an Input of 14 at this location and
I'm going to drag up in until I get to an
| | 03:12 | Output of 28, should do the trick.
| | 03:16 | And then I'll move my cursor back into the
Properties panel, so I can see those values
| | 03:20 | and I'll press the left arrow key in
order to nudge that Input value to 15.
| | 03:24 | So Input should be 15, Output should be 28.
| | 03:27 | Then I wanted to open up the shadows a bit,
by taking this point right there, the point
| | 03:32 | that Photoshop created automatically and I'm
going to just kind of drag it up to graph to
| | 03:37 | about this location, actually I want the
Input value to be 96, so I will go and press the
| | 03:42 | Right Arrow key a few times and an Output
value of 115 is exactly what I'm looking for.
| | 03:48 | And that takes care of it, so I will go
ahead and close the Properties panel, so we can
| | 03:51 | see what we have done here.
| | 03:52 | I will turned the Curves layer off, this is
the before, dark low contrast version of the
| | 03:56 | image, this is the after version
of the image with more contrast.
| | 04:00 | Now the thing about those kinds of radical curves
adjustments, I will go and bring it back up here.
| | 04:06 | Where you're brightening the shadows and then
you're dimming the midtones and then you are
| | 04:09 | brightening the highlights again, so you are
going back and forth, is that they have a
| | 04:13 | habit of reducing the Saturation of the colors,
so we can end up with some drab images or
| | 04:19 | patches of gray, you need to watch that.
| | 04:21 | But one way to solve the
problem is to add a Vibrance layer.
| | 04:24 | So I'll drop down to the black/white icon,
click on it, choose Vibrance and I'm going
| | 04:29 | to take that Vibrance value way up to 70,
so I'm pressing Shift+Up arrow seven times
| | 04:34 | in a row and we end up with this effect here.
| | 04:37 | Now that looks great where the shutters are
concerned and where the awning is concerned
| | 04:42 | as well, but the colors are a little bit
too hot in the bright sections of the wall.
| | 04:46 | So we need to mask this Vibrance Adjustment
using the opposite of Luminance Mask,
| | 04:51 | which is a Density Mask.
| | 04:53 | Let me show you how that works.
| | 04:54 | I'll Alt+Click or Opt+Click on
the eye in front of background.
| | 04:58 | Then I will go to the Channels panel, and
you can see here that the Red Channel is the
| | 05:02 | brightest, the Green channel starts darkening
up and the Blue channel does the best job
| | 05:06 | of showing us those shadow regions,
regions that need more vibrancy.
| | 05:10 | It shows them up the darkest and we have
the most contrast across the entire image.
| | 05:15 | So I will go ahead and Ctrl+Click or Cmd+
Click on the Blue Channel in order to load it as
| | 05:19 | a selection, so we are selecting the highlights,
deselecting the shadows, switch back to the
| | 05:24 | RGB image, switch over to Layers panel, turn those
layers back on by Alt+Clicking or Opt+Clicking
| | 05:31 | on the eye in front of the background.
| | 05:32 | My Vibrance layer is selected and this time
instead of clicking on the Add Layer Mask
| | 05:37 | icon, I will press the Alt key or the
Option key on the Mac and click on it.
| | 05:42 | And that will go ahead and give us
a layer mask that looks like this.
| | 05:45 | Just go ahead and Alt+Click or Opt+Click
on the layer Mask Thumbnail and you can see
| | 05:49 | that we have an inverted version of that Blue
Channel and that is what is meant by a Density Mask.
| | 05:55 | That is we are masking the
image based on ink density.
| | 05:57 | All right, now I am going to increase the
contrast of this mask by pressing Ctrl+L or Cmd+L
| | 06:02 | on the Mac in order to bring up the Levels dialog
box and I'll take this black slider up to about 60.
| | 06:08 | The point in which the Histogram begins, and
then I'll click on the white point value and
| | 06:13 | press Shift+Down arrow a few times, until
we really dramatically open up that shadow
| | 06:17 | detail, that is to say the highlights that
we are using to select the shadows, and then
| | 06:22 | happens at about 195.
| | 06:24 | So 60 for the black point value, 195 for the
white point value, that's it, click OK and
| | 06:29 | then Alt+Click or Opt+Click on the layer
Mask Thumbnail again, in order to achieve
| | 06:34 | the effect you see before you.
| | 06:36 | All right, and just to see what we've been able
to achieve, I will Alt+Click or Opt+Click
| | 06:40 | on the eye in front of the background, that's
the original version of the image, and this
| | 06:45 | is the corrected version of the image based
in small part on the Auto button, that is
| | 06:50 | included along with Curves and in larger part
on your ability to edit those Curve Settings,
| | 06:54 | anyway you like.
| | Collapse this transcript |
|
|
27. Camera RawCamera Raw| 00:00 | Photoshop ships with a file browser called
Bridge, because it serves as a kind of bridge
| | 00:05 | between your images and Photoshop.
| | 00:07 | Photoshop and Bridge are independent programs
and they both offer a very powerful plug-in
| | 00:13 | called Camera Raw, which is
the topic of this chapter.
| | 00:17 | The primary purpose of Camera Raw is to process
photographs captured with a mid range or professional
| | 00:22 | level digital camera and saved in
your camera's RAW file format.
| | 00:27 | This format varies from one
camera vendor to the next.
| | 00:30 | Canon calls its format CR2. Nikon uses NEF.
| | 00:34 | Fuji uses whatever Fuji uses and so on.
| | 00:38 | Whatever the format, this RAW file represents the
unprocessed data captured by the camera's image sensor.
| | 00:44 | Such a file is typically several times larger
than an equivalent JPEG, but it also contains
| | 00:50 | way more information, including a
wider range of luminance data.
| | 00:55 | Think of it this way, if Photoshop lets you
edit a photograph and integrate it into a
| | 00:59 | larger piece of artwork; Camera Raw lets you
develop the photo, meaning that it really
| | 01:05 | is a digital darkroom.
| | 01:07 | You start by adjusting the white balance,
which is the basic color cast of the image.
| | 01:11 | Then you expose the photo, correct
the contrast and enhance the colors.
| | 01:16 | You can even modify certain areas
of a photo independently of others.
| | 01:21 | The amazing thing is that every modification
is nondestructive, as with Smart Objects,
| | 01:26 | you can not harm an image in Camera Raw, plus
you can correct multiple images at a time,
| | 01:32 | something Photoshop can't do, and you can
copy modifications from one image to another.
| | 01:38 | Camera Raw works inside Photoshop, it works
inside Bridge, and it's fully compatible with
| | 01:43 | Adobe's other photo development program, Lightroom.
Plus, it lets you edit regular, old, everyday
| | 01:49 | JPEG and TIFF images.
| | 01:52 | If you are a photographer,
Camera Raw is your development tool.
| | 01:55 | If you are an artist or designer, Camera Raw lets
you precisely manipulate the work of others.
| | 02:01 | If Camera Raw costs an extra 300 bucks, I
would tell you to buy it, but as long as you
| | 02:05 | have Photoshop, it doesn't cost
anything, and here's how it works.
| | Collapse this transcript |
| Opening and editing multiple images| 00:00 | In this movie, I'll show you how to both open
and modify multiple images at a time in Camera Raw,
| | 00:05 | which is something you
can't do inside Photoshop.
| | 00:08 | So in Photoshop, it's just one image or
composition at a time, whereas in Camera Raw,
| | 00:13 | you can modify as many images as you like.
| | 00:15 | I'm currently working in Bridge, and you can
get to Bridge by choosing Browse in Bridge
| | 00:19 | from the File menu inside Photoshop.
| | 00:22 | And I've got Bridge trained on the 27_camera_raw
folder inside the exercise files folder,
| | 00:28 | and I'm looking at four images here;
Swim meet-1 through 4.
| | 00:32 | They're all DNG files which stands for Digital
Negative, which is Adobe's open standard
| | 00:38 | for RAW digital photographs.
| | 00:40 | But you might be working with CR2s or NEFs
or ORFs, there's all kinds of file formats
| | 00:46 | out there depending on your camera vendor.
| | 00:48 | Now, you may see more images than this inside this
folder, I am populating the folder as I go along.
| | 00:54 | I'm going to click on Swim meet-1, Shift+Click
on Swim meet-4 to select all four files,
| | 00:59 | and there's a couple of different ways
to open RAW images in Camera Raw.
| | 01:03 | One way is to go to the File menu and choose
the Open command or press Ctrl+O or Cmd+O on a Mac,
| | 01:08 | and that's going to open Camera Raw
as a plugin inside Photoshop, which means
| | 01:13 | you'll be occupying Photoshop's
attention and freeing up Bridge.
| | 01:17 | If you'd rather go the other way around, if
you'd rather run Camera Raw as a plugin inside
| | 01:22 | Bridge, and leave Photoshop free, then you
go down here to this command, Open in Camera Raw
| | 01:28 | or you'd press Ctrl+R
or Cmd+R on the Mac.
| | 01:31 | And that's the way that we'll be working,
because that will allow us to see our modifications
| | 01:36 | in Bridge when we're done.
| | 01:37 | So I will go ahead and choose the
command and that brings up Camera Raw.
| | 01:41 | And if this is a first time you've entered
Camera Raw, then you'll see the plugin inside
| | 01:44 | of the dialog box.
| | 01:45 | If you'd rather consume the entire window,
which you might as well, because you can't
| | 01:50 | switch back to Bridge by clicking on it here,
then click on this icon, or press the F key
| | 01:55 | to fill the entire screen.
| | 01:57 | Now, notice that we're seeing the open images
in a vertical filmstrip, and we're seeing
| | 02:01 | the selected image of my youngest son with a
scratch on his face here inside the Image Preview.
| | 02:07 | And currently, just one image is selected as
you can see, so if I make any modifications,
| | 02:12 | I will affect that image,
and none of the others.
| | 02:14 | If you want to edit all the images at the
same time, then either click on the Select
| | 02:18 | All button or press Ctrl+A or Cmd+A on the Mac,
and that will go ahead and select all of them.
| | 02:24 | Now, if you want to switch from one image to
another, that is, you want to see a different
| | 02:28 | image inside the preview, then press the
Down Arrow key to advance to the next image
| | 02:34 | or you can press the Up Arrow key
to advance to a previous image.
| | 02:38 | Another way to work, if you want to skip down
to an image for example, is not to click on it,
| | 02:42 | because if you click on that thumbnail
there in the filmstrip, you will not only
| | 02:46 | switch to it, but you also
deselect all the other images.
| | 02:49 | So I will press Ctrl+A or Cmd+A on a Mac
in order to select them all once again.
| | 02:54 | Instead what you do is you Alt+Click or you
Opt+Click on the thumbnail, and that not
| | 02:59 | only switches to that image, but it keeps
all the other images selected as well.
| | 03:03 | Now, notice all these correction options that
are available to us in the Basic panel,
| | 03:08 | and we'll be running through exactly how
these options work in future movies.
| | 03:11 | But for now, what I'd like you to do is just
click on this Auto button; so yet another
| | 03:16 | automatic means of correcting the
color of images inside Photoshop.
| | 03:20 | And this one often works very well.
| | 03:22 | I will go ahead and click on Auto, and we
can see that just like that, we've changed
| | 03:26 | the luminance of all of the selected images.
| | 03:29 | And notice the Auto button just affects these
6 options right here; so Exposure, all the
| | 03:34 | way down to Blacks.
| | 03:36 | Now, we're not seeing any numerical values
anymore, because each and every one of the
| | 03:41 | images has been modified differently,
and to varying degrees of success.
| | 03:45 | So, if I go ahead and just click on one of
the thumbnails to select it independently
| | 03:49 | of the others, then you can see the numerical
values that Camera Raw has automatically applied.
| | 03:55 | And in the case of this image, Camera Raw
has done a pretty good job, you can check
| | 03:59 | out the uncorrected version of the image by
turning off the Preview checkbox and you can
| | 04:04 | also toggle that checkbox
by pressing the P key.
| | 04:07 | So this is before, and this is after.
| | 04:10 | I will go ahead and switch down to this next
one, this one looks pretty good as well, this
| | 04:13 | is before and this is after.
| | 04:16 | And finally, we've got this guy here again, looks
pretty darn good, this is before, and this is after.
| | 04:23 | Now let's say you decide that you want to
apply the modifications assigned to one of
| | 04:28 | the images to all the images, because for
example, this very first one, Swim meet-1
| | 04:33 | didn't come out too well, it's way too bright.
| | 04:37 | So what I'd like to do is go ahead and
select all the images again, I will press Ctrl+A
| | 04:41 | or Cmd+A on the Mac, and then you
want to switch to the image that you like.
| | 04:45 | So I will Alt+Click or Opt+Click on Swim
meet-4 for example, and then you've got this
| | 04:50 | Synchronize button, that will assign the settings
that you've applied to this image, to all of them.
| | 04:56 | And there are two ways to use Synchronize;
one is just to click on the button, and you'll
| | 05:00 | get this massive dialog box of
options that are available to you.
| | 05:05 | So basically, you're synchronizing every single
development setting and the only things you're
| | 05:09 | not synchronizing are things like Crop and
Spot Removal and Local Adjustments, which
| | 05:14 | would just work for one
image at a time anyway.
| | 05:17 | So, you could go ahead and click OK at this
point, but what I like to do is just skip
| | 05:21 | this dialog box, because it seems to me that it's set
up exactly the way I'd want it to be by default.
| | 05:27 | So I will click Cancel, and if you want to
skip, you press the Alt key or the Option
| | 05:32 | key on the Mac, that gets rid of the little
dot, dot, dot, after synchronize, then you
| | 05:36 | just go ahead, and click on the button
and everything happens automatically.
| | 05:40 | And now, if I click on the thumbnail for
Swim meet-1, we see a much better development.
| | 05:45 | And by the way, keep an eye on the
upper-right corner of the Preview here.
| | 05:51 | If you switch to a different image and you
see a yellow caution sign for a moment, that
| | 05:55 | doesn't mean anything is wrong, that just
means that Camera Raw is trying to keep up
| | 05:59 | with you, so it needs to refresh
the preview on screen. All right.
| | 06:02 | Now that we're done, a couple of different
ways to work; one is to press Ctrl+A, again,
| | 06:08 | Cmd+A on the Mac, and then you can click
on this Open Images button, and that's going
| | 06:12 | to open all four images inside Photoshop.
| | 06:15 | If you just have one thumbnail selected, then
it changes to the Open Image button, and you'll
| | 06:20 | open just that one image.
| | 06:22 | And that's great if you want to apply more
modifications inside Photoshop, but it's not
| | 06:27 | necessary if you just want to save
these images to a different file format.
| | 06:30 | In that case, if you want to save all these
images as JPEGs or TIFFs for example, you'd
| | 06:34 | press Ctrl+A, once again, Cmd+A on the Mac,
to select them all, and then you click
| | 06:39 | on the Save Images button, and then you can go
ahead and decide which file formats you want to use.
| | 06:45 | For example, you can select
JPEG, TIFF what have you.
| | 06:49 | However, what I am going to do is cancel out
of this dialog box, and just click on Done,
| | 06:54 | because that goes ahead and applies our changes
to the images without opening them in Photoshop,
| | 07:00 | and then you see, when we return to Bridge,
that all of the thumbnails update to reflect
| | 07:04 | our modification and we have these little icons
in the upper-right corners of the thumbnails
| | 07:09 | that show us that the images
include development settings.
| | 07:13 | However, and it's worth noting, that these
modifications have been saved as metadata.
| | 07:18 | In other words, not a single pixel has
been permanently modified inside the image.
| | 07:23 | And because I'm working with DNG files which
is the Adobe standard, the metadata is saved
| | 07:28 | directly to the file, and I can see that
metadata by moving down here to the Metadata panel,
| | 07:33 | which by default lives in the
lower-right corner of the screen.
| | 07:36 | And if I go ahead and twirl close File Properties,
you can see there's this item called Camera Raw,
| | 07:41 | you may have to scroll down to it, and
I will go ahead and twirl it open, and then
| | 07:45 | I can see my Exposure, Highlight, Shadows,
Whites, Blacks, and Contrast settings,
| | 07:50 | all of which were modified automatically
when I clicked on that Auto button.
| | 07:55 | And that's how you open and modify
multiple images at a time in Camera Raw.
| | Collapse this transcript |
| Correcting white balance| 00:00 | In this movie I'll show you how to adjust
white balance using the Temperature and Tint
| | 00:03 | controls and this is another one of those
things that Camera Raw does better than Photoshop.
| | 00:09 | Now I first introduced you to these controls
back in Chapter 8 of the Fundamentals course,
| | 00:14 | but rest assured we're going to
take a deeper dive this time.
| | 00:17 | So once again I have Swim meet-1 through 4
selected in Bridge, and I'll press Ctrl+R
| | 00:23 | or Cmd+R on a Mac, in order to bring up
Camera Raw, and then I'll press Ctrl+A or
| | 00:27 | Cmd+A on the Mac, in order to select all
of the thumbnails, and then you'll see the
| | 00:32 | White Balance controls at
the top of the Basic panel.
| | 00:35 | Now the whole purpose of white balance is
to neutralize the light source, so as long
| | 00:40 | as the light source comes off as being white,
then the colors in your scene will look accurate.
| | 00:45 | So you can start things off if you
like by selecting a light source.
| | 00:49 | For example, if you select Cloudy, you're going to
go ahead and warm up the scene as you see here.
| | 00:55 | If you choose something like Tungsten,
then you're going to cool the scene down.
| | 00:59 | Now that may seem like the opposite of the
way it should work, after all tungsten is
| | 01:04 | a very warm light source, and as all of
us know, cloudy days produce cool images.
| | 01:10 | What Camera Raw is trying to do is compensate
for that light source, so in order to make
| | 01:15 | the colors look right on a cloudy day,
they need to be made more warm.
| | 01:19 | Whereas to make a scene look right when it was
shot using tungsten lighting, you need to
| | 01:23 | cool the scene down.
| | 01:25 | You can also manually adjust the Temperature
setting, so notice if I drag this slider triangle
| | 01:31 | over to the right, I'm going to warm up the scene.
| | 01:34 | If I drag it over to the left, I'm going to
cool the scene down, and I might go ahead
| | 01:38 | and set this to something
pretty darn warm such as 4900.
| | 01:43 | Now that's 4900 degrees Kelvin by the way,
which is actually a very cool light source.
| | 01:49 | Again, Camera Raw is
compensating for that light source.
| | 01:52 | Next, drop down to the Tint slider and as I
explained back in Chapter 8, this is a perpendicular
| | 01:58 | access of color, so Temperature runs across
the big color wheel at one angle and Tint
| | 02:04 | run through the wheel at a perpendicular angle.
| | 02:06 | So, at this point I'm thinking that there is
a little bit too much pink inside the scene,
| | 02:12 | so I'm going to compensate
by dragging away from pink.
| | 02:15 | We never want to add green or pink to a scene.
| | 02:19 | You really just want to get rid of a preponderance
of that color, so I'll go and take this value
| | 02:25 | down to something like -14.
| | 02:29 | Another way to work and you may prefer this
way over fiddling with the controls is to
| | 02:33 | take advantage of this White Balance tool,
which often times produces impeccable results.
| | 02:40 | Go ahead and select the tool and then the
idea is you want to click on a light gray,
| | 02:45 | and the reason you want to go with the light
gray is because there will be a little bit
| | 02:48 | of a color cast inside of it, you don't want
to go with a dark gray, because shadows tend
| | 02:52 | to contain a lot of noise.
| | 02:54 | So in the case of this image you might click inside the
eye for example, in order to neutralize the scene.
| | 03:01 | You could try to click on the tooth, but the
thing is teeth contain a certain amount of
| | 03:05 | yellow, and so Camera Raw is probably going
to end up over compensating as we see here,
| | 03:10 | or because my youngest son Sam here is
wearing a cap that includes a stripe of white, you
| | 03:15 | could just go ahead and click on that white
in order to neutralize the scene as well and
| | 03:19 | that ends up coming off quite nicely.
| | 03:21 | All right, now I'm just going to nudge this
value up by pressing the Up Arrow key and
| | 03:26 | you can see each time you press Up Arrow,
when Temperature is selected, you increase
| | 03:30 | that value in increments of 50 degrees or
you can press Shift+Up Arrow in order to move
| | 03:36 | in increments of 500 degrees.
| | 03:38 | Anyway, I'm going to take that back down to
something like 4550 should work, and then
| | 03:43 | I might drop down to the Tint value and adjust it
as well, maybe take it up a couple of increments,
| | 03:48 | totally up to you, White Balance is
ultimately a subjective modification.
| | 03:53 | And then when you're done, go ahead and click
on the Done button in order to return to Bridge
| | 03:58 | and update your thumbnails.
| | 04:00 | And that's how you quickly and easily correct
the White Balance of your images using the
| | 04:08 | Temperature in Tint
controls inside Camera Raw.
| | Collapse this transcript |
| The revamped Exposure controls| 00:00 | In this movie, I will show you how to work
with the Exposure options, which have been
| | 00:04 | completely revamped in Camera Raw 7.
| | 00:07 | So I am going to select both View from Alcatraz-1
and -2, and press Ctrl+R
| | 00:11 | or Cmd+R on the Mac to
open these images in Camera Raw.
| | 00:14 | Then I will press Ctrl+A or Cmd+A on the
Mac to select both of them and I will press
| | 00:18 | the Down Arrow key in order to
advance to the second image.
| | 00:22 | Now both of the images are quite washed out
and your primary means of correcting luminance
| | 00:28 | inside of Camera Raw are these six
sliders Exposure through Blacks.
| | 00:33 | Now you could just go ahead and click on the Auto
button if you want to and that will dramatically
| | 00:37 | enhance the scene, they are not exactly
the enhancements I want to apply however.
| | 00:42 | And for purposes of demonstration,
I want to start from scratch.
| | 00:45 | So I am going to click on Default in order
to reset all six of these values to zero.
| | 00:50 | And we are going to start down here at the bottom
because things are so different than they used to be.
| | 00:55 | Now you might think of Whites as being
analogous to the White slider triangle that you find
| | 00:59 | inside Levels and Curves, except the big difference
is in addition to raising the Whites value
| | 01:05 | which is going to brighten the whites
and potentially clip them as well.
| | 01:09 | And we can see that we have clipped some
colors by the way in the Red channel because
| | 01:15 | this little highlight clipping
warning is appearing red.
| | 01:18 | So if it appears red you are clipping red,
if it ends up appearing white as it is now
| | 01:23 | then we are clipping in all three
channels and obviously that's a bad thing.
| | 01:27 | If you want to see where that clipping is
occurring then you press the Alt key or the
| | 01:30 | Opt key on the Mac just as you do in Levels
and Curves as you drag this White slider triangle.
| | 01:36 | And that will show you which colors are
clipping there inside the Image Preview.
| | 01:41 | But in addition to brightening and potentially
clipping highlights you can also darken your Whites,
| | 01:47 | and thereby retrieve otherwise clipped highlights.
| | 01:51 | So highlights that were clipped when we first
entered Camera Raw are now coming back from the dead.
| | 01:56 | All right, in my case I am going to Alt+Drag
or Opt+Drag this White slider triangle
| | 02:00 | until I see a little bit of clipping
occurring there inside the preview and that
| | 02:05 | happens at about a value of +25.
| | 02:08 | So it's looking like I am making the scene
brighter than ever and more washed out as well,
| | 02:11 | we will take care of that in just a moment.
| | 02:14 | Next we have Blacks, now if you reduce the
Blacks value, it's just like raising the black
| | 02:20 | point value inside Levels, that is to say
you can clip your shadows if you like.
| | 02:25 | And in my case I am seeing cyan for the shadow
clipping warning which tells me I am clipping
| | 02:30 | in both the Green and Blue channels.
| | 02:33 | And if I take it so low that I see white that
tells me that I am clipping in all three channels.
| | 02:38 | If you want to see where the clipping is
occurring you press the Alt key or the Opt key on
| | 02:42 | the Mac as you drag the slider triangle.
| | 02:46 | But I want to go ahead and take it down, I still
have Alt or Option down as well by the way.
| | 02:50 | I want to take this value down to a point
where only that sweatshirt, that red sweatshirt
| | 02:55 | is clipping and it's just
clipping in the Green channel.
| | 02:58 | And I know that, by the way, because if I back
off to the point that we are just seeing a
| | 03:02 | little bit of clipping inside the sweatshirt,
I'm seeing a green warning at the top of the
| | 03:07 | screen, and of course, Magenta tells me that
I'm clipping green as well because its green's
| | 03:11 | color complement.
| | 03:12 | All right, so I am going to
take that value down to -30.
| | 03:16 | Next what we have is this Exposure control.
| | 03:19 | Now Exposure in previous versions of Camera Raw
was analogous to a white point control,
| | 03:25 | it was more sophisticated.
| | 03:27 | But now it's more analogous to a Gamma
control, again a more sophisticated one.
| | 03:32 | And you can see if you increase the Exposure
value -- take a look at that Histogram in
| | 03:36 | the upper right corner -- we are
shoving the entire histogram around.
| | 03:41 | So if I raise Exposure I am brightening the
entire scene across the spectrum, if I reduce
| | 03:46 | the Exposure value I am darkening
the entire scene across the spectrum.
| | 03:50 | Now one of the big differences between Gamma
and Exposure is that Gamma never clips, where
| | 03:55 | Exposure will clip.
| | 03:57 | You can see right now that I've managed to
clip shadows in all three channels in fact.
| | 04:02 | And you can see where that clipping is
occurring by pressing the Alt key or the Opt key
| | 04:06 | on the Mac while
dragging this slider triangle.
| | 04:08 | And I am going to tell you that Alt+Drag or
Opt+Drag trick works with all six of these
| | 04:14 | sliders except for Contrast, so it
works with Highlights and Shadows as well.
| | 04:18 | Anyway, I am going to take this value down
pretty low actually because I want to deepen
| | 04:23 | the colors in the scene.
| | 04:24 | So I will take it down to -0.7.
| | 04:27 | All right, next I'll also knock
down the Contrast just a little bit.
| | 04:31 | So I am just going to take it to -10 just
to take a little bit of the contrast out of
| | 04:35 | the scene because there's an awful lot of
contrast here in the first place, very bright day.
| | 04:40 | And now let's take a look at Highlights and
Shadows, and these guys are pretty amazing.
| | 04:44 | I want you to watch the Histogram again, and
you are going to see just the right half of
| | 04:49 | the histogram change when I brighten
the highlights or darken the highlights.
| | 04:55 | So I'm really limiting my adjustments to just
the lightest colors inside the image, essentially
| | 05:00 | the lightest half of the Luminance levels.
| | 05:03 | And there's a little bit of fade over into
the darkest half as well, but you have an
| | 05:07 | amazing amount of control.
| | 05:09 | And I am going to take those Highlights down
pretty low, and by the way you can Alt+Drag
| | 05:13 | or Opt+Drag this slider
triangle to preview any clipping.
| | 05:17 | I am going to take it down to -80.
| | 05:19 | And now watch Shadows, it does pretty much
the flip thing over here in the Shadow region,
| | 05:25 | where this image is concerned it's going to
affect this big blue lump as well as this
| | 05:29 | red lump in the middle.
| | 05:31 | So if I brighten the Shadows I am going to
squish that red lump over like so and if
| | 05:36 | I darken the Shadows I am going to
turn that blue thing into a big spike.
| | 05:40 | But there's very little action if any
happening over here in the Highlight region.
| | 05:44 | Now in our case what we want to do is brighten
the shadows inside Sammy's face for example,
| | 05:49 | as well as the Shadows on the side of Max's.
| | 05:52 | So I will go ahead and take this
Shadows value up to something like +70.
| | 05:56 | Again, if you want a preview clipping, you press the
Alt key or the Option key on the Mac as you drag.
| | 06:02 | Now the reason I am not concerned about the
clipping inside this sweatshirt is because
| | 06:07 | obviously we have a lot of
depth associated with it.
| | 06:10 | It's just clipping green and that's just a function
of this sweatshirt being so very darn saturated.
| | 06:16 | All right.
| | 06:17 | So these are the settings I came up with,
and then I decided that I wanted to raise
| | 06:20 | the Vibrance, but taking the Vibrance up as
far as I want to go for the sake of the scene
| | 06:26 | just to keep it nice and colorful, ends up
making the sweatshirt look pretty ridiculous.
| | 06:31 | So tell you what we are going to do.
| | 06:32 | It doesn't need to be that supersaturated.
| | 06:35 | I'm going to switch to the Targeted Adjustment
tool, and then this is a kind of preview of
| | 06:39 | upcoming attractions here, and I am going to
click and hold on it and choose Saturation.
| | 06:44 | And then I will drag down on the sweatshirt
in order to take some of that saturation out
| | 06:49 | of it, and we end up with something that isn't
quite shouting for attention like it was before,
| | 06:54 | even though these are perhaps the baggiest
T-shirts on the face of the planet, but the
| | 06:59 | kids love them so.
| | 07:00 | I'll switch back to Basic here and now I can
go ahead and take Vibrance up some more to
| | 07:05 | let's say about +50 is what I'm searching for.
| | 07:08 | And we end up with these versions of the scene.
| | 07:11 | And just so we can sort of see things up
close and personal here I am going to zoom in by
| | 07:16 | pressing Ctrl++ or Cmd++ a few times.
| | 07:19 | And let's preview what we've
managed to accomplish here.
| | 07:21 | I will press the P key in order to see the
original version of this image, you can see
| | 07:25 | that it's just so blown out by comparison,
and then I will press P again in order to
| | 07:30 | bring back my modifications.
| | 07:31 | All right, and just to make sure that we are
happy with the other image, I will press the
| | 07:35 | Up Arrow key in order to switch to it and
press Ctrl+0 or Cmd+0 on the Mac to fit
| | 07:40 | the image inside the preview and I will press
the P key in order to see the original version
| | 07:45 | of the image, quite washed out as you can see,
and I will press the P key again to see
| | 07:49 | the much better modification, thanks to
my Exposure adjustments. All right.
| | 07:54 | Now I'll go ahead and click the Done button
in order to add the metadata to the images
| | 07:58 | and update the image thumbnails inside Bridge.
| | 08:07 | And that's how you work with the new
Exposure Controls inside Camera Raw 7.
| | Collapse this transcript |
| Working with archival images| 00:00 | In this movie I will show you how to work
with archival images, that is photographs
| | 00:04 | that you've modified using
Camera Raw 6 or earlier.
| | 00:07 | And I have two such images here,
Lighthouse-1 and Lighthouse-2.
| | 00:10 | I will select them both in Bridge and press
Ctrl+R or Cmd+R on a Mac in order to open
| | 00:16 | them in Camera Raw.
| | 00:17 | Now I want to preserve my previous modifications
just in case I want to come back to them.
| | 00:21 | And you can do that by creating snapshots.
| | 00:24 | So I will press Ctrl+A or Cmd+A
on the Mac to select both images.
| | 00:28 | And then I will switch to the final panel
here by clicking on the snapshots icon.
| | 00:33 | And I will dropdown to the little Page icon
and click on it, and I'll call these settings
| | 00:36 | ACR6 edits because after all I modified the
images in Adobe Camera Raw 6 which shipped
| | 00:42 | along with Photoshop CS5.
| | 00:44 | And then I will click OK
in order to that snapshot.
| | 00:48 | Now notice even though the snapshot appears
here inside the Snapshots panel where this
| | 00:53 | image is concerned, if I press the Down Arrow key in
order to switch to the next image I see no snapshot.
| | 00:59 | And that's because snapshots is that one thing
that you can only do to one image at a time
| | 01:04 | even if multiple images are selected.
| | 01:07 | So once again dropdown to the Page icon,
click on it, enter ACR6 edits and then click OK.
| | 01:14 | All right, now let's go ahead and
switch back to the Basic panel.
| | 01:18 | And these images are so different, I'm
going to have to modify them independently.
| | 01:20 | I only selected both of them so
you could see that snapshots thing.
| | 01:24 | So I will just go ahead and click
on Lighthouse-1 and select it.
| | 01:27 | And notice this little Exclamation Point
(!) in the lower right corner of the screen.
| | 01:32 | That shows me that this image has been
modified in the previous version of Camera Raw
| | 01:36 | and therefore I'm seeing
completely different sliders.
| | 01:39 | The old ones in fact, Exposure, Recovery,
Fill Light, Blacks, Brightness, and Contrast.
| | 01:45 | In order to switch things up for the Camera Raw 6
controls you need to click on that Exclamation Point,
| | 01:49 | and then we will see Exposure,
Contrast, Highlights and so forth.
| | 01:54 | Now what Camera Raw is trying to do is the best
job possible of matching the previous effect.
| | 02:00 | So it's gone ahead and automatically
dialed in a few values here.
| | 02:04 | But I want to start over again, so I will go
ahead and click on default so you can see
| | 02:07 | just how bad this image
was in the first place.
| | 02:10 | And the first thing I am going to do is adjust
the Exposure, Whites, and Blacks controls.
| | 02:15 | So I will take that Exposure value up to say 0.5
which gives the image a little extra brightness.
| | 02:21 | And you'll find that sort of modest
exposure adjustments tend to work best.
| | 02:26 | And now I figure the Blacks
value is fine the way it is.
| | 02:30 | If I Alt+Drag or Opt+Drag on the slider
triangle you can see that we already have
| | 02:33 | some clipping at work here, so
best just to leave it alone.
| | 02:36 | However, I have plenty of room
were the Whites are concerned.
| | 02:40 | So I will go ahead and Alt+Drag or Opt+Drag
on the White slider triangle until I start
| | 02:45 | to see some clipping which happens at about
+60, you can see a little bit of clipping
| | 02:50 | in the top right portion of the image.
| | 02:52 | Now I figure we have a little bit too much
contrast where this image is concerned,
| | 02:56 | so I will just take the contrast value down to
-50 and then I could breathe some life into
| | 03:01 | the shadows because after all we've got some pretty
dark shadows underneath the top of this tower.
| | 03:08 | And I do so of course by dragging up on the
Shadows value, but that ends up washing out
| | 03:13 | the rest of the image so I am
going to leave that thing set to 0.
| | 03:17 | Instead, I will go ahead and press Ctrl+0
or Cmd+0 on the Mac to zoom out.
| | 03:21 | I am going to take that Highlights
value all the way down to -100.
| | 03:25 | And that ends up muting those highlights
so that they are not nearly so garish.
| | 03:28 | All right I think the scene
needs a little additional color.
| | 03:31 | So I am going to go down to the Saturation
value, maybe bump it up to let's say 20.
| | 03:36 | And then I'll Shift+Tab back to the
Vibrance value and take it up to 30.
| | 03:39 | So we end up with this very cheerful scene,
especially given that it used to look like this,
| | 03:44 | that is to say the image I get when I
click on the Default button, if I want to
| | 03:48 | get back my changes, which I desperately do,
then I can just press Ctrl+Z or Cmd+Z
| | 03:52 | on the Mac, you have one
level of undo inside Camera Raw.
| | 03:57 | Now if I want to compare this to my ACR6
settings then I'd just go ahead and switch over to
| | 04:01 | snapshots, take a moment to
go ahead save a new snapshot.
| | 04:05 | By clicking on the Page icon I will enter ACR7
edits this time, and then I will click OK.
| | 04:11 | So this is what I had before in
the previous version of Photoshop.
| | 04:15 | Looks pretty good but I don't think
as good as what I'm getting now.
| | 04:19 | Thanks to my Exposure controls
here inside Camera Raw 7.
| | 04:23 | We will see a more dramatic difference
if we switch over here to Lighthouse-2.
| | 04:27 | If I go back to Basic panel here and click
on Default, you'll see that this image was
| | 04:31 | in terrible shape, this is that classic image
that has blown highlights all over the place.
| | 04:37 | So if I press the Alt key and drag on that
Exposure triangle, you can see that we have
| | 04:42 | white all over that sky, those are
highlights that are really super blown out.
| | 04:47 | So with the Alt key down I will just go ahead
and drag this slider triangle over until most
| | 04:52 | of the clipping goes away which
happens in the Exposure of about -1.00.
| | 04:59 | And that ends up bringing back the sky quite
nicely, so we have all kinds of detail inside
| | 05:03 | those clouds now that we
didn't have just a moment ago.
| | 05:06 | However, it really darkens up that lighthouse.
| | 05:10 | Now I have made a mistake, by the way, I was
going to tab down to Contrast right there,
| | 05:14 | but instead its Recovery.
| | 05:16 | And the reason is I didn't update
to the new Camera Raw 7 controls.
| | 05:20 | So we will click on the Exclamation Point
in the lower right corner of the image and
| | 05:24 | now I'm seeing what things look like with
an Exposure of -1, so went ahead and kept
| | 05:28 | that value and everything else zeroed out.
| | 05:31 | All right, now I will select that
Contrast value and take it down to -25.
| | 05:36 | And I want to really brighten up those shadows.
| | 05:39 | So I will drag this slider triangle up until I get
the Shadows value of +80 is what I'm looking for.
| | 05:45 | And that brightens up the lighthouse
as well as the ground quite nicely.
| | 05:49 | And then I'll take the highlights down further
by reducing this Highlights value to -50,
| | 05:55 | and we ended bringing even
more detail out in those clouds.
| | 05:59 | And now we don't have any clipping at all. Both
the Shadow Clipping warning and the Highlight
| | 06:04 | Clipping warning appear black, meaning
not even a single pixel is clipped.
| | 06:08 | But we have so little contrast at this point and we
can fix that using the Blacks and Whites sliders.
| | 06:14 | So I'm going to start with Whites, I will
press the Alt key or the Option key on the Mac
| | 06:17 | and drag that triangle until I start to
see clipping which occurs right about at +30.
| | 06:23 | And then I'll Alt+Drag or Opt+Drag Blacks
and you can take that one all the way down
| | 06:28 | to -100 and get just a little bit of
clipping as you are seeing on screen.
| | 06:32 | But I decided to back it off to -80 like so.
| | 06:35 | And then I took that Saturation value up to
50 and I am going to take the Vibrance value
| | 06:40 | up to 50 as well so that we have this very
colorful ground and sky as you can see.
| | 06:46 | All right, so just to see the difference here,
if I click on Default we'll see the original
| | 06:50 | version of the image, it's
just horrible by comparison.
| | 06:53 | And then if I press Ctrl+Z or Cmd+Z on
the Mac we see the much better version here.
| | 06:58 | And by the way you also have this Clarity
slider that we haven't seen before, that creates
| | 07:03 | big thick Edge Contrast.
| | 07:06 | So if you drag it all the way down, you get
this kind of Thomas Kinkade Effect if you
| | 07:10 | will, bless his heart.
| | 07:12 | And then if you increase that value like crazy
you end up creating a kind of haunted lighthouse.
| | 07:17 | Anyway, I am just going to
leave that guy set to 0.
| | 07:20 | Now I will switch back over to Snapshots so we
can compare ACR7 to ACR6 and I will dropdown
| | 07:26 | to little Page icon, click on it, enter a name
for the snapshot like ACR7 edits, click OK.
| | 07:32 | So here's what we had at
the outset of this movie.
| | 07:35 | Better than the original, that's for sure,
but our new edits are that much better.
| | 07:40 | All right, now I will just go ahead and click
done in order to accept my modifications and
| | 07:45 | update the thumbnails here inside Bridge.
| | 07:54 | And that's how you work with archival
images as well as snapshots in Camera Raw 7.
| | Collapse this transcript |
| The Spot Removal and Graduated Filter tools| 00:00 | This time I have three images open in Camera
Raw, we're going to start things off in
| | 00:04 | View from Alcatraz-2.dng.
| | 00:04 | Now, before we leave the Basic panel, I want
to show you a few tools that are available
| | 00:10 | to you up here in the toolbar.
| | 00:12 | Starting with the Spot Removal tool, and ending
with the Graduated Filter, we have a collection
| | 00:17 | of four tools that allow you to brush
in modifications inside of Camera Raw.
| | 00:22 | So I'll start by demonstrating Spot
Removal, it's pretty easy to use.
| | 00:26 | The idea, let's say I want to get rid of
whatever this thing is, whether it's a piece of camera
| | 00:31 | guck or it's something falling off this tree,
or some weird shaped bird, let's say I want
| | 00:35 | to get rid of it.
| | 00:36 | Well, what you do is instead of brushing,
you drag a circle around it, like so, and
| | 00:41 | then you decide where your source should be.
| | 00:44 | So green is source; red is destination.
| | 00:46 | I'll go ahead and move the source over
to this location, set the Type to Heal.
| | 00:51 | If you'd prefer to Clone instead, you can
do that, but Healing is going to generally
| | 00:54 | blend in the information better.
| | 00:57 | And then I've got something else somewhere
else here, there is this bird right there,
| | 01:01 | I just don't like him.
| | 01:03 | So I'll go ahead and drag something around him as
well, and drag this cursor to a different location.
| | 01:10 | If you ever think better of one of your Spot
Healings here and you want to get rid of it,
| | 01:15 | then you press the Alt key or the Option key
on the Mac and click on the item in order
| | 01:19 | to delete it, but in my case I liked it, so
I'll go ahead and press Ctrl+Z or Cmd+Z
| | 01:23 | on the Mac in order to regain that Spot Healing.
| | 01:27 | You can also turn off your Overlays by the way,
and you do that either by deselecting
| | 01:32 | this checkbox, or by pressing the V key,
as you can see in that tooltip.
| | 01:36 | All right, the next tool over
is the Red Eye Removal tool.
| | 01:39 | If you have red eye inside one of your
photographs, then just go and select the tool,
| | 01:44 | click on the pupil, cross your
fingers, and hope for the best.
| | 01:46 | All right, now I'm going to switch over to
the first thumbnail, Glanum ruins, and
| | 01:50 | I've already applied a few basic
modifications to this image.
| | 01:54 | To check them out, by the way, if you ever
want to switch back to the standard panel set,
| | 01:58 | then you just tap the Z key in order to
select the Zoom tool, which is the default
| | 02:03 | tool inside of Camera Raw, and all
of your options will be reinstated.
| | 02:07 | And we can see that I modified the Shadows and
the Highlights and so forth inside this image.
| | 02:12 | And originally, by the way, this
image was in pretty bad shape.
| | 02:15 | If I switch over to Snapshots, you can see
that I've created a bunch of Snapshots over
| | 02:18 | time for this image,
including Default settings.
| | 02:21 | This is what the image looked like when
I first opened it, so pretty darn ugly.
| | 02:26 | Now it looks like this.
| | 02:27 | If you click on ACR7 conversion.
| | 02:28 | All right, now I'm going to switch back to my
Basic panel, and what I want to do is brighten
| | 02:34 | up this foreground even more, and also neutralize
the sky, because thanks to the fact that
| | 02:41 | I cranked up the Temperature value in order to
reinstate the natural colors of these pillars,
| | 02:46 | I ended up making the neutral
portion of the clouds really super brown.
| | 02:50 | So we need to take care of both of these items, and
we're going to do so using the Graduated Filter.
| | 02:55 | So you can get to it by pressing the G key.
| | 02:57 | And then I'm going to drag from right about
here up to here, like so, and I was pressing
| | 03:03 | the Shift key during that drag so I
have a perfectly vertical gradient.
| | 03:08 | Green represents the beginning of the
modification and red represents the end, and of course
| | 03:12 | it gradually dissipates
in the area in between.
| | 03:15 | Now, you may end up getting a warning telling
you that you need to modify some value here
| | 03:21 | inside the Graduated Filter panel.
| | 03:23 | Go ahead and do so and then try
to draw your gradient again.
| | 03:27 | Now, all I'm seeing is the last stuff I was
messing around with, none of which has anything
| | 03:32 | to do with this image.
| | 03:33 | So I'm going to go ahead
and zero out these values.
| | 03:35 | And what's amazing about
this is that you can do it.
| | 03:38 | So you can't create a gradient until you
enter some values, but then after you've created
| | 03:42 | the gradient, you can go ahead and zero out the
values which doesn't make any sense, but there it is.
| | 03:47 | I'm going to take that Exposure value
up to 0.5 by pressing Shift+Up Arrow.
| | 03:52 | And then I'm going to take the Contrast value down in
order to brighten up the scene a little bit more.
| | 03:59 | And I'm going to take the Shadows value up,
let's say, to +50, and then I'll take the
| | 04:04 | Clarity value up to +50 as well, so that we
emphasize the effect of these ancient carved pillars.
| | 04:12 | And then finally I'm going to
change the Temperature value.
| | 04:14 | So much of this by the way is new to Camera
Raw 7, in particular the fact that you can
| | 04:20 | change Temperature and Tint, which we've
needed for a long time, where the Graduated Filter
| | 04:25 | and the Adjustment Brush are concerned,
so this is really welcome stuff here.
| | 04:30 | All right, so that takes care of the pillars,
now let's take care the sky, and I'm going
| | 04:33 | to drag from right about here downward, like so, until
we meet up with the end of the previous gradient.
| | 04:41 | And you know what, I'm going to take it all the
way down to the bottom of the sky, what the heck!
| | 04:45 | All right.
| | 04:46 | And all I need to do here, I'm going to go
ahead and zero out these values, because
| | 04:48 | I'm not interested in darkening the sky or brightening
the sky, I want to take this Temperature value
| | 04:53 | down, and I'm going to take it down to -50, a
point at which the sky looks pretty darn neutral.
| | 05:01 | So just to give you a sense of what we were
able to accomplish, I'll press the V key in
| | 05:06 | order to hide the Overlays, and of course you
can just press V to bring them back again.
| | 05:10 | And then I'll turn off the Preview checkbox.
| | 05:11 | And the Preview checkbox by the way controls the
display of just those settings in the active panel.
| | 05:18 | So in other words, I'm just temporarily
turning off the Graduated Filter and nothing more,
| | 05:22 | and now I'll turn it back on, and we have
what I consider to be a much better effect.
| | 05:27 | And so now I'm going to press the Z key in
order to switch back to the Zoom tool, so
| | 05:30 | I get back all my panels.
| | 05:31 | I'll switch over to Snapshots.
| | 05:33 | I'll go ahead and click on the Page icon and
I'll call this Graduated ACR7, because this
| | 05:40 | is the newest version of this effect for me.
| | 05:43 | And now, just to give you a sense of how far
we've come with this image since I first opened
| | 05:47 | it, here are the Default settings, oh just terrible,
and here is the effect of the work that we've done.
| | 05:54 | So that's how you work with the Spot
Removal tool, as well as the Graduated Filter.
| | 05:58 | In the next movie I'll show you how to work
with the most complex of the tools, which
| | 06:02 | is the Adjustment Brush.
| | Collapse this transcript |
| Painting edits with the Adjustment Brush| 00:00 | In this movie, I'll show you how to work with
the Adjustment Brush which allows you to brush
| | 00:04 | in White Balance as well as Luminance
modifications here inside Camera Raw.
| | 00:09 | Now in this case, I am looking at an image
called Spanishtown dinosaurs and I've taken
| | 00:13 | a swing at adjusting the Exposure
settings as well as the White Balance.
| | 00:17 | So if you switch over to Snapshots, you'll
see right at the top Default settings,
| | 00:21 | that's how the image started terribly backlit,
everything is black in the foreground, but there is
| | 00:26 | a ton of detail going on that we can
draw out using that Adjustment Brush.
| | 00:30 | So I'll switch back to the ACR7 conversion,
switch over to the Basic panel here, and
| | 00:35 | I'll grab my Adjustment Brush.
| | 00:37 | Now we've got a ton of settings associated
with the brush here and I should go ahead
| | 00:41 | and reinstate Size and Feather to the
defaults just so you can see how they work.
| | 00:46 | Thing is, all of these settings from Color up
are dynamic, in other words you can modify
| | 00:52 | them after brushing in an effect.
| | 00:55 | But everything from Size down is static and only
affects the brush stroke that you're about to draw.
| | 01:01 | You can change your brush stroke on-the-fly
by the way by pressing the Bracket keys.
| | 01:05 | So I am going to press the Right Bracket key
key a few times in order to increase the
| | 01:08 | Size to 18 and you can also change the
Feather using the Bracket keys, but it works just
| | 01:14 | the opposite as it does in Photoshop.
| | 01:16 | So if you press Shift+] you make the brush softer
because you're raising the Feather value.
| | 01:22 | If you press Shift+[ you're making the brush
harder because you're reducing that value.
| | 01:27 | I am going to set that Feather value to 50.
| | 01:30 | Now Flow controls how the dollops of paint
interact with each other, you will probably
| | 01:34 | want to leave that set to 50, and Density
amounts to opacity, I recommend you leave
| | 01:38 | that set to 100% because it seems to me, at
least in my experience, I always want an opaque
| | 01:43 | brush and then if I want to dial down the settings
to make things more subtle, I will. All right.
| | 01:48 | So I've already got a setting here, Temperature
of 50, I am going to go ahead and get rid
| | 01:52 | of it and then I'll paint inside of the image and
I did that so I could show you this error message.
| | 01:59 | Notice if you've zeroed out all the way then
you can't paint a brushstroke just as you
| | 02:03 | can't create a graduated filter.
| | 02:05 | So I'll go ahead and dial-in an Exposure
setting, and it happens to be 0.8 by the way.
| | 02:10 | And then I'll scroll down and turn on these
two checkboxes, Auto Mask, which will go ahead
| | 02:15 | and automatically paint just inside
the darkest regions as you will see.
| | 02:19 | So it masks the brushstroke on-the-fly,
it's a really great feature.
| | 02:23 | I wish like crazy it existed outside in the
larger world of Photoshop and then we've got
| | 02:28 | Show Mask which will allow us to see
our mask as we paint it. All right.
| | 02:32 | So notice now as I paint inside the dinosaur,
that it's automatically masking the brushstroke
| | 02:38 | inside the dinosaur. Wouldn't it be great if something
like the Quick Selection tool worked as well.
| | 02:43 | And now I'll paint down the legs of the
tyrannosaurus like so and into his little hands as well,
| | 02:50 | and then I'll paint a little bit inside the
triceratops, like so, and I might reduce the
| | 02:55 | size of my brush a little bit and
paint in his face. All right.
| | 02:59 | That's the region that you want to paint,
and this guy right there by the way, this
| | 03:02 | little pin that represents the entirebrushstroke
because we have been adding to it the entire
| | 03:07 | time as you can see indicated by
this Add radio button. All right.
| | 03:11 | Now I'll turn off Show Mask so I can see what I am
doing, and I am going to modify a few settings here.
| | 03:17 | I am going to take the Shadows value up to 30
in order to further brighten the dinosaurs,
| | 03:22 | and I'll take the Clarity value up to 20
because I want to emphasize their metallic skin,
| | 03:28 | and then notice we've got all these blue regions
inside of the tyrannosaurus in particular
| | 03:32 | because the sky is reflecting
off him, I want those to go away.
| | 03:36 | So I am going to take my Temperature value
up to 50 and that ends up giving us a nice
| | 03:41 | sort of bronzish dinosaur, which is
exactly what I'm looking for. All right.
| | 03:45 | Now I want to darken the sky.
| | 03:47 | So I am going to switch back over here to
the Graduated Filter tool and just to avoid
| | 03:51 | some confusion I am going to turn the Show
Overlay checkbox back on, so I can see the
| | 03:55 | gradient as I draw it, then I'll go ahead
and drag from up-left to downright like so
| | 04:01 | and maybe at a little more of an angle, and I
am applying those last settings that I applied
| | 04:04 | using the Adjustment Brush.
| | 04:06 | So we'll go ahead and modify them here.
| | 04:08 | I'll set the Temperature to 0, and then I am
going to take the Exposure down by pressing
| | 04:13 | Shift+Down Arrow a couple of times and
then Down Arrow a couple of times more.
| | 04:16 | So the Exposure value I
am looking for is -0.3.
| | 04:20 | And then I'll take the Contrast value up
actually to +50, tab my way down to Shadows,
| | 04:27 | change that to 0, and Clarity wants to be +30,
I think in order to pull off this effect properly,
| | 04:33 | and now I'll create another gradient from
this angle and I'll go ahead and modify the
| | 04:38 | settings a little bit.
| | 04:39 | I am going to take the Exposure value down to -0.7.
| | 04:42 | I'll take the Contrast value up to 100
and otherwise this is fine. All right.
| | 04:48 | Now I have managed to darken the tyrannosaurus's
face some more, so I am going to follow it up
| | 04:52 | by painting another adjustment
using the Adjustment Brush.
| | 04:56 | So I'll go ahead and grab it and I want to
make sure that I am creating a new adjustment,
| | 05:00 | so I'll turn on the New checkbox.
| | 05:01 | We want to be working with those same Size
and Feather values, Auto Mask should be turned
| | 05:06 | on, I'll turn on Show Mask as well and then
I'll paint over the animal's face like this
| | 05:12 | and down into his mouth a
little bit and across his back.
| | 05:16 | And by the way, if you end up going too far
like down in this region or something like that,
| | 05:20 | you can erase and you can do so by turning
on the Erase radio button or more easily
| | 05:26 | you just press and hold the Alt key
or the Option key on the Mac.
| | 05:28 | The problem is, notice these Size and Feather
values, as soon as I move my cursor out into
| | 05:33 | the image, you can see that those values
change to those that are specified for the eraser,
| | 05:39 | which I don't want.
| | 05:39 | So there is an override.
| | 05:41 | You can go up to the flyout menu icon here
and choose Separate Eraser Size to turn that
| | 05:46 | option off and now when you press the Alt
key or the Option key on the Mac, you keep
| | 05:50 | those same Size and Feather values as
I am doing right here. All right.
| | 05:55 | Once you have painted in something you like,
go ahead and turn Show Mask off and let's
| | 05:59 | dial-in some better settings here.
| | 06:02 | This time around I want an
Exposure that's much higher than this.
| | 06:05 | So I am going to press Shift+Up Arrow four
times in a row to change the value to +0.8
| | 06:11 | and then I'll tab down to the Contrast value,
change that to 0 and we want Highlights to be 0,
| | 06:16 | we want Shadows to be +30 I think, and then I'm
going to take the Clarity value down to 0 like so.
| | 06:24 | And now it seems to me that I might be
going a little bit too far with that.
| | 06:28 | So let's try taking the Exposure value down
just a little bit and that to me at +0.45
| | 06:35 | ends up looking better. All right.
| | 06:37 | Let's get a sense of what
we've accomplished here.
| | 06:39 | You can turn-off the Preview checkbox, but
that will just turn-off the Adjustment Brushes,
| | 06:43 | it won't turn-off the graduated
filters, and then I'll turn them back on.
| | 06:47 | Those Adjustment Brushes by
themselves made a big difference.
| | 06:50 | I'll switch back to the Zoom tool which I
could have done by pressing the Z key, switch
| | 06:54 | back over here to Snapshots, let's go ahead
and click on the Page icon and I'll call this
| | 06:59 | ACR7 local adjustments let's say, and then
click OK, and finally, I'll click on Default
| | 07:06 | Settings just so we can see what a train
wreck this image was in the first place.
| | 07:11 | And I'll click on local adjustments
and we can see how great it is now.
| | 07:15 | Thanks to the power of the Adjustment Brush
working together with the Graduated Filter
| | 07:19 | tool here inside Camera Raw.
| | Collapse this transcript |
| Tone Curves (and why you don't need them)| 00:00 | In this movie I'll introduce you to the next
panel over here inside Camera Raw and that's
| | 00:04 | Tone Curve, and it allows you to apply
an aftermarket curve to your image.
| | 00:09 | So in other words, after you get done truly
developing your image here inside the Basic panel,
| | 00:14 | then you can go over to Tone Curve and
add the equivalent of a curves adjustment
| | 00:19 | layer, but I'm showing you
this with the big caveat.
| | 00:21 | The thing is, thanks to the way that the
exposure controls work inside Camera Raw 7,
| | 00:28 | you don't really need the tone curve function
anymore, and I'll show you exactly what I mean.
| | 00:33 | So we'll start things off where I left off
this image in Camera Raw 6, and so, because
| | 00:38 | I last developed the image in Camera Raw 6,
we're seeing the old exposure controls along
| | 00:42 | with this exclamation point (!) down here in
the bottom right corner of the image preview.
| | 00:47 | And even though I have thrown a graduated
filter on top of things here, in order to
| | 00:52 | increase the contrast of this upper background,
I still felt like I had some brightening to
| | 00:57 | do where this image is concerned.
| | 00:59 | So I'll press the Z key to escape out,
so I can gain access to my panels once again,
| | 01:04 | and I'll switch over to Tone Curve.
| | 01:05 | Now you've got two different variations on
the curve here that you can heap on top of
| | 01:10 | each other if you want, so
they operate independently.
| | 01:13 | We've got Parametric which I'll show in a
moment and then we have Point, which is that
| | 01:17 | familiar version of the curve that we saw
in the previous chapter, where you click
| | 01:21 | to set a point then you drag
it around and so forth.
| | 01:24 | You can also see that bouncing ball inside of
the graph by pressing and holding the
| | 01:29 | Ctrl key or the Cmd key on the Mac that gets
you this eyedropper cursor on the fly and
| | 01:33 | then you just move the cursor
around, you don't have to drag.
| | 01:36 | In order to see the bouncing ball, if you click,
you'll go ahead and set a point inside of the graph.
| | 01:43 | So that will be a Ctrl+Click on a PC
or Cmd+Click on the Mac.
| | 01:46 | I decided not to apply this kind of curve
however, so I'll go ahead and reset that diagonal
| | 01:50 | line by choosing Linear from the Curve pop-up
menu and then I'll switch back to Parametric.
| | 01:56 | The benefit of these options is that they
allow you to modify specific areas of the
| | 02:01 | curves independently.
| | 02:02 | For example, I can crank up the shadows
value in order to lift the first quarter of the
| | 02:07 | curve, which is going to brighten
the quarter-tones inside of my image.
| | 02:11 | Now I don't want to go that high, so
I'll change the Shadows value to 85.
| | 02:15 | I decided I wanted to lend some heft to some
of the other darker shades, so I took the
| | 02:21 | Darks value down to -10 and then I went up
to the Highlights value and took it up to 50,
| | 02:26 | let's say, and that raises the last quarter of
the curve, which brightens the three-quarter tones.
| | 02:33 | You can also define what you mean by Highlights
and Shadows and Midtones by dragging these
| | 02:38 | slider triangles.
| | 02:39 | So for example, I can compress my Highlights
by moving this right-hand triangle to 85 and
| | 02:45 | then I can scoop my Midtones over and I took
them up to 65, in the case of this particular
| | 02:51 | correction, and then I went ahead and took
my Shadows all the way up to 40, which means
| | 02:57 | a larger portion of the image is being effected
by the Shadows values and I ended up coming
| | 03:02 | up with a pretty decent correction.
| | 03:04 | Thing is, I can do better with less work now in
Camera Raw 7, and let me show you what I mean by that.
| | 03:10 | I'll go ahead and switch back to the Basic
panel and let's clear out everything we've
| | 03:14 | done, because I've already
saved it out as a snapshot.
| | 03:17 | By going over here to the panel flyout menu
and choosing Camera Raw Defaults, which will
| | 03:21 | clear out all the settings as well as a
graduated filter and the tone curve by the way,
| | 03:26 | and we'll see the image as it was captured,
which is extremely dark as you can see here.
| | 03:32 | Even though this is four second exposure, I
had the ISO setting set very low, so that
| | 03:36 | I get as little noise as possible.
| | 03:38 | All right, so now that I'm seeing my Camera
Raw 7 Exposure controls, I'll go ahead and
| | 03:43 | crank this Exposure value up to 2.00, so
I'll press Shift+Up Arrow four times in a row.
| | 03:50 | Next I wanted to mitigate the enthusiasm of
these lights in the background, so I'm going
| | 03:54 | to go ahead and drag this Whites value all
the way down to -100, so we can recover as
| | 04:00 | much of the light as possible and you can
see that makes a big difference, we now have
| | 04:04 | more subtle specular highlights, and I'm also
going to press the Alt key or the Opt key
| | 04:09 | on the Mac and drag the black triangle down
until I see just a little bit of clipping
| | 04:14 | there inside the image preview,
which happens at about -10.
| | 04:17 | All right, now I'd like to dim these lights
a little further, so keep your eye on them
| | 04:22 | as I reduce the Highlights value to its absolute
minimum of -100 and then I'm going to crank
| | 04:29 | the Shadows value to its absolute maximum of +100
and we end up coming up with this developed image.
| | 04:37 | Now just one more step, I need to adjust the
color Temperature because the scene is too warm,
| | 04:40 | you can do that using the White Balance tool
of course, and you can get to the White
| | 04:45 | Balance tool one more way
that I haven't shown you.
| | 04:47 | You can press and hold the Shift key, when
you're using any other tool, that'll give
| | 04:51 | you White Balance tools and then I'll click on
the brow of this boat right there and that'll
| | 04:55 | set the Temperature to 2750, which is very
low, but that will compensate and cool down
| | 05:01 | the image as you see it.
| | 05:03 | And you know what, I think maybe the image
could use a little more contrast, so I'll
| | 05:07 | go ahead and crank this guy up to say +20 and that
looks like a great development of the image to me.
| | 05:13 | All right, now just for the sake of comparison
I'll switch over to my Snapshots and I'll
| | 05:18 | create a New Snapshot by clicking on the little
page icon and I'll call this guy ACR7 development
| | 05:25 | and then click OK and now we can compare the two
versions, that is the one that takes advantage
| | 05:30 | of the tone curve along with the graduated
filter, that I was able to pull off with a
| | 05:34 | fair amount of work inside of
Camera Raw 6, and there it is.
| | 05:39 | Compare that to the better version of the
image that I was able to achieve using just
| | 05:44 | the Exposure controls
along with White Balance.
| | 05:47 | No tone curve needed here inside Camera Raw 7.
| | 05:51 | So now you know two things, how to use the
tone curve, and that you'll probably
| | 05:55 | never need to.
| | Collapse this transcript |
| Straighten, crop, and geometric distortions| 00:00 | In this movie I'll show you how to straighten,
crop, and correct for Geometric Distortions
| | 00:05 | inside Camera Raw.
| | 00:06 | Now Camera Raw's Straightening Crop tool is
pretty straightforward, you'll figure them
| | 00:10 | out quickly enough.
| | 00:11 | But there are times where no matter how much
you try to straighten an image, it still looks
| | 00:15 | crooked, either because of Lens Distortion
or because there's just enough perspective
| | 00:20 | in the shot to mess it up.
| | 00:22 | And this image is a case in point, San Simeon
pool.dng is a famous swimming pool from the
| | 00:27 | William Randolph Hearst's Estate.
| | 00:30 | Appeared in all kinds of movies, I shot it at high
noon, so there's a terrific amount of contrast.
| | 00:35 | So the first thing I did was cool it down
by establishing some basic settings here,
| | 00:39 | and I went ahead and saved out
those settings as a snapshot.
| | 00:42 | You can access that snapshot from the Snapshots
panel or you can click on the flyout menu
| | 00:46 | icon, and then choose Apply
Snapshot and then ACR7 conversion.
| | 00:52 | And that will go ahead and temper the contrast
and take some of the heat out of the shot.
| | 00:56 | Now we want to straighten it and
I'll do so using the Straighten tool.
| | 01:00 | Now this is a pretty good tool. It's not as
good as Photoshop's Straighten tool, frankly,
| | 01:03 | because you just have one shot at it.
| | 01:06 | That is to say, you can't
draw the line and then edit it.
| | 01:09 | And it's not very obvious where the hotspot of the
cursor is, it's actually in the lower-left corner.
| | 01:15 | So I'll start at this location here and then
drag to the right side of the base of these steps,
| | 01:19 | and that ends up automatically creating
a crop boundary, as well as switching you
| | 01:24 | to the Crop tool.
| | 01:26 | Now from this point on you can modify the
crop boundaries, just as you can inside the
| | 01:30 | Photoshop, but you're seeing the image crooked
and the image remains crooked until you switch
| | 01:35 | to a different tool.
| | 01:36 | Now if you want to change the Aspect Ratio of
your crop boundary, you can click and hold
| | 01:41 | on the Crop tool like so, and choose one of these
items or you can dial in the Custom ratio as well.
| | 01:46 | And you can also get to those very same controls
by right-clicking inside of the crop boundary.
| | 01:52 | And notice among these options is Show Overlay,
and that'll go ahead and bring up those
| | 01:57 | gridlines that represent the rule of thirds.
| | 02:00 | And notice by the way as you adjust your crop
boundary you can move it inward, but you can't
| | 02:04 | move it out beyond the edge of the image.
| | 02:07 | So in other words, Camera Raw insists
upon clipping some of the image away.
| | 02:11 | Now assuming you like what you have,
and I'm just fine with it,
| | 02:15 | go ahead and press the Z key to switch back
to your default Zoom tool and then the image
| | 02:19 | will appear upright.
| | 02:21 | Problem is it doesn't really appear upright
in all portions of the image, so in other
| | 02:25 | words this architectural item in the background
looks just fine, but these lines in the foreground
| | 02:31 | are not plumb, that is P-L-U-M-B, perpendicular,
instead they're set at angles and that's because
| | 02:37 | the shot has some perspective in it.
| | 02:39 | And that's where we need to
correct for Geometric Distortion.
| | 02:42 | And there are two ways to pull that off.
| | 02:44 | One is automatically, and one is manually, so let
me show you an automatic method for starters.
| | 02:50 | I'll go ahead and switch over to this image
New York.dng and this is a photograph that
| | 02:54 | comes to us from Chris Orwig, a
fellow trainer here at lynda.com.
| | 02:59 | And notice that it does have some
barrel distortion associated with it.
| | 03:03 | So you can see this horizontal line up here
at the top of the image bend upward in the
| | 03:08 | center, whereas, it should
be absolutely horizontal.
| | 03:11 | All right, let's start off
by correcting the image.
| | 03:13 | I'll click on the flyout menu icon, choose
Apply Snapshot and then choose ACR7 conversion
| | 03:19 | and we end up with this brighter version of
the scene, and then I'll switch over a few
| | 03:23 | panels to Lens Corrections, and by
default you should see the Profile tab active.
| | 03:28 | Go ahead and turn on Enable Lens Profile
Corrections and that's all there is to it.
| | 03:33 | Camera Raw immediately recognizes that this
is a Canon EOS 5D and it also recognizes the
| | 03:39 | lens as well, and so it corrects not only
for the distortion inside of the image, but
| | 03:44 | for the vignetting as well.
| | 03:46 | So if I turn off the Preview checkbox for a
moment, you can see that the image bulges
| | 03:50 | outward once again, so we've got some barrel
distortion associated with the scene,
| | 03:55 | and we've got some obvious dark
vignetting around the perimeter.
| | 03:58 | Whereas, if I turn that Preview checkbox back on,
all of that goes away, we now have a straight
| | 04:04 | horizontal line across the top of the image.
| | 04:06 | It looks to match the angle of the top of
the preview as well, so everything appears
| | 04:10 | to be exactly as it should be.
| | 04:12 | However, if it doesn't go far enough or it goes too
far, then you can adjust the slider values here.
| | 04:18 | Right now they're both set to a correction
amount of 100% apiece, but if you want less
| | 04:25 | correction, then you would go ahead and dial
this value down and that's going to bring
| | 04:29 | back some of that barrel distortion.
| | 04:31 | If you want more correction, then you can
dial this value up and we're going to get
| | 04:35 | some pin-cushioning going on here.
| | 04:37 | So now the line is bending slightly downward.
| | 04:39 | In the case of this image however, I found
that 100% for both values work splendidly.
| | 04:46 | The problem is Camera Raw doesn't
know what to do with all images.
| | 04:50 | For example, if I switch back to San Simeon pool
and I turn on Enable Lens Profile Corrections,
| | 04:55 | even though it recognizes this image was shot
with a Olympus E-30, it doesn't have the slightest
| | 05:00 | idea what to do with this image, and in fact,
if I go ahead and click on the Make setting
| | 05:05 | here, Olympus is not even listed in the menu.
| | 05:07 | What that means is I'm going to have to
correct this image manually, which actually turns
| | 05:12 | out to be a fair amount of fun,
as we'll see in the next movie.
| | Collapse this transcript |
| Applying manual lens corrections| 00:00 | In this movie I'll show you a couple of different
ways to correct for distortions, whether they're
| | 00:04 | caused by the lens element or the
perspective of the scene here inside Camera Raw.
| | 00:09 | So I'm starting off inside the San Simeon
pool image, I've switched over to the Lens
| | 00:13 | Correction panel and now I'll click in the Manual
tab in order to bring up these options here.
| | 00:18 | Now the number one problem with the scene is that
it's coming at us over here on the left-hand side.
| | 00:25 | So in other words the image is declining over
to the right, and so what we need to do is
| | 00:29 | angle it toward us.
| | 00:31 | And we can see these little icons that are
showing us which direction we need to move.
| | 00:35 | So in this case we need to move the right-hand
side of the image toward us, so we need to
| | 00:41 | apply a positive modification
to this horizontal value.
| | 00:45 | So I'll just go ahead and drag this triangle
over to the right and obviously I've gone
| | 00:48 | too far at this point but you can see that it allows
us to angle the image in the opposite direction.
| | 00:54 | I will go ahead and take this value down
until it starts looking right, and my eye tells
| | 00:59 | me that a value of about +8
is going to work out fine.
| | 01:04 | It also looks to me like the scene is sort
of tilted toward us at the bottom here and
| | 01:08 | so I'm going to go ahead and just tweak
this vertical value slightly down to -2.
| | 01:14 | And then finally it's hard to tell what kind
of distortion we might have in this scene
| | 01:18 | that is whether we have pin-cushioning that we
need to address with some barrel distortion
| | 01:22 | or whether we have barrel distortion inherent in the
scene that we need to solve using some pin-cushioning.
| | 01:28 | But to me it looks like we need to barrel
things just slightly, so I'll go ahead and
| | 01:33 | set that value to -2.
| | 01:35 | So altogether we've got -2, -2 and +8 for
the Transform values, we don't need to modify
| | 01:41 | the Rotate value.
| | 01:42 | The image looks straight at this point.
| | 01:44 | And Scale isn't going to
do us any good either.
| | 01:46 | All right, let's see another example
that's sort of an opposite example.
| | 01:50 | I'll switch over to Interior pool and this is
the pool on the inside of the Hearst Estate,
| | 01:54 | and of course the first thing that
I would do is develop the image.
| | 01:58 | So I'll go up here to the flyout menu icon,
once again choose Apply Snapshot and then
| | 02:02 | choose ACR7 conversion, and that gives us
a world of better color inside the scene.
| | 02:09 | However, there's something
up with it, something's off.
| | 02:12 | So possibly your first temptation is to go
for the Straighten tool and draw a line along
| | 02:18 | the bottom edge of this wall here which
is tipping slightly up and to the left.
| | 02:23 | So I'll go ahead and release and we get this
crop boundary, fine, and then I'll just go
| | 02:28 | ahead and switch back to the Zoom tool and
that actually looks worse than it did before.
| | 02:33 | Now the ceiling is obviously off and
so are the reflections in the water.
| | 02:38 | So I'm going to go ahead and press Ctrl+Z or
Cmd+Z on the Mac to undo that change,
| | 02:42 | and I'm going to start things off once again
by modifying the horizontal value, because
| | 02:47 | the perspective is the most
obvious problem with the scene.
| | 02:50 | Now in this case the right side of the scene
is declining away from us, so I need to tip
| | 02:55 | that left-half toward us by dragging the
triangle to the left, and at about -8 we get a result
| | 03:02 | that I think looks right.
| | 03:03 | All right, now you can see that the image
is bowing out toward us so we have a barrel
| | 03:08 | distortion associated with the scene.
| | 03:10 | And so that means I need to pincushion it
and I'll do that by dragging this distortion
| | 03:14 | triangle to the right, and I'm going to set
this value actually to +8 like so, and that
| | 03:20 | ends up flattening things quite nicely, and
then I'm also going to just slightly tweak
| | 03:25 | this vertical value.
| | 03:26 | I'll take it down to -1 and we end up
with this much better effect here.
| | 03:31 | Now you may recall where the
San Simeon pool image was concerned.
| | 03:34 | I'd cropped this image before I said about
correcting the distortion of the scene.
| | 03:39 | However, I did not crop the interior pool
which is why we're seeing some gray edges
| | 03:44 | around the side, so you
probably want to crop those away.
| | 03:47 | By switching to the Crop tool which you can
get just as you can in Photoshop by pressing
| | 03:51 | the C key and then I'm just going to drag
pretty much around the entire scene like this
| | 03:55 | and then Camera Raw will go ahead and
snap that boundary inside the image.
| | 03:59 | Now if that's not what you want then you can
right-click inside the image and turn off
| | 04:03 | Constrain to Image.
| | 04:05 | Now for whatever reason this command has no
effect on an image that is not distorted,
| | 04:10 | so you have to actually apply a Lens
Correction before you can take advantage of it.
| | 04:15 | In any case I'll go ahead and choose it just
to show you how it works, and now notice
| | 04:19 | that I can move the crop boundary outside to
reveal empty portions of the image,
| | 04:24 | those areas will appear as white if
I open the image in Photoshop.
| | 04:27 | However, I don't want that to happen, so I'll
go ahead and right-click and choose Constrain
| | 04:31 | to Image to move that crop boundary inside
the image once again, and then I'll press
| | 04:36 | the Z key in order to assign that crop.
| | 04:39 | All right, so just to give you a sense
of how different these images look.
| | 04:43 | I'll go ahead and click on the flyout
menu icon and choose Camera Raw Defaults.
| | 04:48 | This is the original version of the scene
before I developed it or straightened it,
| | 04:53 | and this is the after version.
| | 04:55 | Meanwhile if I switch down to San Simeon pool
and do the same thing, I'll go ahead and choose
| | 05:00 | Camera Raw Defaults once again, this is the
original version of this scene and then this
| | 05:05 | is the developed and
straighten version of the scene.
| | 05:08 | Thanks to the power of the Manual Lens
Correction controls here inside Camera Raw.
| | Collapse this transcript |
| Vignette, chromatic aberration, and fringe| 00:00 | In this movie we'll visit three pests of the
photographic arts, specifically vignettes,
| | 00:06 | chromatic aberration, and color fringing, and
I'll show you how to correct for them as well.
| | 00:11 | Notice that we're revisiting a handful of
images here, starting with Interior pool.dng,
| | 00:17 | and you can see the vignetting, which is the
darkness around the perimeter, cast by the
| | 00:21 | lens element onto the scene.
| | 00:23 | So to get rid of it, I'll go ahead and switch
to the Lens Corrections panel, and because
| | 00:27 | I last left off in the Manual tab,
it's ready and waiting for me.
| | 00:31 | Notice down here at the bottom we have
a couple of Lens Vignetting options.
| | 00:34 | If you move this Amount triangle to the left,
you're going to add darkness to the scene,
| | 00:39 | so that would be how you correct for a bright
vignette; more likely though, you're going
| | 00:43 | to want to brighten things up to
account for a dark vignette, like so.
| | 00:48 | So I'm going to start by cranking this value
up to a 100, which is too far, but I want
| | 00:52 | to demonstrate how the Midpoint works.
| | 00:54 | If you increase the Midpoint, then you're going
to reduce the size of the vignette correction,
| | 00:58 | so that goes ahead and tucks that
brightness toward the corners.
| | 01:02 | If you want to expand the size,
then you decrease the Midpoint.
| | 01:06 | In my case however, I want to go ahead and
leave that Midpoint set to 50 and I'm going
| | 01:10 | to back off the Amount until I get a more
reasonable effect; I really want absolute
| | 01:14 | neutrality where the
wandering luminance is concerned.
| | 01:18 | So I'll go ahead and take the
Amount down to +40. All right.
| | 01:21 | So vignetting is pretty common, not
really conceptually challenging either.
| | 01:25 | Chromatic aberrations are
a little bit different.
| | 01:27 | I'm going to switch over to the San Simeon
pool image and I'm going to zoom into the
| | 01:31 | top of this facade.
| | 01:32 | Now, while you may never have heard of chromatic aberrations,
once you see them, you can recognize them like crazy.
| | 01:39 | They're these wandering edge colors right
there, where essentially the color channels
| | 01:43 | aren't lining up properly with each other.
| | 01:46 | And so in this case, we've got kind of this
magenta along the top of the corners and then
| | 01:51 | we're seeing the complementary color,
this kind of cyan on the other side.
| | 01:57 | Once upon a time you had to drag sliders around
inside Photoshop in order to solve these things,
| | 02:02 | now it's super easy.
| | 02:04 | You just switch over to this Color panel here
and you turn on this checkbox, Remove Chromatic
| | 02:09 | Aberration, and they go away,
that's all there is to it.
| | 02:12 | And what's amazing about this, I just
love that it's so simple to do now.
| | 02:16 | If it's that simple though, why isn't it turned on by
default, why doesn't it just automatically happen?
| | 02:21 | Because these things can drive you nuts, you'll
see them in your photographs like five years
| | 02:25 | later and you failed to correct
them and you have to go back.
| | 02:29 | Speaking of not having corrected something,
I'm going to zoom out from this image here
| | 02:33 | and I'm going to go ahead and scroll down
and I'm seeing these steps are not actually
| | 02:38 | straight, and I also have a little bit of
distortion still associated with the scene.
| | 02:44 | If I go ahead and drag down to these bottom
pool lines, you can see that they're actually
| | 02:49 | curving, notice that I've got some
barrel distortion at work here.
| | 02:52 | So I'm going to switch back over to
Manual and I came up with some new values.
| | 02:55 | But notice if I change any one of these here,
for example, let's say I go ahead and drag
| | 03:01 | on this Distortion value in order to increase
it to +12 is what I ended up coming up with,
| | 03:07 | because it needed some pin cushioning and so
that straightens out that pool line there.
| | 03:12 | As soon as I release, Camera Raw goes ahead
and zooms me out, and so you have to make
| | 03:16 | these corrections backed out like this and then
you have to zoom in to see if you got it right.
| | 03:21 | So I'll save us all a lot of headache here
and just dial in the values that I came up
| | 03:24 | with after way too much work frankly.
| | 03:27 | But I'm going to dial in a Rotate value of
0.4 in order to rotate the scene slightly
| | 03:33 | clockwise and then I'm going to take that
Horizontal value down to +6; ends up working out better.
| | 03:39 | And now you can see, if I go ahead and drag
with the Zoom tool in order to zoom into this
| | 03:45 | detail right here, I'll go ahead and drag
it down, you can see that it's now flat so
| | 03:49 | that took care of that problem.
| | 03:51 | And these pool lines here of course, they're
declining, there's nothing we can do about
| | 03:55 | them, because this is
the deep end of the pool.
| | 03:57 | And now I'll go ahead and drag the stairs
down to the bottom and they are straight too.
| | 04:03 | So that takes care of that.
| | 04:04 | All right, a couple of different
examples of chromatic aberration here.
| | 04:07 | I'm going to switch to Lighthouse-2 and zoom
in to the top of it and we'll take it in at
| | 04:13 | 200% and you can see that we've got a little
bit of chromatic aberration at work up here,
| | 04:18 | along with some fringing.
| | 04:20 | So I'm going to switch back over to Color
and I'm going to turn on Remove Chromatic
| | 04:24 | Aberration and that will take care of
those wandering colors along the top there.
| | 04:28 | But we still have an issue, if you take a
close look here at these bars, they've got
| | 04:33 | these kind of purple edges going on,
and that is the Color Fringing at work.
| | 04:38 | And now inside Camera Raw 7
we can address that fringing.
| | 04:41 | I'm going to go ahead and increase the Purple Amount to
10 and that takes care of that problem, as you can see.
| | 04:46 | Now, you may be tempted to try to get rid
of some of the blue fringing as well,
| | 04:52 | and you can do that by the way by
increasing the range of Purple.
| | 04:57 | So if I go ahead and drag this triangle over,
for example, to include blue then those edges
| | 05:02 | are going to go away, but
we've got bigger problems.
| | 05:05 | We have too much defringing going on, which
frankly can look way worse than the color fringing.
| | 05:12 | So I'm going to go ahead and back this value
off to 26, that's the value before the slash,
| | 05:17 | and that pretty well seems to
take care of the problem there.
| | 05:21 | Now I'm going to switch over to Glanum ruins
and zoom in to these details right there,
| | 05:26 | and you can see that we have a whole lot of
aberrations going on where this image is concerned
| | 05:30 | and a lot of purple and green fringing.
| | 05:33 | So I'm going to turn on Remove Chromatic
Aberration to take care of much of it, but we still have
| | 05:38 | a little fringing at work as you can see.
| | 05:40 | So I'll increase that Purple Amount to 10,
let's say, and then I'll take the Green Amount
| | 05:45 | all the way to 20, I think will work out, and
that definitely makes these details look better.
| | 05:51 | Question is, is this going to work everywhere?
| | 05:53 | So I'll go ahead and zoom out by pressing
Ctrl+0 or Cmd+0 on the Mac, and then I
| | 05:58 | will zoom in on these details.
| | 06:01 | And notice this time around that getting
rid of the fringing has left white spots.
| | 06:07 | So if I turn the Preview checkbox off, this
is how things used to look, obviously quite bad,
| | 06:11 | but when I turn the Preview checkbox
back on, it's as if Camera Raw doesn't know
| | 06:16 | what to make of this area, doesn't know that
that's part of the sky, and so this area ends
| | 06:21 | up getting filled with white.
| | 06:23 | And we have a similar problem over against this
edge and traveling upward a little bit as well.
| | 06:28 | So I decided ultimately that there's no
perfect solution, but I was going to go ahead and
| | 06:33 | take the Green Amount down
to 10 instead. All right.
| | 06:37 | Well, go ahead and zoom out by
pressing Ctrl+0 or Cmd+0 on the Mac.
| | 06:41 | And that, friends, is how you address vignettes,
chromatic aberration, and color fringing here
| | 06:46 | inside Camera Raw 7.
| | Collapse this transcript |
| Selective hue, saturation, and luminance| 00:00 | In this movie, I'll show you how to selectively
modify the Hue Saturation and Luminance properties
| | 00:05 | of specific ranges of colors.
| | 00:08 | I'm working inside a file called Canal boat.dng,
I have just one image open, which is why
| | 00:12 | I am not seeing the vertical strip of
thumbnails over there on the left-hand screen.
| | 00:16 | I will start by developing the image, so I
will click on this flyout menu icon, choose
| | 00:20 | Apply Snapshot and then choose ACR7 conversion, and we
end up getting this much more vibrant photograph.
| | 00:27 | All right, I am going to zoom in on Colleen
here and beautiful as she is, she does have
| | 00:32 | some problems going on.
| | 00:33 | She's got this little bit of pink at the top
of her ear and then she's got some purple
| | 00:38 | round her eyes and those are once again indications
of Chromatic Aberration and Color Fringing,
| | 00:45 | which you are going to run into a lot.
| | 00:47 | So we might as well solve those problems
right now, by switching over to Lens Correction
| | 00:51 | panel, making sure that the color tab is active,
then I will turn on Remove Chromatic Aberration
| | 00:57 | and that gets rid of a lot
of our problems right away.
| | 01:00 | We still have a little bit of purple around
the eyes though, so I am going to increase
| | 01:04 | that Purple Amount value to
10 and everything clears up.
| | 01:08 | At least where Colleen is concerned, and if
I zoom out here, we've got a weird problem
| | 01:13 | associated with this boat.
| | 01:15 | Notice that we have these dark edges around some of
the details and they really shouldn't be there.
| | 01:22 | Now we can't correct those edges using
Defringe, so I will switch a couple of panels
| | 01:26 | over to HSL grayscale, and notice we have the
sub-panels Hue, Saturation, and Luminance.
| | 01:32 | Now remember back in the Fundamentals Course,
Chapter 8, when I was showing you how to use
| | 01:36 | the Hue/Saturation Adjustment, we were able
to selectively modify those spray cans using
| | 01:42 | the Target Adjustment tool.
| | 01:43 | So I Ctrl+Drag or Cmd+Drag down that green
spray can to change it to a totally different color.
| | 01:49 | Well that's the same idea behind these sliders
here, except that in one regard we have more
| | 01:54 | control, because we have more colors to work with.
| | 01:57 | We don't have cyan, but we do have an
addition of Oranges, Aquas and Purples.
| | 02:03 | On the other hand we have a more limited
range of Hues on a slider by slider basis.
| | 02:08 | So you can change your Aquas from Green to
Blue, but you can't change them to say Red.
| | 02:13 | And the idea here is where Camera Raw is
concerned, we are not going for a special effect,
| | 02:19 | we are trying to correct the photograph.
| | 02:21 | So I am going to switchover to the Target
Adjustment tool, which you can get by pressing
| | 02:24 | the T key and because the Hue panel is up, the
tool immediately switches its behavior to Hue.
| | 02:31 | If I were to choose Saturation instead, that
would actually switch me to the Saturation tab,
| | 02:35 | and if I were to choose Parametric Curve,
that would switch me to the Tone Curve panel.
| | 02:41 | Anyway, I want to be working on Hues of course,
so I will switch back and now I'll go ahead
| | 02:46 | and click and drag inside the Blue.
| | 02:48 | Now you can scrub side to side or up and down,
it's totally up to you, but once you begin
| | 02:54 | dragging you make a sort of commitment.
| | 02:56 | So for example, when I start the drag, I see,
I can go in any direction, but once I drag
| | 03:01 | to the right for example, to make those Blues
sort of Purple, then I see this back and forth
| | 03:05 | arrow cursor, indicating that I
now have to drag horizontally.
| | 03:08 | Okay, in this case, I have gone ahead and
made my Blues and my Purple, so instead of
| | 03:13 | sticking to a single range of colors, the
way that Hue/Saturation command does,
| | 03:18 | any changes you make with the Target Adjustment
tool here inside Camera Raw, can bleed over
| | 03:22 | into multiple values, so I'm
changing both my Blues and my Purples.
| | 03:27 | Anyway, I am losing those strips, which is
great, but I don't want the boat to be Purple.
| | 03:31 | In fact, I don't want it to look much
different color wise than it did before.
| | 03:35 | So I'm going to drag back over here to the
left this time and those lines come back and
| | 03:41 | then they start going away at a Blues
value of -10, as you can see here.
| | 03:46 | All right, I am going to go ahead and reinstate
my Purples value to 0, because we don't need
| | 03:50 | to change any of the Purples.
| | 03:52 | And I'll zoom out a little bit, so that we can
take in the scene and see what I've managed
| | 03:56 | to do across the entire scene,
which is very important.
| | 03:58 | So I will turn off the Preview checkbox, those
stripes come back, we don't want them of course,
| | 04:04 | we're also seeing the color of this boat in
the background change a little bit and there
| | 04:08 | are some Blues inside the cars, in the
reflections on the camera and so forth.
| | 04:12 | Anyway, I can live with those, so I will press
the P key to turn the Preview checkbox back on.
| | 04:17 | All right, now let's make some
Saturation and Luminance Adjustments.
| | 04:20 | I will click on the Saturation tab and that's
all it takes to change the behavior of the
| | 04:25 | Target Adjustment tool.
| | 04:27 | It now changes to Saturation as well,
as you can see here in the pop-up menu.
| | 04:31 | And so, what I want to do this time is
slightly reduce the Saturation of that scarf, so I'm
| | 04:36 | going to drag this time down let's say, and
notice that I get a up down cursor instead,
| | 04:40 | if I drag up, I am going to increase the
Saturation of not only the scarf, but of all the Red
| | 04:45 | details and Colleen's face as well,
which is pretty unfortunate.
| | 04:49 | So let's not do that.
| | 04:50 | I will go ahead and drag down until I reduce
the Reds value to -10 as you can see over
| | 04:56 | here in the Saturation panel.
| | 04:58 | I have also affected the Magentas, I don't think I
really care about them, so I will set that to 0.
| | 05:03 | So notice I am making some pretty small
modifications across the board here.
| | 05:07 | All right, let's finish
things up with Luminance.
| | 05:09 | I want to make the blue boat darker, so I
am going to click in the Blue and drag down
| | 05:14 | and I am going to take that Blues value to -20,
and again, I've affected Purple, so I'll
| | 05:20 | go and reset the Purples value to 0.
| | 05:22 | So -20 for Blue, for Luminance we've got -10,
for Saturation for Reds, and we've got -10
| | 05:30 | for Blues for Hue, and we
end up achieving this effect.
| | 05:34 | So I will turn the Preview checkbox off,
this is what the scene would look like without
| | 05:37 | those modifications and then I will press
the P key to turn that checkbox back on, and
| | 05:42 | this is what the scene looks
like with those modifications.
| | 05:44 | And by the way, the reason I took the
Luminance of the Blues down a little bit is because
| | 05:49 | I wanted this boat to look more
like it looked in the first place.
| | 05:52 | All right, I am going to press the Z key to
switchback to the Zoom tool and zoom on in
| | 05:56 | once again on Colleen.
| | 05:58 | One last final trick that doesn't really have
anything to do with what I've shown you so far,
| | 06:02 | let's say you want to see a before and
after of everything you've done during a session
| | 06:07 | inside of Camera Raw, then you switch to the
Snapshots panel, and now the Preview checkbox,
| | 06:12 | if I turn it off by pressing
the P key, turns off everything.
| | 06:16 | So this is the original version of the image,
before I developed it and before I applied
| | 06:21 | any of my other modifications.
| | 06:23 | And if I press the P key again, this
is the finished version of the image.
| | 06:27 | In part, thanks to my ability to selectively
modify the Hue, Saturation, and Luminance
| | 06:33 | on a color by color basis.
| | Collapse this transcript |
| Working with JPEG and TIFF images| 00:00 | In this movie, we'll talk about editing JPEG
files inside Camera Raw and everything
| | 00:05 | I'll tell you works exactly
the same with TIFF images.
| | 00:08 | Camera Raw does not allow you to open native PSD
files, because it doesn't support layers. All right.
| | 00:13 | So I've selected this file called Brand new
gloves.jpg in Bridge and if I want to open
| | 00:18 | it in Camera Raw I can either right-click on
it and choose Open in Camera Raw or I can
| | 00:22 | just press Ctrl+R or Cmd+R on the Mac,
and then Camera Raw comes up on screen and
| | 00:27 | everything looks pretty much just as it does
when we are working on an actual RAW image,
| | 00:32 | but there are a few differences.
| | 00:34 | So I'm going to start things
off by cropping this image.
| | 00:36 | I want to get rid of a lot of that sky,
because it's a pretty crummy shape, and then
| | 00:41 | I'll drag down to the crook of Colleen's arm here.
| | 00:43 | I might keep a little more sky than that.
| | 00:46 | You can also by the way; to invoke a crop,
you can press the Enter key or the Return
| | 00:50 | key on the Mac and that will
send you back to the Zoom tool.
| | 00:53 | I prefer to press the Z key however, because I
don't want to accidentally invoke the Done button.
| | 00:58 | Next I'll go ahead and click on Auto in
order to apply some automatic modifications and
| | 01:03 | I'm going to go ahead and take that Exposure
value slightly up to -0.65 and I would like
| | 01:09 | slightly more Contrast in this,
so I'll take that value to 0.
| | 01:13 | The Highlights value is
pretty close to what I want.
| | 01:15 | I ended up setting it to -40, and then I
went ahead and increased the Shadows value all
| | 01:20 | the way to 100 in order to open up those shadows
under the bridge, this being the Rialto in Venice.
| | 01:27 | Now you might figure that you could recover
some of those clouds in the sky there by reducing
| | 01:32 | the Whites value, and sure enough that's going
to go ahead and make those clouds or whatever
| | 01:36 | they are, a light gray, but it
doesn't really recover them.
| | 01:40 | We have all kinds of posterization at work
as you can see here, and there's not really
| | 01:44 | much we're going to do about that,
not inside of Camera Raw anyway.
| | 01:48 | And the thing to bear in mind is, even though
I was telling you that the Whites and Blacks
| | 01:52 | options frequently allow you to recover
Highlights and Shadows that you otherwise thought were
| | 01:57 | clipped, that's not really the case with
JPEGs and TIFFs, because they are flat files.
| | 02:02 | They don't have extra data that you're
not seeing, the way that RAW files do.
| | 02:07 | So what I'm going to do here is press the
Alt key or the Opt key on the Mac and drag
| | 02:11 | up on the White slider triangle until we're
starting to see clipping and then I'm going
| | 02:16 | to come back here to about +20, works, and
then I'll also Alt+Drag the Blacks value until
| | 02:23 | we see clipping in the Image window, which happens
around -50, and we end up with this image here.
| | 02:29 | And if you feel like adding a little
bit of saturation, by then go for it.
| | 02:32 | I'm going to take my Vibrance value up to 30;
I might take the Saturation up to 15 as well.
| | 02:38 | All right.
| | 02:38 | Now notice up here at the top of the stack,
we've got the Temperature value and instead
| | 02:42 | of reading 4000 degrees Kelvin or whatever,
it's showing us 0 and that's because it's
| | 02:49 | no longer an absolute value,
instead, it's a relative value.
| | 02:53 | So if you want to warm up the image, you add
to the value and if you want to cool down
| | 02:57 | the image you subtract from it.
| | 02:59 | This value is also by the way not a degree
value; it's more analogous to a percentage.
| | 03:04 | Anyway, I found that a value of about five
ended up giving me the warmth I was looking for.
| | 03:10 | Now the final thing I want to do is take
care of the sky, it's in just dreadful shape.
| | 03:14 | So I'm going to switch over to HSL/Grayscale,
and I don't want a cyan sky, I can't remember
| | 03:19 | the last time I saw a
sky that looks like this.
| | 03:22 | So I'm going to switch to the Targeted
Adjustment tool, and because the Hue tab is live,
| | 03:26 | I'm going to modify the Hue and I'm going to do
so by dragging to the right up here in this
| | 03:31 | Cyan region, and that's going to change both
my Aquas and Blues values to a 100 eventually.
| | 03:38 | I don't think I really want my Blues values
to be that high, so I'm going to take it down
| | 03:42 | to 0 and see what I end up getting,
and this looks a lot better to me.
| | 03:47 | So an Aquas value of +100, a Blues value of 0.
| | 03:51 | Let's also modify the Luminance a little bit.
| | 03:53 | So I'll switch to the Luminance tab and I'll
drag down from the sky and you can drag down
| | 03:58 | really far if you want to, and that will give
you this wonderfully dramatic sky, but it's
| | 04:03 | awfully posterized as well.
| | 04:05 | So I ended up coming up with an Aquas value
of about -35 and then I went ahead and took
| | 04:10 | the Blues value back down to 0, and
we end up with this final effect.
| | 04:15 | Now you can either open the image in Photoshop
and make some modifications, such as blurring
| | 04:19 | away that sky if you want to, or you can
click the Done button and return to Bridge,
| | 04:24 | and that's what I'm going to do.
| | 04:26 | Now notice, as soon as we're back in the Bridge,
that we have these little icons here showing
| | 04:31 | us that first I cropped the image, and second
I modified the settings inside Camera Raw.
| | 04:37 | That means from now on if I double-click inside
this image, it's going to open in Camera Raw,
| | 04:43 | albeit this time hosted by Photoshop.
| | 04:45 | So the thing to remember is that once a JPEG
or TIFF image is associated with Camera Raw data,
| | 04:50 | then it becomes a Camera Raw image. All right.
| | 04:54 | I'm going to escape out for a moment, because
I want to show you a couple more things here.
| | 04:59 | I'll go to the File menu and choose Browse in
Bridge or press Ctrl+Alt+O or Cmd+Opt+O
| | 05:03 | on the Mac to return to Bridge.
| | 05:06 | And note here inside the Metadata panel that
you have your Camera Raw data, which shows
| | 05:11 | you that Camera Raw did not hurt
a single pixel inside the image.
| | 05:16 | But you might say, well surely, it cropped
the image at least, actually it didn't.
| | 05:20 | If I press Ctrl+R or Cmd+R on the Mac in
order to open the image in Camera Raw and
| | 05:25 | I switch to the Crop tool, all the pixels
are still there, which is utterly outstanding
| | 05:30 | by the way, because Photoshop is not capable
of doing that with JPEG images. All right.
| | 05:35 | So I'll go ahead and click the
Cancel button in order to escape out.
| | 05:39 | Finally, let's say you like Camera Raw so
much, you like the way it's organized, that
| | 05:44 | you want to be able to use it to
open all future JPEG and TIFF images.
| | 05:50 | Then go up to the Edit menu here in Bridge
and choose Camera Raw Preferences and then
| | 05:55 | notice down here at the very bottom, JPEG and
TIFF Handling, they are both set to Automatically
| | 05:59 | open whatever file format with settings, and
that's what we just saw a moment ago, that
| | 06:04 | JPEG file has settings now, so it
gets opened inside of Camera Raw.
| | 06:09 | You could, if you hate Camera Raw, say Disable
JPEG support or if you love it, then you can
| | 06:14 | say Automatically open all supported JPEGs
and Automatically open all supported TIFFs.
| | 06:20 | I'm not going to work that way, I'll just go
ahead and click Cancel, because it's pretty
| | 06:23 | darn easy to just select a file and
press Ctrl+R or Cmd+R on the Mac.
| | 06:29 | And that's how you open and edit both
JPEG and TIFF images inside Camera Raw.
| | Collapse this transcript |
| Camera Raw Smart Objects| 00:00 | In this movie I'll show you how to open an
image from Camera Raw into Photoshop as an
| | 00:05 | editable Smart Object, so that you can
revisit Camera Raw anytime you like.
| | 00:10 | So I've got this fairly dank
image of the California coast here.
| | 00:14 | Fortunately, of course, Camera Raw is
so fantastic that I can sweeten it.
| | 00:18 | So I'll go over to the flyout panel menu,
choose Apply Snapshot and then choose ACR7
| | 00:23 | conversion, and we end up with
this much more cheerful scene here.
| | 00:27 | All right, at this point I figured this
would make a great black-and-white shot.
| | 00:31 | Now, we've already seen how to make a black-and-
white image in Camera Raw back in Chapter 20 of
| | 00:36 | the Intermediate course, so I'll move
through the process pretty quickly here.
| | 00:40 | I'll switch to the HSL/Grayscale panel and
then I'll turn on Convert to Grayscale,
| | 00:46 | which gets rid of all my other tabs and
leaves me with just one grayscale mix.
| | 00:50 | Now, I don't care about the Reds value, its
fine where it is, but I took the Oranges value
| | 00:56 | up to +50, because I wanted to emphasize the
cliff walls, which are more of a muddy brown,
| | 01:02 | but that still falls in the Oranges category.
| | 01:04 | And I took the Yellows value up to 30,
which helps brighten some of the foliage.
| | 01:08 | And I took the Greens value up to 15.
| | 01:11 | Then I took the Aquas value down to -35,
which affects some of the ocean of course.
| | 01:16 | And I took the Blues value down to -100.
| | 01:18 | I really wanted it to be nice and dark.
| | 01:21 | And then I took the Purples value up to 20 and
I ended up leaving the Magentas value alone.
| | 01:26 | All right, now let's go ahead
and apply some Split Toning here.
| | 01:30 | Now, we need to start things off by increasing
the Saturation value, so I'll take the first
| | 01:34 | one up to 30, and I'll take
this second one up to 5.
| | 01:39 | Then I'll change the Hue value for Highlights
to 45, so that we have a kind of sepia tone
| | 01:44 | going, and I'll take the Hue value for the
Shadows up to 240, which lends the scene just
| | 01:50 | a little bit of dark blue.
| | 01:53 | And finally, I'll change this Balance so that
we're waiting the colors on the side of the
| | 01:57 | Highlights as opposed to the Shadows,
and we end up with this final scene.
| | 02:01 | All right, now take a look at the Open
Image button at the bottom of the screen.
| | 02:05 | If you click on it, then you'll open the image
inside of Photoshop and you'll also save your
| | 02:09 | new metadata settings to the DNG file.
| | 02:12 | If you press the Alt key or the Option key on
the Mac and click on the Open button, you'll
| | 02:17 | open the image inside Photoshop, but you will
not save your settings to the DNG file, so
| | 02:23 | the DNG file will be left entirely alone.
| | 02:25 | Sometimes useful, not a great idea in our case.
| | 02:28 | If you press the Shift key, you'll notice
the button changes to Open Object and that's
| | 02:33 | telling you that you're going to open the
image as a Smart Object in Photoshop,
| | 02:37 | and that's what I'm going to do.
| | 02:38 | So I'll Shift+Click on that Open Object button
and a few moments later we end up seeing the
| | 02:43 | image opened here in Photoshop.
| | 02:45 | Then let's say you're just sort of looking
around at the image, checking it out, and
| | 02:50 | you suddenly realize how blotchy it is, what
in the world is going on with this blotchy
| | 02:56 | ocean, and you just can't even believe you didn't
notice that when you were working inside Camera Raw.
| | 03:02 | And even though you may have spotted that
problem at the time, you will encounter other
| | 03:07 | times where you think you've come up with
some just great settings in Camera Raw
| | 03:12 | and then they turn out not too fare so well
as you modify the image in Photoshop.
| | 03:16 | Well, fortunately, this layer is a Smart Object,
so all you have to do is double-click on its
| | 03:20 | thumbnail to open the image again inside Camera Raw.
| | 03:25 | Now I'll switch back over to my HSL/Grayscale
settings and I'll go ahead and take this Aquas
| | 03:30 | value down to -40, let's say, and I'll tab
to Blues and press Shift+Up Arrow until that
| | 03:36 | blotchiness goes away, which happens at -70.
| | 03:40 | And then I'll scoot ahead to the Purples value
and I'll take it down to -40, because there
| | 03:45 | is some other sort of color issues at
work here, and that helps to remedy them.
| | 03:50 | Now, if you take a look at the bottom of the
screen here, you'll see we no longer have
| | 03:54 | an Open button, we now have an OK button,
because all you can do at this point is either
| | 03:59 | Cancel out and not make any changes or
click OK and return back to Photoshop.
| | 04:04 | The thing to remember is when you return to
Photoshop, you're not modifying the original
| | 04:09 | DNG file, because that link is broken; now you're
saving your changes back to the Photoshop composition.
| | 04:16 | So if you find that you want to modify that
original California coast.dng file on disk,
| | 04:21 | then you're going to have to open it from
Bridge and once again make your changes to
| | 04:26 | the Aquas, Blues, and Purples values.
| | 04:28 | All right, there is one
more change I want to make.
| | 04:30 | I'll go ahead and click on this blue link at the
bottom of the window that begins Adobe RGB (1998).
| | 04:36 | That brings up a dialog box of settings that will
allow you to change how the image opens in Photoshop.
| | 04:42 | And notice this final one, Sharpen For, you
can actually specify that you want to sharpen
| | 04:47 | for a certain output, such as Glossy Paper
in my case, and I'm going to set the Amount
| | 04:53 | to High so we can see what happens.
| | 04:55 | Now, you're not going to see anything happen
in Camera Raw, but you will see the Sharpen
| | 04:59 | details in Photoshop.
| | 05:02 | Also notice this checkbox right here, Open
in Photoshop as Smart Objects, if you turn
| | 05:06 | that checkbox on, then the Open button
permanently changes to an Open Object button, and when
| | 05:12 | you click on it, you open your RAW images
in Photoshop as Smart Objects by default.
| | 05:18 | If you want to override that, then you'd press the
Shift key to change back to the Open Image button.
| | 05:23 | So whether you select it is entirely up to you,
I am going to leave it off and click OK.
| | 05:28 | But before you click OK, you should note that
Sharpen For becomes a saved setting and we'll
| | 05:33 | see that in just a moment.
| | 05:34 | All right, I'll click OK and then click
OK again in order to return to Photoshop.
| | 05:41 | And now notice if I zoom in on the image,
I can see those sharpened details like so.
| | 05:45 | All right, I'm going to zoom back out, my sea is
not nearly so blotchy, so that's a good thing.
| | 05:51 | Now, at this point you'd go ahead and save
your image as a PSD document, because after
| | 05:55 | all it contains a layer in
the form of a Smart Object.
| | 05:59 | I'm going to go ahead and return to Bridge
for just a moment here by going to the File
| | 06:03 | menu and choosing Browse in Bridge.
| | 06:05 | And then I'll select that California coast.
dng file, then I'll press Ctrl+R or Cmd+R
| | 06:10 | in the Mac to revisit Camera Raw.
| | 06:13 | There is our blotchy sea, just like we
left it, because this file didn't get fixed.
| | 06:17 | So let's go ahead and take care of the
problem by changing those values once again;
| | 06:22 | -40, -70, and -40 for Aquas, Blues,
and Purples respectively.
| | 06:27 | Then what you want to do is click on that
Blue link again and make sure to set Sharpen
| | 06:32 | For back to None, assuming of course that
you don't want to sharpen future images.
| | 06:37 | Then I'll click OK and then I'll click Done.
| | 06:40 | And that's how you open an image from Camera
Raw as a Smart Object so that you can edit
| | 06:45 | your Camera Raw settings anytime you like.
| | Collapse this transcript |
| Editing Camera Raw images from Bridge| 00:00 | In this movie, I'll show you three special things that
you can do with Camera Raw images here in Bridge.
| | 00:06 | So for starters here, I'll select
this file Spanishtown dinosaurs.
| | 00:10 | If I were to press Ctrl+R or Cmd+R,
I would open Camera Raw hosted by Bridge.
| | 00:15 | If I were to double-click on the file,
I'd open Camera Raw hosted by Photoshop.
| | 00:20 | Let's say you always want
Bridge to host Camera Raw.
| | 00:24 | Well then, what you do is you press Ctrl+K
or Command+K on the Mac in order to bring
| | 00:29 | up the Preferences dialog box and you want to
switch to the General panel, if it doesn't
| | 00:33 | come up in general automatically and select
Double-Click Edits Camera Raw Settings in
| | 00:39 | Bridge and then click OK.
| | 00:41 | And now if I double-click on this thumbnail,
it opens in Camera Raw inside the Bridge,
| | 00:46 | just as if you have pressed
Ctrl+R or Cmd+R. All right.
| | 00:49 | I am going to cancel out of here.
| | 00:51 | Now contrast that by the way to pressing
Ctrl+O or Cmd+O on the Mac, that's going to go
| | 00:56 | ahead and switch you to Photoshop as
always and Photoshop, will host Camera Raw.
| | 01:01 | Once again I am going to cancel out here and
I'll go up to the File menu and choose Browse
| | 01:05 | in Bridge or press Ctrl+Alt+O, Cmd+Opt+O
on the Mac to switch back to Bridge.
| | 01:10 | So, that was special item number one,
here is special item number two.
| | 01:14 | Let's say you want to open an image in
Photoshop, but you want to bypass Camera Raw.
| | 01:18 | You just want to accept the
settings you have and start working.
| | 01:21 | Well, in that case, you press the Shift
key and double-click on the thumbnail.
| | 01:26 | Even though we've set double-clicking to open
the image in Camera Raw in Bridge, by virtue
| | 01:31 | of the fact that I had the Shift key down,
it still goes ahead and switches those to
| | 01:34 | Photoshop and opens the
file directly. All right.
| | 01:38 | Let's return to the Bridge once more and now
I'll show you special thing number three which
| | 01:42 | is how you can copy and paste Camera
Raw settings between different images.
| | 01:47 | I am going to start off by right-clicking on
Spanishtown dinosaurs.dng, choosing Develop
| | 01:52 | Settings from the list, and
then you choose Copy Settings.
| | 01:56 | Then switch over to Swim meet-1.dng which
is right next door and I'm feeling pretty
| | 02:01 | good about replacing these settings because
I have already got him backed up on the other
| | 02:05 | three Swim meet files.
| | 02:07 | So I'll right-click on the image, choose
Develop Settings and then choose Paste Settings.
| | 02:12 | Then you get that big long list of settings
that you could possibly copy and paste and
| | 02:18 | by default only the last three which
are local changes, are deselected.
| | 02:23 | I am going to go ahead and select Local Adjustments
because I want to see what those Brush Adjustments
| | 02:28 | and Gradial Filters look
like when applied to Sam here.
| | 02:32 | So having done that I'll go ahead and click
OK and that will change the file like so,
| | 02:36 | and you can see that he now has the sort of
dinosaur shapes painted on his face along
| | 02:42 | with the other settings.
| | 02:44 | Now you might expect him to look a lot like
the dinosaur image, that is the blues would
| | 02:48 | be bright and the oranges would be shiny and
that kind of stuff, but we are starting with
| | 02:53 | a totally different photograph that
was shot under different circumstances.
| | 02:56 | So we are going to get very
different results. All right.
| | 02:59 | That was a fairly absurd demonstration.
| | 03:02 | But there is a method to my madness here.
| | 03:03 | I am going to go up to California coast.dng
and right-click on it and then choose Develop
| | 03:08 | Settings and choose Copy Settings, and now
I'll scroll back down to Sam here and
| | 03:13 | I'll right-click on him and
choose Develop Settings.
| | 03:16 | But before I can choose Paste Settings, I
need to get rid of those Local Adjustments.
| | 03:21 | So any time you apply Local Adjustments this
way, you need to clear them before you apply
| | 03:26 | different settings because
otherwise they will stay there.
| | 03:29 | So I am going to choose Clear Settings, and
incidentally, when you choose Clear Settings
| | 03:33 | you get rid of everything, you wipe out the
Camera Raw settings, you wipe out the Crop
| | 03:37 | Settings, you wipe out the Local Adjustments, the
only thing that stays intact is your snapshots,
| | 03:43 | they will remain. All right.
| | 03:45 | So I'll go ahead and choose Clear Settings.
| | 03:47 | That restores the original version of
the file without the Local Adjustments.
| | 03:51 | Now I'll right-click in the thumbnail, choose
Develop Settings again, and then choose Paste
| | 03:56 | Settings, up comes the dialog box, this time with
those same settings in place, Local Adjustments
| | 04:02 | automatically turns itself off, I'll go ahead
and click OK, and we end up with this final
| | 04:07 | version of the effect which is quite
different than what we had before and makes Sam look
| | 04:13 | like he's gone back in time and
gotten cast in a silent movie.
| | 04:17 | And those are three very special things that
you can do with Camera Raw images from Bridge.
| | Collapse this transcript |
|
|
28. Duotones and ColorizeDuotones| 00:00 | Back in Chapter 20 of the Intermediate course,
I showed you how to mix a full-color photo
| | 00:05 | to make a black-and-white one, which
Photoshop calls grayscale, but here's the problem.
| | 00:11 | If you submit a grayscale image to a commercial print
house, that photo will print to a single ink, black.
| | 00:17 | Why is that a problem?
| | 00:19 | A single ink offers at most a hundred levels of
luminance and even that is wildly optimistic.
| | 00:25 | But here is the thing; none of
those hundred levels is truly black.
| | 00:29 | I mean think about it.
| | 00:30 | Have you ever seen an ink that was so dark
that it sucked all the light from a room and
| | 00:34 | rendered a page completely black?
| | 00:37 | At best, black ink by itself is darkish gray.
| | 00:41 | So how do you make those great super intense
black-and-white photographs that you see in
| | 00:46 | high-end glossy magazines with the fashion
ads and the fifth color fragrance rubs?
| | 00:51 | You use all the inks available to you, and this is
very important, you always print to white paper.
| | 00:58 | That way black is supersaturated with a ton
of ink and white is the brightest paper on
| | 01:03 | earth with no ink whatsoever.
| | 01:06 | Two inks that print in concert to make a black-and-
white photo are called Duotones, three inks are
| | 01:11 | called a Tritone, four inks are called a
Quadtone, but in the end they are all ways of super
| | 01:17 | saturating a monochrome image with
color, as we'll explore in this chapter.
| | Collapse this transcript |
| Creating a professional-quality sepia tone| 00:00 | In this movie I'll demonstrate what has to be
the simplest way to create a solid, professional-
| | 00:06 | quality sepia tone in Photoshop. And so we'll
be taking this black and white treatment and
| | 00:10 | converting it into this powerful sepia
tone here, so let's see how it works.
| | 00:15 | For starters I have got this full-color photograph,
I'll go ahead and Alt+Click on the eye in
| | 00:19 | front of close couple, and I've added
a couple of Adjustment layers here.
| | 00:23 | The first is this Channel Mixer layer.
| | 00:25 | And while a Channel Mixer is an old-school
approach, I have to say it might be my favorite
| | 00:29 | way for distilling black and white photographs.
| | 00:32 | So obviously I turned on the Monochrome checkbox,
we've got 60% Red, subtracting 30% Green and
| | 00:38 | then adding 76% Blue, it's a total of 106
with a Constant set to -1% and that ends up
| | 00:45 | filling out the histogram.
| | 00:47 | On top of that I've got this Curves Adjustment
layer here, and you can see that we are just
| | 00:51 | adding a little bit of highlight contrast.
| | 00:53 | All right, so the next step with that
Contrast layer selected is to press the Alt key
| | 00:59 | or the Option key on a Mac and then click the
black/white icon at the bottom of the Layers
| | 01:02 | panel and choose Solid Color, and then I'll go
ahead and call this layer sepia, and click OK.
| | 01:08 | That will bring up the Color Picker dialog box
and it'll show the foreground color by default.
| | 01:13 | I'm going to go ahead and set the Hue value
to 30 degrees or raise the Saturation to 45%
| | 01:18 | and I'll take the Brightness value
pretty high to 80% and then I'll click OK.
| | 01:23 | So now the thing is you can dial in any color
you want, that's just the suggested color.
| | 01:29 | Then I'm going to set the Blend mode in the
upper left corner of Layers panel, from Normal
| | 01:33 | to Multiply in order to burn those colors in.
| | 01:37 | Now I really only want to bring the colors
into the shadow details, I want to leave the
| | 01:41 | highlights neutral.
| | 01:42 | So I need to add Density Mask, so I'll Alt+
Click or Opt+Click on the eye in front of the
| | 01:48 | close couple layer, and then I'll go over
to the Channels panel and you can see that
| | 01:52 | we've got the Red Channel here, which affords
us the most contrast, because the couple's
| | 01:56 | faces are very bright.
| | 01:57 | Then in the Green Channel the skin tones start
to darken and then in the Blue Channel they
| | 02:02 | get darker still.
| | 02:03 | So, we want the channel with the
most contrast; that's the Red Channel.
| | 02:07 | I'm going to Ctrl+Click or Cmd+Click on
that channel in order to load it as a selection
| | 02:12 | outline, then I'll switch
back to the RGB image.
| | 02:15 | Go back to the Layers panel, turn all the
layers back on by Alt+Clicking or Opt+Clicking
| | 02:20 | on the eye in front of close couple, and
then because we want a Density Mask as opposed
| | 02:25 | to Luminance Mask, so in other words, we want to
mask away the highlights and keep the shadows.
| | 02:30 | You drop down to the Add Layer mask icon at the
bottom of the Layers panel and you Alt+Click
| | 02:35 | or Opt+Click on it, and you end up getting this
effect here, and that's pretty much most the work.
| | 02:40 | The other thing I want to do is elevate the
contrast, because if you take a look at the
| | 02:45 | final version of the image, you can see that
we've got some clarity; that is some darkening
| | 02:49 | that adds weight around the
details inside this image.
| | 02:52 | So, I'll switch back to the image in progress
here and I will press the Ctrl key or the
| | 02:57 | Command key on the Mac and click on that layer
mask in order to load it up, then I'll click
| | 03:03 | on the close couple layer to make it active
and I'll convert it to a Smart Object by going
| | 03:07 | up to the Layers panel flyout menu and choosing
Convert to Smart Object or if you loaded dekeKeys,
| | 03:12 | you can press Ctrl+,(comma) or Cmd+,(comma)
on the Mac and then you want to go up to the
| | 03:17 | Filter menu and choose Other and then choose
High Pass, or again, if you loaded dekeKeys,
| | 03:22 | you can press Shift+F10.
| | 03:24 | Inside the High Pass dialog box I want you to
enter Radius of 12 pixels, where this image
| | 03:28 | is concerned; this is a
moderate to low resolution image.
| | 03:32 | If you're working in a higher resolution, you
would need to experiment with higher Radius
| | 03:37 | values, probably at least twice
the size, and then click OK.
| | 03:42 | And finally, we want to change the Blend mode,
because you can see that we're losing contrast so far.
| | 03:47 | So I'll double-click on that little slider
icon to the right of the words High Pass and
| | 03:51 | I'll switch the mode from Normal to Overlay
and we end up achieving this effect here,
| | 03:56 | and that is all there is to it.
| | 03:58 | If I press the F12 key, you can see that we
started with a black and white photograph
| | 04:02 | and then just a few minutes later if I press
Ctrl+Z or Cmd+Z on a Mac, you can see
| | 04:07 | that we end up with a professional-quality
sepia tone with all kinds of lustrous detail
| | 04:13 | and high impact contrast,
here inside Photoshop.
| | Collapse this transcript |
| Introducing the Gradient Map adjustment| 00:00 | In this movie I'll introduce you to Gradient Map,
which allows you to infuse your black and white
| | 00:05 | image with as many colors as you like.
| | 00:08 | Now I'm looking at a variation on that black and
white effect that uses a black and white adjustment
| | 00:12 | layer as opposed to a channel mixer layer.
| | 00:16 | And the reason is, I want you to see the
difference between just going with something like
| | 00:20 | Tint and creating a full on duotone.
| | 00:22 | So, I'll turn on the Tint checkbox and in
order to get the same effect as we were seeing
| | 00:28 | a moment ago, or something similar anyway,
I'll click on that Color Swatch to bring up
| | 00:32 | the Color Picker dialog box and I'll change
the Hue value to 30, I'll take the Saturation
| | 00:37 | value down to 15 and I'll set the
Brightness to 30% and I'll click OK.
| | 00:42 | Certainly that's an easy way to work
and we now have a tinted photograph.
| | 00:46 | However, if you go ahead and compare that
to the true sepia tone that we saw in the
| | 00:51 | previous movie, you'll notice that
it is a pretty different effect.
| | 00:55 | We have more neutral highlights going on inside
the sepia tone, the colors are full on burned
| | 01:00 | into the shadows whereas where the tinted
image is concerned we're just taking a low
| | 01:04 | saturation color, basically colorizing the
entire image with it, it's the same as doing
| | 01:10 | this for example.
| | 01:11 | I'm going to double-click on the Black &
White layers thumbnail in order to bring up the
| | 01:15 | Properties panel, and I'm going to turn-off
the Tint checkbox for a moment, and then
| | 01:20 | I'll hide the panel, and press the Alt key or the
Option key on the Mac, click the Black & White
| | 01:24 | icon at the bottom of the panel, choose Solid
Color, we'll go ahead and call this guy sepia
| | 01:28 | once again and I'll go ahead and dial-in
those same color values 30, 15, and 30, and then
| | 01:35 | we'll set the Blend mode from Normal to Color, and
I'm just doing this by way of demonstration here.
| | 01:40 | We are now seeing the same effect as we
achieved using that Tint checkbox associated with the
| | 01:46 | Black & White layer, so if I double-click on
the thumbnail for the Black & White layer
| | 01:49 | once again and turn this checkbox on, we
don't see any difference on screen and then turn
| | 01:54 | this layer off, it's the exact same thing, so
you're just infusing the entire image with a color.
| | 02:01 | We can do better than that using either that
sepia tone technique that I showed you in
| | 02:05 | a previous movie which is quite straightforward or,
with little more work, we can apply Gradient Map.
| | 02:11 | So, I'm going to go ahead and turn that Tint
checkbox off, we don't need it, and it'll
| | 02:15 | just get in our way and then I'll click on
the contrast layer at the top of the stack
| | 02:19 | here and I'll press the Alt key or the Option
key on the Mac, click the Black & White icon
| | 02:23 | once again at the bottom of the Layers panel and
choose the second command up, Gradient Map.
| | 02:28 | And I'll go ahead and name this guy colorize,
because that's what we're going to do, even
| | 02:32 | though instead of colorizing using a single
color will infuse the image with multiple
| | 02:37 | colors then I'll click OK.
| | 02:39 | Now what we're seeing here is a Gradient strip
inside the Properties panel, going from black
| | 02:44 | to white, and what Gradient Map does is it
goes ahead and replaces the luminance levels
| | 02:49 | inside the image with that gradient.
| | 02:52 | So it starts with black on the left-hand side
and ends with white under right-hand side,
| | 02:56 | so in another words we're replacing the black and white
image with the colors found in the black to white gradient.
| | 03:02 | So that means we're not going to
see much difference at this point.
| | 03:05 | I'll go ahead and turn the layer off for a
second and then turn it back on, it's just
| | 03:09 | increasing the contrast of the image, and
that's because of the Gaussian distribution
| | 03:14 | of the colors inside that gradient.
| | 03:16 | So the colors ramp slowly in the dark areas I
think quickly in the middle and then slowly
| | 03:20 | again and the highlights, which squeezes the
luminance range inside the image again thereby
| | 03:25 | increasing the contrast.
| | 03:27 | You can switch to a different gradient. Now
there aren't a lot of gradients that are included
| | 03:31 | along with Photoshop by default, you do have
some other gradients that ship with the program
| | 03:36 | and you can get to them by clicking on that
little gear icon and then choosing any one
| | 03:40 | of these gradient libraries and then experimenting
with them, but none of them are really truly
| | 03:44 | designed to serve as duotones for a photograph.
| | 03:48 | Probably the closest one would be something
like copper and when I first select Copper
| | 03:52 | you'll think I'm insane, it goes ahead and
replaces the blacks with this light brown,
| | 03:56 | so starting on the left that's where black is,
and then we get into the dark gray region
| | 04:01 | and we get some very light browns and then
we go back into the highlights here and we
| | 04:05 | get some very dark browns and then we end
with some light browns for white, but we can
| | 04:10 | change how the colors are mapping, and you
know, I'm a go ahead and decrease the height
| | 04:15 | of this Properties panel, so
we can see the model's eye.
| | 04:18 | We can merge this gradient better into the
image if we go ahead and change the Blend mode.
| | 04:22 | So I'm going to click on Normal in the upper
left corner of the Layers panel and change
| | 04:26 | that Blend mode from Normal to Color, and
then it'll go ahead and infuse the image with
| | 04:31 | that color, and then if I want, I could
reduce the opacity of the layer as will.
| | 04:35 | For example I'll press 2 to reduce the
Opacity to 20% and we end up with a halfway decent
| | 04:40 | duotone, let's go ahead and compare that to
the sepia tone that we created in the previous
| | 04:45 | movie here it is, so it's pretty different,
it's yellower effect than what we're using
| | 04:48 | right now, and then when I switch back you
can see that we have something of an orange
| | 04:53 | or reddish effect.
| | 04:55 | But the truth of the matter is that we're
blending very subtle color variations throughout
| | 04:59 | the shadows, midtones, and
highlights inside this image.
| | 05:03 | If you want to see a more radical color variation
double-click on the thumbnail for that Gradient
| | 05:07 | Map layer once again the one that's called
colorize, and I'll switch it to something
| | 05:12 | like Violet, Orange, for example, and then
I'll hide the Properties panel again and
| | 05:16 | I'll press the 3 key to bring
the Opacity up to 30%.
| | 05:20 | And now you can see that we've managed to
infuse the shadows with violet, we've got
| | 05:25 | oranges and the midtones and
the highlights and so forth.
| | 05:28 | So that's how you use a Gradient Map adjustment to infuse
a black and white image with a rich array of colors.
| | 05:34 | However, we can do better by loading some
custom gradients that I've created for you
| | 05:39 | and I'll show you how that
works in the next movie.
| | Collapse this transcript |
| Loading a library of custom gradients| 00:00 | In this movie I'll show you how to load a
library of gradients that I've created for
| | 00:04 | you in advance that are specially designed
to work with the Gradient Map adjustment in
| | 00:08 | order to create custom duotones.
| | 00:10 | So I'm going to start things off by changing
the Blend mode back to Normal and then I'll
| | 00:15 | press the Escape key and press the 0 key
in order to reinstate an Opacity of 100%.
| | 00:21 | Next if you're working along with me.
| | 00:22 | Go ahead and double-click on the thumbnail
for the colorized layer to bring up Gradient
| | 00:26 | Map inside the Properties panel, and then
click the down-pointing arrowhead next door
| | 00:30 | to the Gradient Bar.
| | 00:31 | If you click in the bar you're going to bring
up the Gradient Editor dialog box, in which
| | 00:35 | case just cancel out.
| | 00:37 | And then click on that little gear
icon and choose Load Gradients.
| | 00:41 | Then navigate your way to the 28_duotones
folder inside the exercise files folder.
| | 00:46 | Find a file called dekeTones16 that contains
16 different duotone-ready gradients.
| | 00:52 | Then click the Load button in order to load them
on up, and they start with this guy right here.
| | 00:57 | What I'll do is I'll just kind of tour you through
them here so you can get a sense of what they do.
| | 01:02 | There is this Warm palette gradient, that's
going to create a pretty bright reddish duotone.
| | 01:06 | And then we've got a blue variation on that
as well as yellow called Sepia palette and
| | 01:11 | that ends up giving us pretty good sepia tone
effect. But bear in mind these gradients were
| | 01:15 | necessarily designed for this specific image
rather what I was trying to do is, create
| | 01:20 | a group of gradients that will work with a
wide variety of images, but you may have to
| | 01:24 | modify them to some extent or other to suit
your particular needs, and I'll show you how
| | 01:29 | that works in the next movie.
| | 01:30 | Now we have some reversing gradients that
start bright and then end up darkening up.
| | 01:36 | So in other words the shadows, especially
the blacks end up changing to a color,
| | 01:40 | in this case green, and then we go in the case
of this Gradient to a dark brown and then
| | 01:45 | things lighten up incrementally with
little bit of darkening in the highlights.
| | 01:49 | And you can tour your way
through these as well.
| | 01:51 | Each one of them sort of reverses back or have
some sort of luminance variation built into it.
| | 01:58 | Next we've got this guy X-ray invert, which
is an unusual one, in that it inverts the
| | 02:02 | image as it turns green.
| | 02:04 | But you can change its behavior if you want
to by turning on this Reverse checkbox,
| | 02:08 | in which case, it's going to produce more
or less a straightforward green effect.
| | 02:12 | And you can try out Reverse along with some of
these other gradients as well, these gradients
| | 02:16 | that double-back on themselves.
| | 02:18 | All right, I'll go head and
turn the Reverse checkbox off.
| | 02:22 | Next we have some colorful
complementary gradients.
| | 02:25 | So this one goes from violet to yellow,
then we go from red to cyan here.
| | 02:29 | This one goes from blue or orange, and
we've got this earth and sky gradient.
| | 02:34 | These last three gradients here are probably the
ones that work best with this particular image.
| | 02:39 | We've got Broad Sienna and it's probably worth
comparing this effect to the sepia tone that
| | 02:44 | we created in the first movie.
| | 02:46 | And you can see well the sepia tone is very
understated where the colors are concerned,
| | 02:51 | this one has colors that pop.
| | 02:53 | So again completely up to you
if this is the effect you want.
| | 02:56 | If you want to back it off all you
have to do is reduce the Opacity value.
| | 03:00 | For example I can press the 5
key to set the Opacity to 50%.
| | 03:04 | All right, I want to show you the last two.
| | 03:06 | So I'll go ahead and press 0 for an Opacity
of a 100%, double-click on the thumbnail for
| | 03:11 | the colorized layer.
| | 03:12 | Click the down-pointing arrowhead and then
choose this guy right there Plate finish,
| | 03:16 | which ends up creating an exceptional sepia
effect where this particular image is concerned.
| | 03:22 | It's very similar to the one that
we created in the first movie.
| | 03:25 | The big difference is, we're able to
bring this bluish gray into the highlights.
| | 03:28 | And then finally at the very end of the list
we've got blue metallic which produces this
| | 03:33 | bluish duotone here.
| | 03:35 | So that just gives you an idea of the variety
of different duotones you can create just
| | 03:40 | by clicking through a
library of predefined gradients.
| | 03:43 | In the next movie I'll show you how to
design a custom gradient of your own.
| | Collapse this transcript |
| Creating a custom quadtone| 00:00 | In this movie we'll design a custom gradient
to turn this low color image, without even
| | 00:04 | converting it to black and white,
into this duotone right here.
| | 00:09 | Although technically speaking it's a quad-tone
because it contains four distinct colors.
| | 00:14 | So I'll go ahead and switch back to our starter
image here and I'll press the Alt key or the
| | 00:18 | Option key on the Mac, click the Black/White
icon at the bottom of the panel and choose
| | 00:22 | Gradient Map, and I'll call this
layer quadtone and then I'll click OK.
| | 00:27 | Now we'll start things off, if you're working along
with me and you have access to the exercise files,
| | 00:32 | with this guy called Complementary VY.
| | 00:35 | Now if you don't have the exercise files,
that's totally okay, I'll be showing you how
| | 00:39 | to create the final gradient for yourself,
this is just a good point to start at,
| | 00:43 | and then I'll press the Enter key or the Return
key on the Mac to hide that list of gradients,
| | 00:47 | and I'll click inside the Gradient Bar to
bring up the Gradient Editor dialog box.
| | 00:52 | Now I'd like you to treat these little color
stops in the gradient as if they are points
| | 00:56 | along the bottom of a Histogram, like we're
working in Levels dialog box, so we've got
| | 01:01 | black over here on the left and
we've got white over here under right.
| | 01:05 | We are currently mapping black which is at
a Location of 0%, too black, so our shadows
| | 01:10 | are remaining black inside the image.
| | 01:12 | And then at the 100% position which you should
think of is being a 100% white we have white
| | 01:18 | and then all the other colors
or luminance levels in between.
| | 01:21 | So we're going to start things off by
changing these colors around, I don't want them to
| | 01:25 | be this highly-saturated, so I'm going to
double-click on the first yellow color stop
| | 01:30 | in order to bring it up, and I'm going to
reduce the Saturation value by pressing
| | 01:35 | Shift+Down Arrow and then Down Arrow a few
times to get it down to 25%.
| | 01:40 | Otherwise these color values are fine, a
Hue of 50 degrees and a Brightness of 85%.
| | 01:45 | Now I'll go ahead and click OK and you can see
that that goes ahead and reduces the saturation
| | 01:50 | inside the highlights in this image.
| | 01:53 | Now I'll double-click on the orange color
stop and I'm not going to take it down quite
| | 01:57 | as much, I'm just going to take it down to
45%, a Hue of 35 degrees is just fine, and
| | 02:02 | I'll take the Brightness value
down to 70% as well, then click OK.
| | 02:08 | Next I'm going to double-click on this very
dark blue Color Swatch to bring it up and
| | 02:12 | I'm going to modify the Hue value slightly,
I'll take it up to 220, then I'll take the
| | 02:16 | Saturation value down to 25% and I'll raise
the Brightness value to 55%, which is going
| | 02:23 | to seem strange at first, but we're going to
move this color stop to another location,
| | 02:27 | so I'll click OK and notice now if I want
a darken things up I'll go ahead and move
| | 02:33 | the Color Stop over to the right.
| | 02:35 | So typically when you're working with
progressively lighter color stops like these if you move
| | 02:40 | the stop to the left, you're going to brighten
the image, if you move it to the right you're
| | 02:44 | going to darken the image.
| | 02:46 | What you're really trying to do is map this
color to a specific group of luminance levels
| | 02:51 | inside the image and at about 45%
I get the effect I'm looking for.
| | 02:55 | Now I'm going to have to move the other Color
Stops in just a moment, but this is good for now.
| | 02:58 | And then I'll click on this dark violet
Color Stop that has a location of 10%, double-click
| | 03:04 | on it to bring up the Color Picker dialog
box, I'm going to take the Saturation way
| | 03:08 | down to 15%, and I'm also going to take the
Brightness value down to 15% as well,
| | 03:15 | and then I'll click OK in
order to accept that change.
| | 03:18 | So we've got black, we've got a very dark
purple, mapping the darkest luminance levels
| | 03:23 | inside the image.
| | 03:25 | We've got the sort of washed out blue here
that's mapping these midtones, and then we've
| | 03:30 | got these two guys that aren't quite set to
the right locations, so I'm going to click
| | 03:34 | on this orange Color Stop that's had a location
of 75% and to brighten the colors up a little bit,
| | 03:40 | I'm going to press Shift+Down Arrow in
order to reduce that location value to 65%.
| | 03:46 | And then I'll click on that final Color Stop,
the pale yellow one, and I'll take its Location
| | 03:51 | value down to 80%.
| | 03:53 | Now what I recommend you do at this point
is you go ahead and name your gradient and
| | 03:57 | save it in case you want to use it later.
And you do that in a strange way, you don't
| | 04:01 | click the Save button.
| | 04:03 | Rather you first name the gradient, so you
have to give it a name first, and I'm going
| | 04:07 | to call mine Denim & bone, after the colors
that I'm seeing here inside this image,
| | 04:12 | and then you click on the New button and that
goes ahead and adds that gradient to the list
| | 04:17 | and it's important that you name
the gradient and then click New.
| | 04:20 | If you just click New, you're
going to create a new unnamed swatch.
| | 04:23 | All right, now click OK in
order to accept that change.
| | 04:27 | All right, now let's say just for the sake
of demonstration that this is the fifth or
| | 04:32 | sixth such gradient that you've created and
you're starting to feel like you want to backup
| | 04:36 | your gradients, so that you don't lose them,
which is a really great idea by the way.
| | 04:41 | Then what you do is go to the Edit menu and
you choose Presets and then you choose Preset
| | 04:46 | Manager and you can see if you loaded dekeKeys
I've given you a shortcut of Ctrl+Shift+P
| | 04:51 | or Cmd+Shift+P on the Mac.
| | 04:53 | Then switch Preset Type from Brushes to Gradients
and you'll see a list of all the gradients
| | 04:57 | that are presently loaded, let's say you want
to go ahead and backup the one you just made
| | 05:02 | of course as well as these three right here,
then you go ahead and click on one Shift+Click
| | 05:08 | on the other to select an entire range. If
you want to select nonadjacent gradients then
| | 05:13 | you Ctrl+Click on them on the PC or
Cmd+Click on them on the Mac.
| | 05:18 | Then go ahead and click on the Save Set button
and then give your gradients a name such as
| | 05:23 | I'll go ahead and call mine My custom grads,
and I think I've got a little problem there,
| | 05:28 | so I'll hit Forward Delete key and click on
the Save button and you've saved out those
| | 05:32 | specifically selected gradients, then
click on Done and you are backed up.
| | 05:38 | And that's how you go about creating a custom
gradient for the purpose of creating a duotone,
| | 05:42 | a tritone, a quadtone or what
have you here inside Photoshop.
| | Collapse this transcript |
| Colorizing with blend modes and Opacity| 00:00 | Now creating a custom gradient is all very
well and good, but if that was the only option,
| | 00:04 | it would mean you'd have to customize even
the best of gradients on an image by image
| | 00:09 | basis, because the luminance levels
in every single image are different.
| | 00:14 | But if instead, you just like to take your
collection of gradients and shoehorn them
| | 00:18 | to fit an image, just make them fit. Well
in that case, the solution is to adjust the
| | 00:23 | Blend Modes and Opacity Settings.
| | 00:26 | And here's what that looks like.
| | 00:27 | I'll start things off by double-clicking on
the thumbnail for this Quadtone layer, and
| | 00:32 | then I'll click the down pointing arrow head,
and I'll just grab one of my preset gradients,
| | 00:36 | such as Green repeat, and you can see how
it ends up creating these sort of ghostly
| | 00:40 | areas of green inside of
the darkest of the shadows.
| | 00:44 | That's probably not the effect we're looking
for right off the bat, because it ends up
| | 00:48 | with lot of posterization inside the image.
| | 00:51 | So I'll hide the Properties panel.
| | 00:53 | To make any gradient work, if you just want
to map it to the existing luminance levels
| | 00:57 | inside the image, you can choose Color, and
that will take care of the problem immediately.
| | 01:02 | So you're just taking all of the colors inside of
that gradient and mapping them to the luminance
| | 01:07 | levels inside the image.
| | 01:10 | Another way to work that may turn out to
deliver more exciting results is to switch to one
| | 01:15 | of the first two contrast modes,
either Overlay or Soft Light.
| | 01:19 | I'll start with Overlay here, and you can
see that that's a little bit over the top,
| | 01:23 | but we do get an amazing high contrast effect.
| | 01:27 | I'll go ahead and press the Escape key so
that the blend mode is no longer active.
| | 01:31 | If it goes too far, for example, in our case
we're over darkening the shadows and over
| | 01:35 | brightening the highlights, because overlay
and the other contrast modes tend to increase
| | 01:39 | the contrast of the image.
| | 01:42 | Then go ahead and press something like the
5 key to reduce the opacity to 50% and we
| | 01:47 | get this effect here, which is pretty great, but I
also urge you to try out the Soft Light mode.
| | 01:53 | So, I'll increase the opacity to 100% and
switch the mode from Overlay to the next mode
| | 01:58 | down, Soft Light, and then I'll again press
the Escape key, so the blend mode is no longer
| | 02:03 | active here on the PC, and we end up with
this really awesome effect in my opinion.
| | 02:10 | I'm just going to take the Opacity down a
little bit by pressing the 7 key for 70%.
| | 02:15 | All right, so that's how things fare in a
low color image that we didn't even bother
| | 02:20 | to convert to black and white in first place.
| | 02:22 | What if we start with a black-and-white image?
| | 02:24 | I'll go ahead and switch over to our couple
again, double-click on the thumbnails for
| | 02:28 | its Gradient Map Adjustment layer, and then
this time I'll change to gradient to another
| | 02:33 | one of my presets, which is Blue repeat.
| | 02:36 | And we get this effect here where once again
the shadows are leaping forward and becoming
| | 02:41 | bright, because of that range of
moderately bright colors inside the gradient.
| | 02:45 | So I'll press the Enter key in order to hide
those gradients and then I'll close the Properties
| | 02:49 | panel and I'll experiment with a Blend Modes
once again. You can try out Overlay if you
| | 02:53 | want to, that's going to produce pretty
harsh effect in the case of this image.
| | 02:57 | So I'm going to switch forward, and by the way,
give you a little keyboard shortcut here.
| | 03:02 | If I press the Escape key so the blend mode
is not longer active, again, you only have
| | 03:05 | to do that on the PC,
| | 03:06 | I can advance to the next Blend mode, whether
I'm on a Mac or the PC by pressing Shift+Plus (+)
| | 03:11 | and that will take me from
Overlay to Soft Light in this case.
| | 03:16 | If I press Shift+Minus (-) it would take me
the other direction from Soft Light to Overlay.
| | 03:20 | Anyway, I want the Soft Light mode, so I'll
go ahead and select it, and then I'll press
| | 03:25 | the 3 key to reduce the opacity to
30% and we get this effect here.
| | 03:30 | So, just for the sake of comparison, if I turn
the layer off, this is the no color grayscale
| | 03:36 | image, and then if I turn layer back on, this is that
same image infused with just a little bit of color.
| | 03:42 | Now I'll press the F key in order to fill the
screen with the image and zoom on in as well.
| | 03:47 | And so this is that colorized version of the
black and white image of the couple and then
| | 03:52 | this is the hand tinted version really, of
the low color landscape image, both created
| | 03:58 | using Gradient Map along with the Soft Light
mode and some reduced opacity levels,
| | 04:04 | here inside Photoshop.
| | Collapse this transcript |
| Creating a faux-color, high-key effect| 00:00 | In this movie, we're going to take this
portrait shot from the Fotolia image library,
| | 00:04 | about which you can learn more at fotolia.com/deke.
| | 00:06 | And we're going to assign it a kind of faux
color treatment and add a high key effect
| | 00:11 | as well in order to create
this variation on the image.
| | 00:15 | And notice that her hair and sweater as well
as her pupils and eyelashes are jet black,
| | 00:20 | meanwhile her face and neck are very light,
but none of the highlights are blown, in other
| | 00:25 | words we don't have any flat
areas of white inside the image.
| | 00:28 | Now, strictly speaking this is not a duotone
and yet we have achieved an image that has
| | 00:33 | a high degree of color homogeneity.
| | 00:36 | So I am going to switch back to the base
image here and I am going to start things off by
| | 00:40 | pressing the Alt key or the Option key on
the Mac, then click on the Black/White icon
| | 00:44 | and choose the Black & White command and
I'll call this new layer B&W and click OK.
| | 00:49 | And now I'm going to dial in some values.
| | 00:51 | Now I want her face to be very bright, I
might as well drag it over a little bit here
| | 00:55 | so we can see what we're doing.
| | 00:57 | And because we all, regardless of skin luminance,
we are all orange people, we're going to resonate
| | 01:02 | the most in the reds and the yellows.
| | 01:05 | So I am going to crank that Reds value up
to a 130 and I'll take the Yellows value up
| | 01:09 | to a 100 and that takes care of most of
our work where the skin is concerned.
| | 01:14 | Now I am not really seeing any Greens inside
the image, so when you don't really see a
| | 01:18 | color at all you can just zero it out or in
my case just to see if there are any I'll
| | 01:23 | go ahead and take that value through the roof here
to 300, don't look like it makes any difference.
| | 01:29 | So I'll tab on to Cyans value and take that
value down a little bit and then tab over
| | 01:34 | to Blues and take that value up to 300
so that we brighten the background.
| | 01:40 | And then finally I want her sweater which is
purple to go black, so I am going to take
| | 01:45 | the Magentas value down to its
lowest -200 and that's it. All right.
| | 01:49 | Now I'll hide the Properties panel.
| | 01:51 | Now the next step is to dodge and burn what
we've created so far, and that means that
| | 01:56 | we have to merge our work onto a new layer.
| | 02:00 | And anytime you want to merge all the visible
layers onto a new one, you have to press the
| | 02:04 | keyboard shortcut that's based on a
shortcut that you can see in the layers menu.
| | 02:08 | You'll notice this command called Merge Visible
that has a keyboard shortcut of Ctrl+Shift+E
| | 02:13 | or Cmd+Shift+E.
| | 02:14 | If you choose that command you'll go
ahead and merge those two images together.
| | 02:18 | That's not what we want, so I'll
press Ctrl+Z or Cmd+Z on the Mac.
| | 02:21 | Instead what we want is to add the Alt key
on the PC or the Option key on the Mac to
| | 02:26 | that same shortcut.
| | 02:27 | So that would be Ctrl+Shift+Alt+E or Cmd+Shift+Opt+E
on the Mac, and that goes ahead and merges
| | 02:33 | those two layers onto a new one, and I'll
call this new layer D&B like so. All right.
| | 02:39 | Now I'll go ahead and grab the Dodge tool
and I'm assuming that your settings are their
| | 02:43 | defaults which are a Range of
Midtones and an Exposure of 50%.
| | 02:48 | If that's the case then you can go ahead and
brush in on the highlights inside of the image.
| | 02:53 | So I am not just brushing indiscriminately
all over the face, I am trying to limit my
| | 02:57 | modifications to some of the lightest details.
| | 03:01 | Because if you go nuts and just start
brushing all over the place, which I am not, by the
| | 03:05 | way, I am not trying to demonstrate that I am,
if you start doing that though, then you
| | 03:09 | will flatten the face details considerably.
| | 03:11 | And we want to keep the volumetric detail; we just
want to make sure to brighten things up a lot.
| | 03:17 | And we'll fix some of those
details using the Burn tool.
| | 03:19 | In fact, we might as well select the tool now.
| | 03:21 | Go ahead and click and hold on the
Dodge tool and then choose the Burn tool.
| | 03:25 | And by the way, at the risk of overwhelming
you with tricks at this point, I should point
| | 03:29 | out that you can switch from one tool
to another by adding the Shift key.
| | 03:34 | So if I press Shift+O, I would switch
from the Dodge tool to the Burn tool.
| | 03:38 | Another way to do it is to Alt+Click or Opt+Click
in the current occupant of that slot, so if
| | 03:44 | I Alt+Click or Option+Click on the Dodge tool
it will take me to the Burn tool. All right.
| | 03:48 | So I am going to burn some of these shadows
along the outside edges of her face like so
| | 03:55 | in order to reinstate some of that volumetric
detail, so her face still looks nice and rounded.
| | 04:01 | And I might actually paint a
second time over this region here.
| | 04:04 | Then we want to darken up the hair and sweater
and those are very dark details already,
| | 04:08 | but I want to fill them in.
| | 04:10 | So I am going to change my
Range from Midtones to Shadows.
| | 04:12 | I am going to leave the Exposures set to 50%
and then I'll start painting in her hair and
| | 04:17 | you can see that that hair
is just going jet black now.
| | 04:21 | If you need to apply a couple of
passes of the tool, by all means do.
| | 04:24 | You can paint many times over
these areas if you need to.
| | 04:27 | Don't paint into her face though; try to keep
your modifications in the hair and sweater.
| | 04:34 | And I'm painting all this stuff to black as
you can see and then I am just going to make
| | 04:37 | sure that the sweater is
nice and black as well.
| | 04:39 | All right, that looks pretty darn good.
| | 04:41 | Now we need to bring back in the color, so I
am going to press the M key to switch back
| | 04:45 | to the Rectangular Marquee tool, I'll click
on the Background layer to make it active
| | 04:49 | and I'll press Ctrl+Alt+J or Cmd+Option+J
on the Mac in order to jump this layer and
| | 04:55 | name it and I'll call the
copy of the layer color.
| | 04:58 | And then I'll grab that layer and drag it
to the top of the stack and I will change
| | 05:03 | it from Normal to the Color Blend mode,
and we end up achieving this effect here.
| | 05:08 | Now the only area where this is a problem is in
the blue around the outskirts of the hair.
| | 05:13 | So I'm going to press Ctrl+0 or Cmd+0
on the Mac to go ahead and Zoom out.
| | 05:18 | I'll press the L key to switch to the Lasso
tool, and then I'll press and hold the Alt
| | 05:23 | key or the Option key on the Mac.
| | 05:25 | Keep that key down as you click around the
face like so and through this area of hair
| | 05:30 | and down into this region.
| | 05:33 | And then you want to dropdown to the Add Layer
Mask icon and click on it, and that will go
| | 05:37 | ahead and mask the color into
that face region. All right.
| | 05:40 | Now we need to create the
gradient for the background.
| | 05:43 | So press the Ctrl key or the Command key on
the Mac and click on that layer mask that
| | 05:47 | you just created a moment ago.
| | 05:49 | And then I want you to go up to the Select menu
and choose Inverse or you can press Ctrl+Shift+I,
| | 05:53 | Cmd+Shift+I on the Mac in order
to select the area outside her face.
| | 05:57 | I am going to press Ctrl+Shift+N or Cmd+Shift+N
on the Mac to create a New layer and I'll
| | 06:03 | call it gradient and click OK.
| | 06:07 | I'll go ahead and select the Gradient tool
which you can get by pressing the G key and
| | 06:10 | then I'll press the Alt key or the Option
key on the Mac so I temporarily have that
| | 06:14 | eyedropper and I'll click somewhere inside the
model's face in order to lift a skin tone color.
| | 06:20 | Then I'll go over to the Color panel
and I'll slightly adjust my settings.
| | 06:23 | I am going to change the Hue value to 25,
then I'll raise the Saturation value to 45%
| | 06:29 | and I'll take the Brightness
down in my case to 75%.
| | 06:33 | Then armed with the Gradient tool I'll go
ahead and drag from the top of the image about
| | 06:36 | midway down like so and release and that
ends up covering everything up, fine.
| | 06:42 | I'll press the M key to switch back to the
Rectangular Marquee tool, press Ctrl+D or
| | 06:47 | Cmd+D on the Mac to deselect the image
and finally we want to change the Blend mode
| | 06:51 | in the upper left corner of Layers panel from
Normal to Multiply, and that will go ahead
| | 06:57 | and burn that gradient into
its background. All right.
| | 07:00 | Now I'll press the F key a couple of times
to switch to the Full Screen mode and just
| | 07:04 | to give you a sense of what we've been able
to achieve here, I'll press the F12 key, this
| | 07:09 | is the original version of the portrait shot,
and if I press Ctrl+Z or Cmd+Z on the
| | 07:13 | Mac, this is the faux color high key effect,
thanks to a bit of Black & White, Dodge and
| | 07:19 | Burn as well as the Color and
Multiply modes here inside Photoshop.
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|
|
29. Noise and DetailNoise vs. Details| 00:00 | This next chapter is about one of
the worst things on earth, Noise.
| | 00:05 | If you've ever talked on a cell phone or
looked up a map on a mobile device, or listened to
| | 00:09 | a car radio, or really done
anything in a car, then you know noise.
| | 00:13 | It's the hiccup, it's the lurch, it's the
adjectives that don't contribute to the message.
| | 00:18 | It's the extra sentences that
I don't need to be saying now.
| | 00:21 | Simply put noise annoys.
| | 00:24 | In the world of digital photography, noise
is the visual equivalent of static, random
| | 00:29 | fluctuations between neighboring pixels that don't
accurately represent the scene as it was captured.
| | 00:35 | See this, this is smooth
detail and this is noisy detail.
| | 00:41 | And as you open the ISO or push the depth of
field or do anything fun and interesting,
| | 00:46 | the noise just gets bigger.
| | 00:49 | Fortunately Photoshop has ways to defeat noise,
and it does so by dividing noise into
| | 00:54 | two categories, Luminance and Color.
| | 00:57 | Luminance Noise is random
variations in Brightness.
| | 01:00 | Color Noise is random
variations in Hue and Saturation.
| | 01:05 | I start this chapter by showing
you how to smooth away Noise.
| | 01:08 | Then I show you how to sharpen
the details that are left over.
| | 01:12 | And then I show you how you can
use noise to great special effects.
| | 01:16 | After all, noise isn't always bad.
| | 01:19 | Thanks to noise, we have grit, we
have feeling, we have texture.
| | 01:23 | Let me show you how to master noise
and you can use it anyway you want.
| | Collapse this transcript |
| Introducing the Reduce Noise filter| 00:00 | In this movie I'll introduce you to the
Reduce Noise Filter, which is your primary means
| | 00:04 | for defeating noise in Photoshop.
| | 00:06 | Now, where digital photographs are concerned,
noise breaks down into two categories and
| | 00:10 | I've gone ahead and separated them here, even
though they normally work together inside of a photo.
| | 00:16 | Up at the top we've got Luminance noise, which is random
variations in the luminance of neighboring pixels;
| | 00:21 | and down at the bottom we have Color noise,
which is random variations in the color values,
| | 00:26 | that is to say random variations in the luminance
that varies from one color channel to the other.
| | 00:33 | And if I go ahead and zoom in here,
you can see it even more closely.
| | 00:37 | So we've got Luminance noise at the top,
separated from Color noise down here at the bottom.
| | 00:41 | All right, I'll go ahead and zoom back out.
| | 00:44 | I also want you to notice that the high
contrast noise is collected here toward the center
| | 00:49 | of the image, whereas we have low contrast
noise around the perimeter of the image.
| | 00:54 | Now, the reason that I've separated the
Luminance noise and Color noise is because
| | 00:58 | Photoshop allows you to attack Luminance
noise and Color noise independently.
| | 01:02 | So to show you how that works, I am going
to turn off my two text layers and then
| | 01:06 | I am going to go ahead and merge the remaining
layers onto a new layer by pressing Ctrl+Shift+E
| | 01:11 | or Cmd+Shift+E on the Mac.
| | 01:13 | Now we've got this new layer 1 that contains
all of the photographic stuff and I'll go
| | 01:17 | ahead and rename it graduated noise like so.
| | 01:20 | And now, because I want to be able to edit
my reduced noise values, I'll convert this
| | 01:24 | layer to a Smart Object by going up to the Layers
panel flyout menu and choosing Convert to Smart Object.
| | 01:29 | Or if you loaded dekeKeys, you can press my
shortcut of Ctrl+, or Cmd+, on the Mac.
| | 01:34 | Next, I want you to go up to the Filter menu,
choose Noise, and choose the final command,
| | 01:40 | Reduce Noise, which I've given a shortcut of
Shift+F9; again, if you've loaded dekeKeys.
| | 01:45 | Notice that we have a total of four numerical
values over on the right side of the dialog box.
| | 01:50 | They include Strength, which
attacks Luminance noise only.
| | 01:54 | Preserve Details serves as a counterbalance
for Strength and it tries to bring back the
| | 01:59 | highest contrast edges, along with the
highest contrast noise as we'll see.
| | 02:04 | Then we've got Reduce Color Noise, which affects the
Color noise independently of the Luminance noise.
| | 02:09 | And finally, we have Sharpen Details, which goes ahead
and sharpens up the highest contrast, luminance edges.
| | 02:16 | All right, let me show you
what I mean by all that.
| | 02:19 | Let's focus first on the Luminance noise.
| | 02:21 | I am going to click on this little hard drive
icon right there and I am going to create
| | 02:25 | a new settings called Luminance noise.
| | 02:28 | And then I'll press the Enter
key, the Return key on the Mac.
| | 02:30 | Next, you need to go and switch over to
that setting so you don't ruin your defaults.
| | 02:35 | And I'll go ahead and take Reduce Color Noise down to
0 and then take Sharpen Details down to 0% as well.
| | 02:41 | Now, notice I can take Strength as low as 0,
and as soon as I do, Preserve Details becomes
| | 02:46 | dimmed, because it no
longer serves any purpose.
| | 02:49 | You have to have some Strength
at work to use Preserve Details.
| | 02:52 | But because my image is so noisy, I am
going to take this value all the way up to 10.
| | 02:57 | And you can see that it does almost nothing where
the high contrast noise in the image is concerned.
| | 03:04 | That's because Preserve Details
is set so very high by default.
| | 03:07 | Let's go ahead and take it
down to 0 for starters here.
| | 03:10 | Then I'll zoom in on the Preview here inside the
dialog box by clicking on the Plus (+)bu tton.
| | 03:14 | And notice, we've done a big number on the
low contrast noise, around the perimeter of
| | 03:19 | the image; we're looking at the upper left
corner currently, and we've also gotten rid
| | 03:22 | of a lot of the high contrast noise as well.
| | 03:25 | But in reducing that high contrast noise,
we've also reduced the sharpness of the details
| | 03:30 | inside the photograph.
| | 03:32 | So you need to take this value up to some
extent, and I'm actually nudging it up from
| | 03:36 | the keyboard by pressing the Up Arrow Key.
| | 03:39 | Notice where this image is concerned, even
at a very low Preserve Details setting of 5%,
| | 03:43 | we are bringing back the high contrast noise
as you can see here, along with the details.
| | 03:49 | And that's because of the way Photoshop interprets
details, that is to say rapid luminance transitions
| | 03:55 | between neighboring pixels.
| | 03:57 | So I am going to go ahead and take this value
up to 10%, and in doing so I bring back the
| | 04:02 | good stuff inside the image, but I also bring
back the high contrast noise, whereas if I
| | 04:07 | scroll to the upper left-hand corner, you can see
that the low contrast noise remains quelled.
| | 04:12 | All right, I'll go ahead and click the OK
button in order to accept those settings.
| | 04:16 | So I've got a Strength of 10;
Preserve Details of 10% as well.
| | 04:19 | All right, now just to reduce clutter inside
the Layers panel, I am going to right-click
| | 04:23 | inside that Filter Mask and
choose Delete Filter Mask.
| | 04:26 | If you loaded dekeKeys, you can also press
Ctrl+Alt+Q or Cmd+Option+Q on a Mac.
| | 04:31 | Now let me show you how the
Color noise option works.
| | 04:33 | I'll go ahead and press Ctrl+J or Cmd+J
on the Mac to make a copy of that layer and
| | 04:38 | I'll turn it off.
| | 04:39 | Then for the bottom version here, let's just
go ahead and rename graduated noise color
| | 04:44 | noise, so we can see there's a difference.
| | 04:46 | And I'll double-click on the words Reduce Noise
in order to bring up the Reduce Noise panel.
| | 04:49 | And I'll save some new settings by
clicking on that little hard drive icon.
| | 04:53 | Get rid of the word Copy, replace the
word Luminance with Color, click OK.
| | 04:58 | And very important, I need to switch my
Settings from Luminance noise to Color noise before
| | 05:02 | I change a single value.
| | 05:03 | Now I'll reduce the Strength value to 0.
| | 05:06 | That dims the Preserve Details value,
so I don't have to worry about it.
| | 05:09 | And I'll take the Reduce
Color Noise value up to 50%.
| | 05:12 | And I want you to see now the Luminance noise has not
been modified at all, Photoshop leaves it alone.
| | 05:19 | Whereas, if I scroll down to the Color noise,
you can see that it's pretty much altogether
| | 05:22 | defeated around the perimeter of the image,
but it's still hanging on toward the center
| | 05:27 | of the image where we have
the high contrast color noise.
| | 05:30 | So let's see what happens if I take it all
the way up to 100%, then nearly all of the
| | 05:35 | Color noise goes away.
| | 05:37 | I'll click on the Plus (+) button so we can
see here that we still have just a little
| | 05:40 | bit of Color noise; there is the original
Color noise when I click and hold, and when
| | 05:44 | I release, almost all of it goes away, except the
very high contrast noise inside of the model's face.
| | 05:50 | All right, now I'll click OK in
order to apply those settings.
| | 05:54 | Now then, finally, I want to show
you how the Sharpen option works.
| | 05:57 | I am going to turn the graduated noise layer
back on and you can see that all the Color
| | 06:00 | noise goes back, because we hadn't
reduced any of the Color noise on this layer.
| | 06:05 | And I'll switch to that layer and double-click
on Reduce Noise in order to bring up the dialog
| | 06:09 | box, as well as the settings I had applied
to that layer, with one exception, Settings
| | 06:14 | is changed back to Color noise; we need to
switch it to Luminance noise just so we don't
| | 06:18 | wipe out our Color noise settings.
| | 06:20 | Pretty much a big pain in the neck, it's kind of a
design flaw where this dialog box is concerned.
| | 06:25 | However, what I want you to notice is what
happens if I go ahead and zoom in, let's say,
| | 06:31 | to the upper left region of the image where
we've got the low noise, notice I'll increase
| | 06:35 | my Sharpen Details value to 50% and those
upper right pixels are pretty much unaffected,
| | 06:41 | and that's because Sharpen Details focuses
its attention on the high contrast edges.
| | 06:46 | So as soon as I start zooming in toward the
central portion of the image, you can see
| | 06:51 | that the image itself is getting
sharpened, but so is the high contrast noise.
| | 06:56 | Things get even worse if you
start increasing this value further.
| | 06:59 | And notice, if you take Sharpen Details up
to 100%, I'll go ahead and zoom out here,
| | 07:04 | this is just the worst possible sharpening
algorithm you could hope for, which is why
| | 07:10 | I am going to tell you just flat out, leave
this value set to 0%, there are much better
| | 07:15 | ways to sharpen high noise images, as I will be
showing you over the course of this chapter.
| | 07:21 | So those are the basics of
working with the Reduce Noise Filter.
| | 07:24 | I'll show you how to apply it to an
actual digital photograph in the next movie.
| | Collapse this transcript |
| Correcting a noisy photo| 00:00 | Over the course of this project, we're going
to take this macro photograph with this very
| | 00:04 | shallow depth of field so that some elements
are in focus like this forward eye, and this
| | 00:09 | forward leg as well.
| | 00:10 | But many of the other elements are out of
focus including this rear leg, portions of
| | 00:14 | the wings, and so forth.
| | 00:16 | And in part, as a result of that,
we've got an awful lot of noise.
| | 00:20 | I will go ahead and zoom in to the image,
and I'll scroll it over as well so that we
| | 00:23 | can see the copious amounts of noise; both
color noise and luminance noise that are affecting
| | 00:29 | the low focus details as well as
the shadows and the midtones.
| | 00:34 | We're going to defeat that noise, and ultimately
sharpen the photograph as well using a
| | 00:39 | tried and true sharpening
technique that actually works.
| | 00:42 | So you can see that we have all this wonderful
detail popping inside this photograph,
| | 00:46 | and yet much of the noise, not quite all of
it, but much of it is smoothed away.
| | 00:49 | And then finally, we'll add noise to
the image in order to create an effect.
| | 00:53 | In this particular case, I will go ahead and
zoom out here, you can see that we've rendered
| | 00:57 | the butterfly, so it looks almost as if it was
painted onto watercolor paper or canvas. All right.
| | 01:03 | So I'll switch back to the original image.
| | 01:05 | We're going to start things off using Reduce
Noise, and of course we want to be able to
| | 01:09 | modify it's settings, so I want to
convert this layer to a Smart Object.
| | 01:13 | I'll start by double-clicking on a background
item here in the Layers panel and I'll name
| | 01:16 | this layer butterfly, and then click OK.
| | 01:19 | And now, I'll go up to Layers panel flyout
menu and choose Convert to Smart Object, or
| | 01:23 | press Ctrl+Comma or Cmd+Comma on the Mac.
| | 01:26 | Then you want to go up to the Filter menu,
choose Noise, and then choose Reduce Noise,
| | 01:31 | or press Shift+F9.
| | 01:33 | We're seeing the last settings that I was
playing around with, which are the Color Noise
| | 01:37 | settings, that is, I've cranked up this Reduce
Color Noise value, but Strength is at 0, Sharpen
| | 01:41 | Details is at 0, and will be
left there as well. All right.
| | 01:45 | So we'll start with the Reduce Color Noise
value; 100% is probably a little bit too high.
| | 01:50 | So let's take it down to 0%, so that we can
see all of the color noise inside of this image,
| | 01:55 | and there is a considerable amount.
| | 01:58 | Notice all the color variations at work
in that upper portion of the rear leg.
| | 02:02 | We have a lot of color noise inside the
eye and inside of the wing details as well.
| | 02:07 | So, what I recommend you do when you're trying
to figure out what settings to apply, start
| | 02:10 | with everything zeroed out, and first,
focus your attention on Reduce Color Noise.
| | 02:15 | Go ahead and select a value and then press
Shift+Up-arrow a few times, and watch your
| | 02:19 | color noise go away.
| | 02:20 | You want to take this value as high as it
needs to be to get rid of the color noise,
| | 02:24 | but you don't want to take it any higher.
| | 02:25 | For example, at about 70%, I'm seeing
pretty much all of the color noise go away.
| | 02:30 | Right now, I'm clicking and holding;
we can see a ton of color noise.
| | 02:33 | As soon as I release to update the
preview, that color noise is diminished.
| | 02:38 | I'll go ahead and scroll back up here.
| | 02:39 | Notice the upper portion of those legs, how
much green, and blue, and purple noise we have.
| | 02:44 | And then if I release,
that noise is mitigated.
| | 02:47 | So, color noise is easy to get rid of.
| | 02:49 | But you don't want to take the value too high,
because if you do, the colors will start bleeding
| | 02:53 | out of the details.
| | 02:54 | So, as I say, 70% works well for this image.
| | 02:57 | Now, let's adjust the Strength Setting.
| | 02:58 | I'm going to press the Up Arrow key in
order to raise that value in increments of 1.
| | 03:03 | And this image is so very noisy that I am going to
want to take the Strength value all the way to 10.
| | 03:09 | And now if I click and hold inside the image, you can
see this is the original version with all the noise.
| | 03:14 | And as soon as I release, that color and
luminance noise is greatly diminished.
| | 03:18 | However, we're also losing a lot of
details inside of the face for example.
| | 03:24 | It looks almost as if the face details have
been melted which is why we need to take that
| | 03:28 | Preserve Details value up.
| | 03:29 | So, you want to start with it at 0 so we
can gauge what Strength value to apply.
| | 03:35 | Then you just want to take that value up
incrementally by pressing the Up Arrow key.
| | 03:39 | That's what generally
works out the best for me.
| | 03:41 | I rarely find any use for big values such as
50%, and larger, because that just brings
| | 03:46 | the biggest noise, the stuff that's
the most obvious inside the image back.
| | 03:50 | So where this image is concerned, I started
to see the details come back at about 5%,
| | 03:56 | whereas at about 10%, we're seeing
too much of the noise come back.
| | 04:00 | So we have some good details inside the image
including those tiny little hairs or whatever
| | 04:04 | they are at work in the foreleg.
| | 04:06 | However, we're also bringing back a ton of
noise inside the mid tones and the shadows.
| | 04:11 | So, I ultimately scale that
value back a little bit to 7%.
| | 04:15 | So, these were the values that I arrived at
for what it's worth; Strength: 10, Preserve
| | 04:19 | Details: 7, Reduce Color Noise: 70,
and of course Sharpen Details set to 0.
| | 04:24 | Remove JPEG Artifact is great if you have a
highly compressed JPEG image, which this is not.
| | 04:30 | I applied the highest
quality setting possible in fact.
| | 04:33 | So, we're not going to get much in
the way of positive results with this.
| | 04:36 | However, if you find a public domain image
on the Web for example that has had the heck
| | 04:41 | compressed out of it, then you might
want to try that checkbox. All right.
| | 04:45 | Now let's go ahead and save our settings so
we don't overwrite color noise by clicking
| | 04:48 | on the little Settings icon, and I'll just
go ahead and call this one High Noise Image,
| | 04:53 | and then click OK, and of course, go ahead
and select that setting from the end of the
| | 04:58 | list before you click on the OK button.
| | 05:01 | And just so you can see what we've managed
to accomplish here, I'll go ahead, and turn
| | 05:04 | the Smart Filters off by
clicking on the eyeball.
| | 05:07 | This is the amount of noise that was at work
inside of this image originally, and I'll
| | 05:11 | just go ahead and zoom in to 200% so
we can really see it in the video.
| | 05:15 | This is the original noise inside the image,
and if I press Ctrl+Z or Cmd+Z on a Mac
| | 05:20 | to reapply the filter, this is the
image with the noise relatively defeated.
| | 05:24 | And that's how you go about applying the Reduce
Noise Filter to about the highest noise image
| | 05:29 | you could possibly
encounter here inside Photoshop.
| | Collapse this transcript |
| Smoothing over high-contrast noise| 00:00 | In this movie, I'll show you what to do if a
single pass of Reduce Noise doesn't quite
| | 00:04 | get rid of all of the noise inside your image.
| | 00:07 | For example, this particular photograph contains
a sufficient amount of noise, that even after
| | 00:12 | about the biggest application of Reduce Noise
you could possibly apply, we're still seeing
| | 00:18 | a bunch of noise inside the midtones
as well as inside the shadow detail.
| | 00:22 | Well, there're a couple of things you can do.
| | 00:25 | One is you can take advantage of the Advanced
settings associated with a Reduce Noise filter;
| | 00:30 | and two, you can apply one of the old-school
noise reduction functions, such as Dust & Scratches.
| | 00:36 | So let's start things off by double-clicking
on Reduce Noise to bring up the Filters dialog
| | 00:40 | box and I'm going to zoom in on my
image as well, so I can see it at 200%.
| | 00:45 | Notice as I click and drag inside the image,
I am seeing the unmodified version of the
| | 00:49 | photograph as it appeared before I
applied Reduce Noise in the previous movie.
| | 00:52 | All right, now I am going to click on the
Advanced radio button to add an additional
| | 00:56 | panel called Per Channel.
| | 00:58 | Go ahead and click on it and drag inside that
black-and-white preview right there in order
| | 01:03 | to see the appearance of the active
channel, which by default is red.
| | 01:07 | So let's go ahead and start things off
by just cranking up these values here.
| | 01:11 | I'll crank the Strength value up to 10 and
I'll take Preserve Details down to 0%, and
| | 01:16 | I will do this on the
channel by channel basis.
| | 01:18 | So I will now switch to Green, go ahead and
crank it up to 10, take its Preserve Details
| | 01:23 | value down to 0%, and you can see now that
we're applying additional applications of
| | 01:28 | both of these values to each
one of these channels so far.
| | 01:32 | And we only have Strength and Preserve Details
available to us because each channel is a grayscale image.
| | 01:38 | There is no such thing as
Per Channel color noise.
| | 01:40 | All right, so now I am going to switch over
to Blue and I'll take its Strength value up
| | 01:44 | to 10 and I'll take
Preserve Details down to 0%.
| | 01:47 | And we're getting a very
goopy looking image indeed.
| | 01:51 | We have done a great job of getting rid of
the noise, but we're also doing a fantastic
| | 01:56 | job of getting rid of the sharp details.
| | 01:59 | So let's go ahead and take the
Preserve Details values up a little bit.
| | 02:02 | I'll take the value for the Blue channel up
to 5% because blue makes a smallest contribution
| | 02:06 | to detail inside of an RGB photo.
| | 02:10 | Then I'll switch to Red and I'll take its value
let's say up to 25%, and then I'll switchover
| | 02:15 | to Green which makes the biggest contribution in detail
and I'll take its Preserve Details value up to 40%.
| | 02:23 | Now the only way you're going to get a sense
of the contribution made by your Per Channel
| | 02:27 | adjustments is to go ahead and click OK,
because whether you turn off the Preview checkbox
| | 02:32 | or click and hold inside of the Image Preview
here, you're seeing the uncorrected version
| | 02:37 | with no Reduce Noise applied.
| | 02:40 | So I'll go ahead and click OK, not only to
update my image, but also to update my High
| | 02:44 | noise image settings.
| | 02:46 | And we'll see this version of the image.
| | 02:48 | Now you're going to have to watch very carefully to
see the difference between the before and after.
| | 02:53 | If I press Ctrl+Z or Cmd+Z, this is the
before version of the image; if I press Ctrl+Z
| | 02:58 | or Cmd+Z again, this is the after version,
so just a little less noise inside of some
| | 03:03 | of the details such as the eye and the
midtones, underneath this leg, and so forth.
| | 03:08 | If you want to make a bigger
difference which, for this image, we do.
| | 03:12 | And you want to try one of the old-school
noise reduction filters.
| | 03:15 | By going up to the Filter menu, choosing Noise,
and either choosing Median or Dust & Scratches,
| | 03:19 | and they both work very similarly.
| | 03:21 | I am going to choose Dust & Scratches because
it offers two options instead of just one.
| | 03:26 | If this were Median, we would have no
threshold and we would just have this Radius value.
| | 03:31 | And what it does whether we're working in
Dust & Scratches or Median is it averages
| | 03:35 | neighboring pixels inside
of a radius around an edge.
| | 03:39 | So if I take the value up to six pixels we're
scrubbing in six pixel circles around the
| | 03:43 | edges and averaging the results.
| | 03:46 | So we're gooping up the image
tremendously of course as you can see here.
| | 03:49 | Now what I am going to do is scroll
down to a lower region of the image.
| | 03:53 | This is a region of that green
rock underneath one of the legs.
| | 03:56 | This threshold value which is what you need
to Dust & Scratches, this is the only thing
| | 04:00 | that differentiates it
from the Median Command.
| | 04:02 | What it does is it preserves the low
contrast details inside the image.
| | 04:07 | So for example, if I set the threshold to 40
levels, what I am saying if two neighboring
| | 04:12 | pixels or 40 luminance levels are less
different from each other leave them alone which is
| | 04:18 | why we're bringing back the noise, but if
the two neighboring pixels are 40 or more
| | 04:23 | levels different from each other, then go ahead and
smooth them away according to the radius value.
| | 04:28 | So we're preserving the low contrast noise
and we're getting rid of the high contrast
| | 04:32 | noise along with the detail.
| | 04:34 | And as a result you can see that we have
some weird edges around the butterfly's eyes.
| | 04:39 | So I am going to take that threshold value
down to 20 levels in order to get rid of some
| | 04:44 | of those problems, not all of them, we'll take
care of the rest of them in the next movie.
| | 04:48 | But the great thing here is, for purposes
of this image, because it does have so much
| | 04:52 | high contrast noise, it allows us to
balance the noise inside the image.
| | 04:56 | So we're preserving some of the low contrast
noise, we're getting rid of a lot of the high
| | 05:00 | contrast noise, and that ends
up creating a kind of parity.
| | 05:04 | All right, now I'll go ahead and click OK in
order to accept the results of this filter
| | 05:08 | and I will zoom out as well to 100%.
| | 05:11 | Scroll back up to the good detail inside the
image so you can see that we've brought back
| | 05:15 | some of the edges, we've messed up other edges,
we've completely gotten the rid of the hair
| | 05:20 | on the insect's legs.
| | 05:22 | So if you turn Dust & Scratches off, you can
see after a brief progress message, this is
| | 05:27 | the image as it appeared before Dust & Scratches,
and then if I press Ctrl+Z or Cmd+Z on
| | 05:32 | the Mac, this is the image as it appears now.
| | 05:34 | So that's how you smooth away the worst of
the noise inside of a high noise photograph.
| | 05:39 | It does come at the expense of the detail
however, which is why you need to reinstate
| | 05:44 | the detail using an Edge Mask, and I'll
show you how that works in the next movie.
| | Collapse this transcript |
| Protecting details with an edge mask| 00:00 | In this movie, I'll show you
how to create an Edge Mask.
| | 00:03 | In our case, we'll be using it to protect
the so-called edges, that is, the good detail
| | 00:07 | inside this image.
| | 00:09 | For example, I'll go ahead and turn Dust &
Scratches off, it's very important to you do this
| | 00:13 | if you're working along with me, it may take a
moment for Photoshop to re-render the filters
| | 00:17 | and you'll see that those little hairs along
a forward leg comeback and we have better
| | 00:22 | detail inside the face and elsewhere as well.
| | 00:25 | So we need to be able to mask away the
effects of these filters, so we can retrieve
| | 00:29 | that good information.
| | 00:31 | So with Dust & Scratch is off you want to
switch over to the Channels panel and then
| | 00:35 | go ahead and grab your detail channel which
is the green channel and drag it and drop
| | 00:40 | it onto the little page icon at the bottom
of the panel and that goes ahead and creates
| | 00:44 | a copy of that channel, so we
can transform it into a mask.
| | 00:48 | I'll go ahead and rename
this channel edge mask.
| | 00:51 | And then step one is to go up to the Filter
menu choose Stylize and choose Find Edges
| | 00:57 | which will go ahead and turn all the edges black
inside the image and leave the non-edges white.
| | 01:02 | And you can see that Photoshop has gone
ahead and traced around not only the edges, but
| | 01:07 | thanks to the fact that we left reduced noise
turned on that effect is at least mitigated.
| | 01:11 | Now we want to make the edges thicker.
| | 01:14 | Anytime you want to increase the size of
black inside of a mask, you go up to the Filter
| | 01:19 | menu, choose Other, and choose Minimum, so
the idea is maximum will increase the size
| | 01:25 | of the maximum luminance level, which is
white and, minimum will increase the size of the
| | 01:30 | minimum luminance level which is black.
| | 01:32 | Now this is a moderate resolution image and I
want to preserve the slimmest edge as possible,
| | 01:37 | so I'm going to take that
Radius value up to 2 pixels.
| | 01:40 | Now notice when you do that you end up
creating a lot of squares inside of your mask, I'll
| | 01:45 | go ahead and zoom on in, and that's because you're
effectively blowing up pixels inside the image.
| | 01:51 | To round off those squares go up to the Filter
menu, choose Noise, and choose Median, which
| | 01:57 | is Dust & Scratches
without the threshold setting.
| | 01:59 | So I'll go ahead and choose Median, and
you want to match your minimum value.
| | 02:03 | So I've applied a Radius of two pixels with
minimum, now I will follow up with Radius
| | 02:08 | of two pixels for median, and that goes ahead
and turns all those squares into circles and
| | 02:14 | diamonds, so we get some rounded contouring.
| | 02:16 | I'll go ahead and click
OK to accept that change.
| | 02:19 | Now you want to soften the edges and you do so
by going to the Filter menu, choosing Blur,
| | 02:24 | and choosing Gaussian Blur and then you want
the set the Radius value to half of what you've
| | 02:29 | been using so far.
| | 02:31 | So because we applied a Radius of two with
minimum and median, we need a radius of half
| | 02:36 | that which is one pixel for Gaussian Blur,
then click OK in order to accept that change.
| | 02:42 | All right, that finishes off the edge mask,
believe it or not, and now what you want to
| | 02:46 | do is turn it into a filter mask.
| | 02:48 | So press the Ctrl key or the Command key on
the Mac and click on edge mask in order to
| | 02:53 | load it as a selection outline, then switch back to
the RGB composite image, switch back to layers.
| | 02:59 | I am going to press Ctrl+H or Cmd+H on
a Mac to hide my marching ants, and then
| | 03:04 | I am going to turn Dust & Scratches back on.
| | 03:06 | Again, you're going to see a progress bar
while Photoshop renders out that filter.
| | 03:11 | Next, you want to delete the existing filter
mask by right-clicking on it and choosing
| | 03:15 | Delete Filter Mask, or if you loaded dekeKeys,
you can press Ctrl+Alt+Q or Cmd+Opt+Q
| | 03:20 | on a Mac, and now we need to load the selection,
we're not seeing it, but it's still there,
| | 03:26 | as a filter mask by again right-clicking on Smart
Filters and this time you choose Add Filter Mask.
| | 03:32 | And I want you to keep an eye on the butterfly
here in the upper left corner of the Image window.
| | 03:36 | As soon as I choose Add Filter Mask, those
edges come back throughout the image and we're
| | 03:41 | also seeing the hairs once again.
| | 03:44 | So if I was to Shift+Click on that Filter
mask to turn it off, then you would see the
| | 03:47 | hairs on that forward leg go away, and then
if I Shift+Click again to turn the filter
| | 03:52 | mask back on, all those
wonderful fine details come back.
| | 03:57 | So thanks to the edge mask, we preserved the
detail, we continue to get rid of the noise
| | 04:02 | however inside of the image, and you can see that by
turning off the eyeball in front of Smart Filters.
| | 04:07 | There is our original noise vividly portrayed,
and if I press Ctrl+Z or Cmd+Z on the Mac
| | 04:12 | again in order to reapply the Smart Filters, you
can see that the noise is dramatically reduced.
| | 04:18 | And now that we have an edge mask, I am free to
play around with my filter settings if I like.
| | 04:22 | So in my case, I am going to double-click on
Dust & Scratches in order to bring up the
| | 04:26 | Dust & Scratches dialog box.
| | 04:28 | It may take a moment for Photoshop to process
things, and I am going to tab to the threshold
| | 04:33 | value, and I'm going to take it down to the
six levels this time instead of 20 and then
| | 04:38 | I'll click OK in order to apply that change.
| | 04:40 | And that makes an even bigger difference while
having very little effect on those edge details,
| | 04:47 | and that's how you go about creating and
employing an edge mask here in Photoshop.
| | Collapse this transcript |
| Adjusting overly saturated shadows| 00:00 | Another problem with this image is that we
have some aberrantly colored shadows, so you
| | 00:04 | can see that we've got these warm shadows
here inside of this kind of green rock or
| | 00:09 | whatever it is, and then we've got these purplish
shadows inside of the butterfly's face and eyes.
| | 00:16 | And we're going to reduce those using a density mask
combined along with a Vibrance adjustment layer.
| | 00:21 | So to start things off switch to the Channels
panel and then we want to go ahead and load
| | 00:26 | the Green channel as the selection, and the
reason we're using the Green channel is because
| | 00:30 | it has the most detail.
| | 00:32 | So go ahead and press the Ctrl key or the
Command key on the Mac and click on that channel
| | 00:37 | in order to load it up.
| | 00:38 | That goes ahead and selects the lightest
colors inside the image which would be great
| | 00:42 | if we had any problem with the highlights.
| | 00:44 | Our problems however are with the shadows, so
we need to reverse this selection by going
| | 00:49 | up to the Select menu and choosing the Inverse command or
you can press Ctrl+Shift+I or Cmd+Shift+I on the Mac.
| | 00:56 | Now I'll go ahead and switch back to the
Layers panel, and you want to press the Alt key
| | 01:00 | or the Option key on the Mac, dropdown to the
Black/White icon at the bottom of the panel
| | 01:05 | and choose the Vibrance command.
| | 01:07 | Because you have the Alt or Option key down
that will bring up the New layer dialog box.
| | 01:10 | And by the way, if you're using dekeKeys you
can take advantage of that keyboard shortcut
| | 01:14 | Ctrl+Shift+V or Cmd+Shift+V on the Mac.
| | 01:18 | And I'll go ahead and call this layer
Shadows and then click OK, and you'll notice that
| | 01:23 | Photoshop goes ahead and automatically
converts that selection to a layer Mask.
| | 01:27 | So if I Alt+Click or Opt+Click on the layer
Mask thumbnail here inside the Layers panel
| | 01:32 | then I'll see an exactly
inverted version of the Green channel.
| | 01:36 | So we're going to apply the Vibrance
adjustments to the bright versions of the mask while the
| | 01:40 | dark versions of the mask will
remain protected. All right.
| | 01:44 | So I'll Alt+Click or Opt+Click on that
layer Mask thumbnail again, then so I can
| | 01:47 | access my Vibrance options here in the Properties
panel, I'll click on the Adjustment icon
| | 01:52 | which is that thing that looks like an
upside down triangle or if you prefer a V.
| | 01:56 | Then I'll select the Vibrance value and I'm
going to change it to -70 in order to achieve
| | 02:01 | this effect here.
| | 02:03 | The problem is so far we're reducing the
saturation of the midtones and highlights more than
| | 02:07 | we want to, and we're not reducing the saturation
of the shadows enough, and that's because
| | 02:13 | we need to increase the contrast of the mask.
| | 02:15 | So press the Alt key or the Option key on the
Mac and click on that layer Mask thumbnail
| | 02:19 | so that we can see it there in the Image window,
and then bring up the Levels dialog box by
| | 02:23 | pressing Ctrl+L or Cmd+L on the Mac.
| | 02:26 | And I want to really protect those highlights
and midtones that are represented by the darker
| | 02:30 | colors in the mask.
| | 02:31 | So I'm going to take my Black Point value up
to 150, so we're clipping away ton of that
| | 02:36 | dark information.
| | 02:38 | And then Tab your way over to the White Point
value and reduce it to 200, so there we were
| | 02:43 | brightening the shadows significantly and
then go ahead and click OK in order to accept
| | 02:48 | that modification.
| | 02:50 | And now you can press the Alt key or the
Option key on the Mac and click on that layer Mask
| | 02:54 | thumbnail again in order to switch
back to the RGB Composite image.
| | 02:58 | And just to get a sense of what we've been able to
accomplish now you can turn off the Vibrance layer.
| | 03:03 | So this is the before version of the butterfly
with those purple shadows inside the face
| | 03:08 | and those warm shadows down
below inside this Green background.
| | 03:13 | And this is the after version with those neutralized
shadows as you can see, it's done a big number
| | 03:18 | underneath the butterfly here and those
more neutral shadows inside the bug's face.
| | 03:22 | And that's how you correct the very common
problem of aberrantly colored shadows, using
| | 03:28 | a combination of a Vibrance adjustment layer
along with a Density mask here inside Photoshop.
| | Collapse this transcript |
| Correcting with High Pass and Lens Blur| 00:00 | In this movie we're going to further correct our
image using a combination of High Pass and Lens Blur.
| | 00:05 | The function of High Pass will be to sharpen
the details inside the image, and then the
| | 00:10 | function of Lens Blur will be to
compensate for the elevated noise levels.
| | 00:14 | Now you could just go ahead and combine
everything into a Smart Object in order to apply
| | 00:18 | High Pass as a Smart Filter, but the Lens Blur
filter which is the second part of this cannot
| | 00:24 | be applied as a Smart Filter.
| | 00:26 | So we're better off using static adjustments.
| | 00:29 | So here's how we'll proceed.
| | 00:30 | First, make sure the top layer which is the Vibrance
layer is active, and then press Ctrl+Shift+Alt+E
| | 00:36 | or Cmd+Shift+Option+E to merge all the
visible layers onto a new layer, and we'll
| | 00:41 | go ahead and call this New layer High Pass.
| | 00:43 | Then go up to the Filter menu, choose Other,
and choose the High Pass command or if you
| | 00:48 | loaded dekeKeys you can press Shift+F10.
| | 00:51 | This is a pretty high resolution image, so
I'm going to crank the Radius value up to
| | 00:55 | 4 pixels and then I'm going to click OK.
| | 00:58 | This is also going to permit us to see just how much
noise still resides inside of this composition,
| | 01:04 | Now we don't want these colorful edges so
go up to the Image menu, choose Adjustments
| | 01:09 | and then choose Desaturate, or if you've
loaded dekeKeys you've got a keyboard shortcut
| | 01:13 | of mash your fist U.
| | 01:14 | Ctrl+Shift+Alt+U or Cmd+Shift+Opt+U
on the Mac, and that results in a grayscale
| | 01:19 | version of this effect.
| | 01:21 | Now I need to drop out the grays and keep
the halos around the edges by clicking on
| | 01:25 | the Blend mode pop-up menu in the upper-left-
hand corner of the Layers panel and changing it
| | 01:30 | from Normal to Linear Light, which is
the most intense of the contrast modes.
| | 01:35 | And we end up getting this effect here and you
can see that it does a real number on the image.
| | 01:40 | The detail is much sharper, but so is the
noise, so this is a composition as it appeared
| | 01:45 | a few moments ago.
| | 01:46 | With the noise reduced dramatically, however,
not entirely gone, and this is the version
| | 01:51 | of the image as it stands now.
| | 01:53 | With the noise once again
elevated by the High Pass filter.
| | 01:57 | So what we need to do is create another
layer of anti-noise underneath High Pass in the
| | 02:03 | form of Lens Blur.
| | 02:05 | So I'm going to turn High Pass off for a
moment, click on the Shadows layer once again.
| | 02:09 | Let's create another merge version of the image by pressing
Ctrl+Shift+Alt+E or Cmd+Shift+Option+E on the Mac.
| | 02:15 | This time I'll go ahead and rename the New
layer Lens Blur, and I'll go up to the Filter
| | 02:19 | menu, choose the Blur
command and choose Lens Blur.
| | 02:24 | And Lens Blur brings up this
ginormous dialog box as you can see here.
| | 02:28 | Its purpose is to simulate the kind of blur
you get when the lens element is out of focus.
| | 02:34 | By default the radius value is set to 15.
| | 02:36 | All I want you to do is crank
the Radius value up to 30.
| | 02:39 | You've got tons of other controls to work
with, none of which are going to do us a lick
| | 02:43 | of good where this specific effect is concerned.
| | 02:46 | So take Radius up to 30, don't worry about
the others, and click OK in order to apply
| | 02:51 | that filter, and you'll get this
dramatically blurred version of the image.
| | 02:56 | Now of course that ends up not only blurring
away the noise, which is a good thing but
| | 03:00 | it blurs away the detail as well.
| | 03:02 | Now you can reinstate some of that detail
by turning the High Pass layer back on.
| | 03:07 | And quite frankly, it's not a half bad effect.
| | 03:10 | In fact, if I turn both Lens Blur and High Pass off,
you see that we have this crazy level here.
| | 03:16 | I'll go ahead and zoom in.
| | 03:18 | This crazy level of edge artifacting, so we've
got color fringing all over the place around
| | 03:23 | the bug's face, and when we turn those two
layers back on, that artifacting goes away.
| | 03:28 | Now we have some strange halos and some other
stuff going on, also we've lost lot of the
| | 03:33 | good color inside the image.
| | 03:35 | So what we need to do is mask the effects of
both the Lens Blur and the High Pass layers,
| | 03:40 | and I'll show you how to do that
quickly and easily in the next movie.
| | Collapse this transcript |
| Brushing away blur and sharpening| 00:00 | In this movie I'll show you how to convert
this sort of ghostly effect that we've achieved
| | 00:04 | so far into this final corrected version of
the photograph by masking the contents of
| | 00:10 | both lens blur and high pass layers.
| | 00:13 | So I'll go ahead and switch to my image in
progress here and turn-off the High Pass effect
| | 00:17 | so that we can focus our
attention just on Lens Blur.
| | 00:21 | Now I am going to want to mask most of this
effect away, so I will dropdown to the Add
| | 00:25 | Layer mask icon at the bottom of the panel,
and I will press the Alt key or the Option
| | 00:30 | key on the Mac and click on it, and
that will create a black layer mask.
| | 00:34 | Now I will go ahead and switch to the Brush tool,
which you can get by pressing the B key.
| | 00:39 | Right-click inside the Image window and make
sure the Hardness is set to 0% because
| | 00:43 | we want some very soft transitions.
| | 00:45 | Then press the D key to instate the default
colors, which when masking is white for
| | 00:50 | the foreground and black for the background,
and then I am going to reduce the size of
| | 00:54 | my cursor a little bit and paint inside of
this high noise area right there in order
| | 01:00 | to paint it back in, so that we are
getting rid of the noise inside of this area.
| | 01:04 | Then I will increase the size of my cursor
a little bit and paint away this stuff as well,
| | 01:08 | so you can completely for now paint
over that rear leg, because after all it's
| | 01:13 | already out of focus.
| | 01:15 | And then I will go ahead and increase the
size of my cursor a little more and paint
| | 01:18 | around this region.
| | 01:19 | All right, let's go ahead and zoom out so that
we can apply some big modifications quickly.
| | 01:25 | Press the Right Bracket key several times
in order to increase the size of my cursor
| | 01:29 | and paint along this region right here, and
you want to take care that you don't paint
| | 01:33 | over the feelers too much
or too far into the wings.
| | 01:36 | Although I'm going to violate that rule and
paint way into the wing like so, and then
| | 01:41 | I will press the X key to switch my foreground
color to black and reduce the size of my cursor
| | 01:46 | a little bit and paint some of those
wing details back into place like so.
| | 01:50 | You also want to make sure to paint the face
back in probably the top of the head and
| | 01:55 | I am reducing the size of my cursor by
the way by pressing the Left Bracket key and you
| | 01:59 | want to paint back in the tops of the feelers as well,
so I will do that for both of those guys there.
| | 02:06 | And that takes care of most of
it just to check your work.
| | 02:08 | Go ahead and press the Alt key or the Option
key on the Mac and click the layer mask icon
| | 02:13 | there in the Layers panel.
| | 02:14 | And we've got some problems here and there,
so I will increase the size of my cursor,
| | 02:18 | press the X key to switch the foreground color
back to white and then I will paint some of
| | 02:22 | these regions in, like so, so that I am not
leaving any gaps in the background there,
| | 02:27 | and I've also got a little bit of a gap down
here in the lower left corner, so I will increase
| | 02:31 | the size of my cursor and paint that away,
and I might paint right along here too.
| | 02:36 | All right, then Alt+Click or Opt+Click
on layer mask icon in order to bring back
| | 02:41 | the full color composite image and go ahead
and zoom in on the critter and I want to take
| | 02:46 | in that rear leg, it
probably shouldn't be that blurry.
| | 02:49 | So I will reduce the size of my cursor to
about this thick, which if I right-click inside
| | 02:53 | the Image window appears to be 35 pixels and
I'm going to press the 5 key to reduce the
| | 02:59 | Opacity of my brush to 50% and then I will
press the X key to make the foreground color
| | 03:04 | black and I will click right about there and
then I will Shift+Click, Shift+Click like
| | 03:08 | so and then Shift+Click down into this region
in order to reinstate some of the original
| | 03:14 | information from that leg, and I am painting
a little more freehand now and then I will
| | 03:18 | Shift+Click again and Shift+Click my way back.
| | 03:21 | And then I will press the 0 key in order to
reinstate an Opacity of a 100% and I will
| | 03:26 | paint back in some of the face just because
I want to make sure I am not getting rid of
| | 03:29 | any of that good detail.
| | 03:31 | I'd rather have too much noise and too
little detail inside of this photograph.
| | 03:35 | All right, that ends up
looking pretty darn good.
| | 03:38 | Now we can bring back the high pass layer
and as soon as we do, this unfortunate thing
| | 03:43 | is going to happen, we are going to bring
back a ton of the noise, and the reason is,
| | 03:47 | because that high pass layer was based on
the noisy version of the image as opposed
| | 03:52 | to the version of the image
after we applied Lens Blur.
| | 03:55 | And this is particularly significant
down here in this lower left region.
| | 03:59 | You can see it's just riddled with
noise right here below the wing.
| | 04:03 | We are almost getting this kind of sculpted
glass effect that is to say, it looks like
| | 04:07 | we are seeing the image through a
shower door or something along those lines.
| | 04:11 | So here's the solution.
| | 04:12 | We don't have to regenerate
the layer thankfully.
| | 04:15 | All you need to do is load this layer mask
as a selection by pressing the Ctrl key or
| | 04:18 | the Command key on the Mac and clicking on
the layer mask thumbnail there inside the
| | 04:22 | Layers panel, then switch
to the high pass layer.
| | 04:25 | As you know from our discussion of sharpening
back in Chapter 13 of the intermediate course,
| | 04:30 | the darken light edges associated with a high
pass effect end up creating the halos that
| | 04:35 | afford us to see appearance of sharper details and
anything that's gray just disappears on the layer.
| | 04:40 | So let's go ahead and fill
the selection with gray.
| | 04:43 | So I will press the D key to make my foreground
color black just so that we are working together.
| | 04:47 | You can see that I've got the HSB values that
work inside the Color panel and you get those
| | 04:52 | sliders by going to the Color panel flyout
menu and choosing HSB sliders and all you
| | 04:57 | need to do is change the Brightness value to
50% like so, and then press Alt+Backspace
| | 05:03 | or Opt+Delete on the Mac in order to fill
that area with gray, and as a result we end
| | 05:08 | up getting rid of that noise.
| | 05:10 | Now press Ctrl+D or Cmd+D on
the Mac to deselect the image.
| | 05:14 | Also notice by the way here that we've got
some very pronounced halos around those feelers,
| | 05:19 | and quite frankly that's too much sharpening.
| | 05:21 | So I am going to increase the size my brush
cursor a little bit here and I ended up with
| | 05:25 | a size value of 125 pixels.
| | 05:28 | Make sure your Opacity value is set to a 100%
and then just go ahead and paint up the feelers
| | 05:32 | like so in order to get rid of those halos.
| | 05:36 | Finally I want you to press the M key to
switch to the Rectangular Marquee tool and we want
| | 05:40 | to downplay a little bit, the effects of
that lens blur layer, so go ahead and click on
| | 05:45 | it to make it active and then press the 5
key to reduce the Opacity of that layer to
| | 05:49 | 50% and the effect frankly is pretty subtle.
| | 05:52 | But that will help to eliminate the
haloing around some of the blurry details.
| | 05:56 | All right, and just to give you a sense of
what we have been able to achieve here,
| | 05:59 | I am going to press Shift+F in order to switch
to the Full Screen mode and I am going to
| | 06:03 | go ahead press Ctrl+0 or Cmd+0 on
the Mac to center my image on screen.
| | 06:08 | And now I've got this other version of the
image open here, we'll go ahead and switch
| | 06:11 | to it, and the name of this image is Sharpened
noise and the idea is this is what the image
| | 06:16 | would have looked like, if we sharpened it
with high pass and we never did anything about
| | 06:21 | the noise, in other words we have color and
luminance noise, popping out from this image
| | 06:25 | all over the place.
| | 06:27 | But thanks to the fact that we've mitigated
the noise using a combination of reduce noise,
| | 06:31 | dust and scratches and edge mask and lens
blur before we apply the high pass layer
| | 06:37 | we end up getting this much
more desirable effect.
| | Collapse this transcript |
| Creating texture by adding noise| 00:00 | In this movie I'll show you a positive use
for noise in which we create a kind of texture
| | 00:05 | in order to achieve the effect of the image
having been painted onto a coarse paper background.
| | 00:11 | So we'll start where we left off in the last
movie and we're going to click on the high
| | 00:14 | pass layer to make it active and then I'm going
to create a New layer by pressing Ctrl+Shift+N
| | 00:18 | or Cmd+Shift+N on a Mac and we'll go ahead
and call this layer texture and then click OK.
| | 00:24 | Next I want you to convert this layer to a
Smart Object by going up to the Filter menu
| | 00:28 | and choosing Convert To Smart Object or if
you loaded dekeKeys press Ctrl+, or Cmd+,
| | 00:33 | on the Mac. Now we're going to heap on a bunch
of filtering effects, but first you want to
| | 00:37 | press the D key to establish the default
colors of black and white for the foreground
| | 00:42 | and background respectively.
| | 00:45 | Then go up to the Filter menu choose Render
and choose Clouds, and Clouds applies what's
| | 00:49 | known as Fractal Noise, meaning that it's
a random noise pattern and you can change
| | 00:54 | it any time you like just by double-clicking
on the word Clouds there in the Layers panel.
| | 00:59 | And notice every time, you double-click you
get a different effect. We don't need that
| | 01:03 | Filter Mask, it's just junking up the panel, so
right-click on it and choose Delete Filter Mask.
| | 01:08 | Now let's add some Noise to our clouds by
going up to the Filter menu, choosing Noise
| | 01:12 | and choosing Add Noise, which I've given a
keyboard shortcut of Shift+F7. Now if we'd
| | 01:18 | added some painterly effects to a photograph
and then we wanted to turn around and match
| | 01:23 | the Noise Level in the photo, so everything
looked organic, you would keep the Amount
| | 01:27 | value low, something in the range of 2 to 4%.
| | 01:30 | However, we want a big effect here, so I'm
going to increase the Amount value to 20%,
| | 01:36 | set Distribution to Gaussian so that we have
a higher contrast noise effect and then turn
| | 01:41 | on the Monochromatic checkbox to get rid of
any color noise. Then click OK in order to
| | 01:46 | apply that effect.
| | 01:48 | Next we want to increase the size of our noise
a little bit, because right now we just have
| | 01:51 | all this single pixel noise as you can
see now that I've zoomed into the image.
| | 01:56 | To achieve larger noise you go up to the Filter menu,
you choose Blur, and you choose Gaussian Blur,
| | 02:01 | which I have given a shortcut of Shift+F6,
and then I'll set the Blur value to 2 pixels,
| | 02:06 | like so, and click OK. And then finally we
want to turn this effect into a texture and
| | 02:12 | you do that by going to the Filter menu once
again, this time you choose Stylize and now
| | 02:17 | you choose Emboss. And these are the values I
want you to apply; an angle of 135 degrees,
| | 02:22 | a height of 2 pixels, and an amount of 500%,
now click OK in order to create that texture.
| | 02:29 | And then finally you blend it with the composition
by changing the Blend mode in the upper left-hand
| | 02:34 | corner of the Layers panel from Normal to
Soft Light, and we'll end up achieving this
| | 02:39 | effect here. I am going to press Ctrl+0
or Cmd+0 on the Mac to zoom back out.
| | 02:43 | Now that creates the effect of the Paper Texture
but we still have yet to create this painterly
| | 02:49 | effect right here and we achieve this using
yet another merge version of the composition
| | 02:53 | combined with a couple of
filters and a Blend mode.
| | 02:56 | So I'm going to switch back over to a composition
in progress, I am going to turn off the texture
| | 03:01 | layer. Click on the high pass layer to make
it active and then press Ctrl+Shift+Alt+E
| | 03:05 | or Cmd+Shift+Opt+E submerge all the visible
layers onto a new layer. I'll call this layer
| | 03:11 | bleed because the colors
are bleeding into the paper.
| | 03:15 | Because we want to work with editable filters,
go up to the Layers panel flyout menu and
| | 03:19 | again choose Convert to Smart Object. And
then go up to the Filter menu, choose Noise
| | 03:24 | and choose Median, and I'm going to increase
my Radius value to 8 pixels to really gum
| | 03:30 | up that detail as you see here.
| | 03:33 | So if were to click in the butterfly's face,
this is what it look like in the first place,
| | 03:36 | this is what it looks like now, all gooed together by
this high amount of averaging. Now I'll click OK.
| | 03:43 | And that gives us some pretty sharp edges. We
want to diffuse them by going to the Filter
| | 03:47 | menu, choosing Blur, and this time choosing
Gaussian Blur and I am going to match that
| | 03:51 | Radius value by setting it to
8 pixels and then click OK.
| | 03:55 | All right, we don't need the Filter Mask like
usual, so this I'll take advantage of that
| | 03:59 | dekeKeys keyboard shortcut of Ctrl+Alt+Q or
Cmd+Opt+Q on the Mac, and I'll change
| | 04:05 | the Blend mode this time from Normal to Darken.
So we're just keeping the information on this
| | 04:10 | layer that's darker than the stuff below it.
| | 04:14 | And now I'll turn a Texture back on and then
finally I'm going to brighten up this composition
| | 04:18 | by clicking on the texture layer and then
I'll drop down to the black/white icon at
| | 04:22 | the bottom of the panel. Press the Alt key
or the Option key on the Mac and click on it,
| | 04:26 | choose Brightness/Contrast and I'll call
this layer something like elevate and then
| | 04:31 | I'll then click OK.
| | 04:32 | I'll press Shift+Enter or Shift+Return on
the Mac to highlight the Brightness value
| | 04:37 | and I'll take it up to 20 and then I'll tab
to the Contrast value and take it up to 30
| | 04:42 | in order to create the final effect.
| | 04:43 | And by the way if you're not happy with the
texture all you have to do is double-click
| | 04:48 | in the Clouds Filter associated with the texture
layer. Photoshop may bring up an alert message
| | 04:53 | telling you that you're only going to see
the effects of this one filter. It's actually
| | 04:57 | not true and I'm kind of sick of seeing this
alert, so I'll turn on Don't show again and
| | 05:01 | click OK, and you'll see the texture
regenerate and just so we have a little more seamless
| | 05:05 | transition time, I'll double-click in Clouds again
and notice the scene changes in the background.
| | 05:10 | All right, I'll press the F key a couple of
times in order to switch to the Full Screen mode,
| | 05:14 | and I'll go ahead and zoom in on my
artwork, and this is the final version of
| | 05:18 | the artwork, including two different kinds
of noise, Clouds and the Add Noise Filter
| | 05:24 | used to achieve a
vibrant and compelling effect.
| | Collapse this transcript |
| The Camera Raw Detail panel| 00:00 | In this movie I'll introduce you to the
Noise Reduction and Sharpening options that are
| | 00:04 | available to you in Camera Raw. So I went
ahead and selected this guy, Noisy hair guy.tif
| | 00:09 | in Bridge and then pressed Ctrl+R or Cmd+R
in the Mac in order to open Camera Raw.
| | 00:14 | And we have got two panels of Noise options
available to us. There's the Detail panel,
| | 00:19 | which contains the corrective options; and
then there's the fx options, which allow
| | 00:23 | you to apply special effects.
| | 00:25 | I am going to switch over to the Detail panel.
And notice by the way, if I were to zoom out
| | 00:30 | a click, I'd see this message down at the
bottom of the screen, which tells me, for
| | 00:34 | a more accurate preview, zoom the preview
size to 100% or larger when adjusting the
| | 00:38 | controls in this panel.
| | 00:40 | This image is sufficiently low-res that I can
see it at 100% by pressing Ctrl++ or Cmd++
| | 00:45 | on the Mac, even on my small screen.
| | 00:47 | Now, in Camera Raw 7, you don't, strictly
speaking, have to be seeing the image at 100% to see
| | 00:53 | the effects of Noise Reduction and Sharpening,
it's just that at 100% you get the best sense
| | 00:58 | of what's going on.
| | 00:59 | We are going to start off with these Noise
Reduction options, which are as in Photoshop
| | 01:03 | divided into two groups; you have got these
three luminance noise options and then two
| | 01:08 | color noise options.
| | 01:09 | I am going to start by cranking the
Luminance option up to its maximum setting of 100%,
| | 01:14 | and then I'll reduce Luminance Detail to 0,
and you can see that wipes out just about
| | 01:19 | all the luminance noise
at the top of this image.
| | 01:22 | I'll press Ctrl++ or Cmd++ to zoom into
200%. We just have a little bit of that high
| | 01:27 | contrast noise hanging on in the guy's forehead.
If you want to bring back some of your high
| | 01:31 | contrast edges, as well as your higher contrast
noise, then you crank up this Luminance Detail
| | 01:38 | value. And at about 50%, you can see that
we're bringing an awful lot of that noise
| | 01:43 | back into play, even though, as you can see
here, if I zoom out, the lower contrast noise
| | 01:48 | around the perimeter of
the image remains defeated.
| | 01:51 | Now, we also have this Luminance Contrast
option, and you can barely tell the difference,
| | 01:57 | even if I crank it all the way up to 100%,
you can barely see any difference when working
| | 02:01 | with the Luminance Detail option.
| | 02:03 | To really get a sense of what's going on,
I'll take Luminance Detail down to 0 and now
| | 02:08 | I'll show you this is how the image looks
when Luminance Contrast is set to 0, keep
| | 02:12 | an eye on those big groups of noise that are
coming back in here. This is what things look
| | 02:17 | like if I crank the value up to 100%.
| | 02:20 | So as opposed to measuring the contrast
between neighboring pixels the way Luminance Detail
| | 02:25 | does, Luminance Contrast looks for higher
radius blocks of detail, which can sometimes
| | 02:30 | be useful for bringing back thick
edges, while still defeating noise.
| | 02:34 | All right! I am going to go ahead and set this
value down to about 50% and raise Luminance
| | 02:38 | Detail to about 25%, and you can see that gets rid
of most of the luminance noise inside this image.
| | 02:45 | Now let's take a look at the Color Settings.
I'll crank the Color value all the way up
| | 02:49 | to 100% and then take Color Detail down to 0,
and you can see that gets rid of a lot
| | 02:54 | of that color noise down here at the bottom
of the image, but not quite as neatly as the
| | 02:58 | Reduce Noise feature inside of Photoshop.
| | 03:01 | So rather than completely eliminating the
noise the way we have seen in earlier movies,
| | 03:06 | it tends to thicken up the noise, as you can
see here. Now, Color Detail allows you to
| | 03:11 | bring back higher contrast color noise, as well as
higher contrast color details inside the image.
| | 03:17 | However, we have got a little bit of a bug
in this build. Notice how much color noise
| | 03:22 | we are now seeing when I have Color Detail
cranked up to 100%, but that's because my
| | 03:27 | mouse button is down.
| | 03:28 | As soon as I release, the Preview resets to
the same thing we saw when Color Detail was
| | 03:33 | cranked down to 0%, and yet, if I were to
open this image in Photoshop by clicking on
| | 03:39 | the Open Image button, we would see
more color noise than we see now.
| | 03:44 | So you only get an accurate preview, again,
in this particular build of Camera Raw 7.
| | 03:49 | We can only preview the effects of the Color
Detail setting when you're mousing down on
| | 03:54 | that triangle. All right. So just be aware of
that when you're working inside the program.
| | 03:58 | I'll go ahead and take Color Detail down to
50% and scroll the Preview, so we are more
| | 04:02 | or less centered on this guy's face.
| | 04:04 | All right. Now let's take a look at the
Sharpening options. Now, these Sharpening settings are
| | 04:09 | not designed to sharpen the image the way we
saw with say Smart Sharpen inside of Photoshop
| | 04:14 | back in Chapter 13 of the Intermediate course.
Rather, these options are designed for two
| | 04:20 | purposes; one is to firm up the detail that
gets soften during the demosaicing process,
| | 04:26 | when the full color image is generated from the
monochrome data that's captured by the camera.
| | 04:30 | And the other reason you might use these Sharpening
settings is to account for the softening effects
| | 04:34 | of the Noise Reduction values. So you just want
the image to look moderately sharp on screen.
| | 04:40 | That said, I am going to go ahead and crank
the Amount value up to its maximum of 150,
| | 04:44 | so that we can see what's
going on with the other options.
| | 04:47 | We have got a Radius value, which you can
set as low as 0.5 and as high as 3. Most of
| | 04:54 | the time however you are going to want to
leave it set to 1, as I will do here.
| | 04:58 | This Detail setting is an adjustable version of
that more accurate checkbox, that's included
| | 05:02 | along with the Smart Sharpen Filter, and it
might be more accurately called Sharpen Noise,
| | 05:08 | because that's what it ends up doing in most
images. And certainly, that's what's going
| | 05:12 | to happen in this particular image.
| | 05:14 | Notice if I crank this value up, we are
sharpening the contrast between neighboring pixels and
| | 05:18 | we are making a mess in particular of this
image. Unless you are working with a very
| | 05:22 | low noise image, I recommend that you
generally set the Detail value to 0.
| | 05:28 | Masking allows you to create an edge mask
on the fly, and to get a sense for how it
| | 05:33 | works, I want to show you a tip that works
with all of the sharpening options.
| | 05:37 | If you press and hold the Alt key or the Option
key on the Mac and drag one of these triangles,
| | 05:42 | for example I am dragging the Amount triangle,
then you'll see a luminance only version of
| | 05:47 | the image. So in this case we're seeing how
Camera Raw sharpens just the luminance data
| | 05:52 | and never sharpens the color data.
| | 05:54 | You can also Alt+drag or Opt+drag the
Radius triangle to see those dark and light halos
| | 05:59 | develop on the fly, and you can Alt+drag or
Opt+drag the Detail triangle in order to
| | 06:04 | see that noise sharpening.
| | 06:06 | I am going to crank this guy back down. That's
all very interesting, I think, but Alt+dragging
| | 06:10 | or Opt+dragging becomes most useful when
working with the Masking setting, because
| | 06:14 | it permits you to actually preview the mask on the
fly. So here I am Alt+dragging or Opt+dragging
| | 06:20 | on that Masking triangle and I
can see what the mask looks like.
| | 06:24 | And bear in mind where masks are concerned,
wherever we are seeing white, that area will
| | 06:28 | receive sharpening; wherever we're seeing
black will not get sharpened. So I'll go ahead
| | 06:33 | and take this value up to say 65, and as
soon as I release, you can see that just these
| | 06:39 | edges around the hair and the ear and the
glasses and so forth, those are the only areas
| | 06:44 | that are receiving sharpening.
| | 06:46 | Notice also that the nose and the mouth and
the chin are not getting sharpened, and the
| | 06:51 | reason for that is there's so little luminance
information to work with; most of the distinctions
| | 06:55 | that we're seeing are
color as opposed to detail.
| | 06:59 | All right, so that's how the Detail options
work. In the next movie I'll show you how
| | 07:03 | to use them to correct a
handful of digital photographs.
| | Collapse this transcript |
| Correcting noise and detail in Camera Raw| 00:00 | In this movie, I will show you how to use
the options in the Detail panel here inside
| | 00:04 | Camera Raw to correct a trio of photographs; one
low noise, one high noise, and one over the top.
| | 00:10 | Notice this vertical bar over here on the left
-hand side of the window. If I double-click
| | 00:15 | on it, I will bring back my filmstrip which
shows that I have several images open.
| | 00:19 | If you need more room inside Camera Raw, you can double-
click on that vertical bar to hide the filmstrip.
| | 00:24 | I will go ahead and bring it back and I'll
switch forward to this image; Roman theater.dng.
| | 00:30 | It has a low ISO, just 100. And it was shot
during the day, so as a result, it's not going
| | 00:35 | to have much noise. What noise there is, is
going to be most apparent in the low detail
| | 00:39 | portions of the photograph
such as this region of clouds.
| | 00:42 | So, I am going to go ahead and zoom in to 200%.
And what I like to do is crank the Amount
| | 00:48 | value up to its absolute maximum, so the noise
is as obvious as possible. Next, I am going
| | 00:53 | to take the Luminance value up to 25, and
otherwise, I am going to leave the values
| | 00:57 | set to their defaults. So, Luminance Detail: 50,
Luminance Contrast: not going to make
| | 01:02 | much of a difference here,
Color: 25, and Color Detail: 50.
| | 01:05 | Now, at this point, you may say, well, there's
still a lot of noise visible inside that image.
| | 01:10 | That's because the Detail value is set to 25
by default. I'm going to tell you I always
| | 01:15 | take that value down to 0 because it truly
does do a better job of sharpening noise than
| | 01:21 | any of the detail inside of photograph.
| | 01:23 | Now, I'll take the Amount value down to
something more reasonable such as 75, and then I will
| | 01:28 | press the Alt key or the Option key on the
Mac, and drag that masking slider triangle
| | 01:34 | all the way up to 50.
| | 01:35 | So, once again those white edges will get
sharpened. The black regions will not receive
| | 01:40 | any sharpening at all. But they will receive
noise reduction. So noise reduction is applied
| | 01:45 | throughout the image.
| | 01:46 | Now, I am going to scroll up to the top of
these columns here. And you'll notice that
| | 01:51 | we have some color fringing along the edges.
That's chromatic aberration and it's going
| | 01:55 | to get exaggerated as you raise that Amount
value. So, to get rid of it, skip over to
| | 02:00 | Lens Corrections, and then turn on the Remove Chromatic
Aberration checkbox and that fringing will disappear.
| | 02:06 | Next, I will advance to Ventura harbor.dng.
This is that night shot that started out so
| | 02:12 | very, very dark back in chapter 27. So, as a
result, even though it has a low ISO, whenever
| | 02:18 | you expand the shadow information inside of
an image, you're going to draw out noise.
| | 02:23 | So I am going to zoom in on this boat down
here in the bottom of the image, and then
| | 02:26 | zoom in on it, so I'm seeing it at 100%. And
you should be able to make out, there's just
| | 02:31 | a ton of noise at work inside this image.
| | 02:34 | So, I will switch back over to Detail, and I
will go ahead and crank the Luminance value
| | 02:38 | up to its absolute maximum of 100, and then
I'll go ahead and zoom in on the image, and
| | 02:43 | you can see, if you look closely here, that
we've got some pockmarks of noise. And just
| | 02:48 | to make sure we can see that noise as well
as possible, I'll crank the Amount value up
| | 02:52 | to 150. And sure enough, we have these smooth areas
that are occasionally populated by regions of noise.
| | 02:59 | To get rid of those pockmarks, all we need to
do is take the Luminance Detail value down
| | 03:03 | to 0, and now, I can demonstrate how well
Luminance Contrast can work under these circumstances.
| | 03:08 | So if you take Luminance Detail down, then
Luminance Contrast produces a more obvious effect.
| | 03:14 | Check out this shadow right here that's being
cast by this blue line. It's barely visible
| | 03:19 | in the image right now. But if I take the
Luminance Contrast value all the way up to
| | 03:23 | its maximum, then the shadow becomes more
clear, and that's a good thing because that
| | 03:27 | shadow information is not noise, it's real
detail. Now, I will take the Luminance Detail
| | 03:33 | value up to a point at which we see more detail
inside the image without seeing those patches
| | 03:38 | of noise, and for me,
that happens at about 25.
| | 03:41 | All right. There is a lot of Color Noise
inside this image, so I am going to take the Color
| | 03:45 | value up to 75, and finally, I will take the
Color Detail value down to 25. Now, you don't
| | 03:50 | have to work with these quarter values, I am
just doing so to make it easy to follow along.
| | 03:55 | Now, of course I don't want this Detail value
to set to 25 because notice I end up getting
| | 04:00 | these patches of noise around the real
details in the photograph. But if I take the value
| | 04:06 | down to 0, then those areas of noise totally
disappear. Now, I will press the Alt key or
| | 04:11 | the Option key on the Mac, and drag the
Masking slider triangle all the way up to 50 here.
| | 04:17 | Those white edges will receive the sharpening,
the black areas will not. I will go ahead
| | 04:21 | and release my mouse button in order to apply
the effect, and then finally, I'll take the
| | 04:25 | Sharpening value down to
something more reasonable such as 50.
| | 04:29 | All right. Now I will zoom out to take in
the image and you can see that it's just so
| | 04:33 | much smoother than it was before. If I press
the P key to turn off the preview, this is
| | 04:38 | the original version of the image, and the
noise is even more garish out here in this
| | 04:44 | empty orange region of water. And then, if I
press the P key to re-invoke the preview,
| | 04:49 | you see that, that noise
almost entirely disappears.
| | 04:52 | All right. Let's check out a worst-case
scenario such as this JPEG image. The noise in this
| | 04:57 | image is most apparent up here in the sky. So,
I will go ahead and marquee it, and set
| | 05:01 | my zoom level to 200%. And you can see that
we have some very choppy detail indeed along
| | 05:07 | with a massive amount of posterization.
| | 05:09 | Even though this is a colorful region of the
image, this is Luminance Noise because, after
| | 05:13 | all, the color is fairly homogeneous. It's all
blue. So, I am going to take that Luminance
| | 05:18 | value up to its maximum setting of 100, and
crank the Luminance Detail value down to 0.
| | 05:23 | And we end up smoothing out those choppy
So if I press the P key, this is the original
| | 05:29 | sky, and if I press P again, this is the smoother
sky. So, we still have posterization, we still
| | 05:35 | have stair-stepping, all that stuff, but
it's a lot smoother than it was before.
| | 05:39 | All right. I am going to zoom out a couple of
clicks here, and now you can see the unfortunate
| | 05:44 | part of what I've done here is I have made
the image look kind of plastic, especially
| | 05:49 | if we check out Colleen's face here. She is
definitely over-smooth; so this is the before
| | 05:54 | version and this is the after version.
| | 05:56 | Now we do need some amount of smoothing in
this region but not that much. So I will go
| | 06:02 | ahead and take the Luminance value down to
75, and then I will increase the Luminance
| | 06:06 | Detail value to 50; don't need to worry about
Luminance Contrast for this image. And that
| | 06:11 | brings back a lot of detail.
| | 06:13 | Now let's check out the Color Noise which is
most obvious here inside Colleen's jacket,
| | 06:18 | and it could be made more obvious still if
I take that Amount value up. So I will go
| | 06:21 | ahead and take it up to 150% for now, take
the Detail value down to 0. And you can see
| | 06:27 | that in addition to the real sort of purplish
blue of the coat, we have all kinds of violet
| | 06:33 | and green and blue noise showing up.
There's also this little red spot there.
| | 06:37 | In an effort to defeat it, I am going to crank
that Color value all the way up to 100%, and
| | 06:42 | I'll take Color Detail down to 0. And you
can see that all of that noise goes away,
| | 06:48 | even most of that red dot which I would later
turn around and fix using the Spot Removal tool.
| | 06:54 | But there is a downside to my extremely high
values here. I will go ahead and zoom in on
| | 06:58 | the top of this red scarf. If I press the P
key, this is the original version of the
| | 07:02 | scarf right there, so it was
previously much more vivid.
| | 07:05 | I will go ahead, and press the P key to turn
the Preview back on. We also have a little
| | 07:09 | bit of bleeding right here at the top of the
scarf where it's eeking into the coat. We're
| | 07:14 | not going to get rid of that entirely, but
we can tone it down a little bit by reducing
| | 07:18 | the Color value to 50, and then taking the
Color Detail value up to 100. And that helped
| | 07:24 | solve that problem. It brings back a little
bit of saturation in the scarf while leaving
| | 07:29 | the coat nice and smooth.
| | 07:31 | All right. Finally, I am going to go ahead
and zoom out here to take in more of the image
| | 07:35 | at a time, and I will adjust my Sharpening
settings by pressing the Alt key, or the Option
| | 07:40 | key on the Mac, and dragging the masking
triangle up to 65 I figured for this image. The white
| | 07:46 | edges will get sharpened, the black areas
will not, and then I will take the Amount
| | 07:50 | value down to something
more reasonable such as 70%.
| | 07:54 | What I'm doing here, it's very important to
know, is I'm sharpening in order to account
| | 07:58 | for the softening that's been applied by the
Noise Reduction values. And that's how you
| | 08:02 | go about correcting the noise and detail in
a few real-world photographs here in Camera Raw.
| | Collapse this transcript |
| Adding noise grain and vignetting effects| 00:00 | In this movie I'll show you how to use Camera
Raw to apply noise and vignetting for effect.
| | 00:06 | So here we are looking at this image of these
dinosaurs, and you can see here in the Basic
| | 00:09 | panel that I've applied a bunch of different
modifications. I've also used the Adjustment
| | 00:14 | Brush in order to brush in a couple of adjustments
exclusively inside the dinosaurs. And we have
| | 00:21 | some graduated filters as well and so forth.
| | 00:24 | And what that means is that we've stressed
the image to the nines. Because if I go over
| | 00:28 | here to the flyout menu and choose Camera
Raw Defaults, this is what the image looked
| | 00:33 | like originally, so I've really done a number
on it. And even though that's really great,
| | 00:37 | if I press Ctrl+Z or Cmd+Z on the Mac,
that I was able to pull off these sorts of
| | 00:41 | modifications, it comes at a price.
| | 00:44 | If I zoom in on the tyrannosaur's teeth, for
example, you can see, because we modified
| | 00:48 | the blue of the sky and the orange inside
of the monster independently of each other,
| | 00:53 | we've got some very brittle edges indeed, which is
why I decided to turn this into an effect image.
| | 00:59 | If you press the C key to switch to the Crop
tool, you'll see that I've applied radical cropping.
| | 01:04 | And I haven't done so with the intention
of straightening the image, in fact,
| | 01:08 | I'vemade it more crooked than ever. So I'll go
ahead and press the Z key in order to switch
| | 01:12 | back to the Zoom tool, so we
can see the results of the crop.
| | 01:15 | I don't want people to look at this image
and think, wow, where did you see those cool
| | 01:19 | metallic dinosaur sculptures? I want them to
look at this image and think, how did you
| | 01:24 | survive being attacked by
these terrifying monsters?
| | 01:29 | And so I am going to switch over here to the
Effects panel by clicking on the fx icon.
| | 01:33 | And we've got these Grain options that allow
you to add big chunky noise. And then we have
| | 01:39 | these Post Crop Vignetting options that allow you
to add a vignette within your crop boundaries.
| | 01:45 | So I am going to start things off by taking
the Amount value up to 75%, so that we have
| | 01:50 | a fair amount of noise going on. And I want
to increase the size of that noise, because
| | 01:54 | if you take a look here, the noise is pretty
small, it's not single pixel noise the way
| | 01:59 | you get with the Add Noise command inside
of Photoshop, but it isn't large enough to
| | 02:02 | necessarily translate to print.
| | 02:05 | I want to chunk it up. So I am going to take
that Size value up to 80, which really makes
| | 02:09 | me wish we had this kind of control
when working with Add Noise in Photoshop.
| | 02:13 | Now I am going to take the Roughness value
up to a 100 and that will give us this kind
| | 02:18 | of effect right there.
| | 02:19 | All right, I'll press Ctrl+0 or Cm d+0 on
the Mac to zoom out, and then I'll go ahead
| | 02:24 | and adjust my Vignetting Amount.
| | 02:26 | Now, I'm not a big fan of vignetting effects,
per se. They get way overused; there is sort
| | 02:32 | of the drop shadow of wedding photography.
But in a case like this, where we're trying
| | 02:36 | to convey an element of danger and we want
it to look like I barely got this snapshot
| | 02:41 | alive, I think it's appropriate.
| | 02:43 | So if you increase the Amount value, you're
going to create a bright vignette, like so;
| | 02:47 | and if you reduce the Amount value, you'll
end up producing a very dark vignette. I am
| | 02:52 | going to take mine down to -75.
| | 02:56 | And then I'm also going to reduce the Midpoint.
And what that does is it forces the vignette
| | 03:00 | inward, so it's encroaching on the image;
and ultimately I took that Midpoint down to
| | 03:06 | 15. Now that may look very wrong, because
now can't really see the dinosaurs very well.
| | 03:10 | That's partially the point, but we can better
reveal them by adjusting a few more values.
| | 03:15 | For example, if I reduce the Roundness value,
then we're going to create some corners where
| | 03:19 | the vignette is concerned. And I want to
take that Roundness value down to -60.
| | 03:25 | And next, I'm going to increase the Feather
value slightly so that we have more softness
| | 03:29 | associated with the effect;
take it up to 70 in fact.
| | 03:32 | And then finally, you have the option of
bringing back the Highlights inside of the vignette
| | 03:38 | like so, and then helps to reveal portions of the
sky, while giving the top of the tyrannosaur's
| | 03:43 | head a kind of burnt look. And we can see
inside the braying mouth of the triceratops,
| | 03:48 | which makes him look a little
more like an evil henchman.
| | 03:50 | Now, we have three Styles to choose from as
well. We have Highlight Priority, which is
| | 03:55 | going to allow us to force the Highlights
through the vignetting effect. You can also
| | 03:59 | go with Color Priority, which is going to
force through areas of colors. And notice
| | 04:03 | the back of the tyrannosaur's head is now
more visible, as is his back, and we can better
| | 04:08 | see the top of his head as well, so it
doesn't look as burnt as it did before.
| | 04:13 | And then finally, we have Paint Overlay. I am
not sure you'll ever want to use this one,
| | 04:17 | because it creates a very tepid effect indeed,
especially when compared to the other options.
| | 04:22 | I think we get the most bang for our buck where
this image is concerned with Highlight Priority.
| | 04:27 | All right. Now, at this point if I go ahead
and zoom in on the mouth here, you can see
| | 04:31 | that those weird edges around the teeth
aren't nearly so obvious as they were before.
| | 04:36 | So if I press the P key to turn all this stuff
off, those are the original teeth; turn the
| | 04:40 | P key to turn all of this junk back on
and here are the murkier teeth details.
| | 04:45 | That said, you may want to bring back some
detail inside this image. So I am just going
| | 04:50 | to zoom out a couple of clicks here, so I
can take in the tyrannosaurus' head. And I
| | 04:55 | am going to switch back over to the Detail
values and I am going to experiment with these
| | 04:59 | Sharpening values.
| | 05:00 | Notice now if I press the Alt key or the Option
key on the Mac and drag the slider triangle,
| | 05:05 | all of those effects are going to disappear
and I just see the grayscale version of the
| | 05:09 | dinosaur by itself. So this helps me gauge
the pre-effect sharpening, and then if I go
| | 05:14 | ahead and release, I can see
the post effect sharpening.
| | 05:17 | Now, you're not going to make a terrific amount
of difference because we have so much Grain.
| | 05:22 | However, these values will
help the detail show through.
| | 05:25 | All right, now I am going to Alt+Drag or Opt+
Drag the Radius value so we can see those halos
| | 05:30 | independently of the effects. And I'll Alt+Drag
or Opt+Drag the Detail slider down to 0,
| | 05:35 | so we can see the effects of
this option independently as well.
| | 05:39 | And by the way, you can do the same with the
Noise Reduction settings, at least where the
| | 05:42 | three Luminance sliders are concerned. So
if I press the Alt key or the Option key on
| | 05:47 | the Mac and drag this Luminance slider triangle,
I will see the details smoothing on the fly,
| | 05:53 | again, independently of the effects. And then
I'll Alt+Drag or Opt+Drag the Luminance
| | 05:57 | Detail slider triangle all the way to the
left in order to apply as much smoothing as
| | 06:03 | humanly possible.
| | 06:04 | Now, because you need to see a color version
of the image to gauge the results of the Color
| | 06:08 | setting, Alt or Option dragging doesn't produce
any effect. So I'll just set the value to
| | 06:12 | its maximum, which is a 100, and then reduce
Color Detail to its minimum, which is 0, and
| | 06:18 | that gives me my final image.
| | 06:20 | I'll go ahead and click on the Open Image button
in order to open that file inside Photoshop,
| | 06:25 | and a moment later we'll
see the image on screen.
| | 06:27 | All right, I am going to zoom in obviously,
and press Shift+F in order to fill the screen
| | 06:31 | with the image, and that is the final version of my
absolutely terrifying ordeal with the dinosaurs.
| | 06:39 | Thanks to our ability to add noise and vignetting,
with an amazing degree of control inside Camera Raw.
| | Collapse this transcript |
|
|
30. The Blur GalleryBlur Gallery| 00:00 | Photoshop offers around a hundred filters. Of those,
14 are devoted to the task of blurring images.
| | 00:07 | In contrast, there are just
five sharpening filters,
| | 00:11 | so almost three times as many devoted to the task
of blurring your photos, which is crazy, right?
| | 00:17 | Sure, it makes sense to
sharpen in post, but blur? Why?
| | 00:22 | And get this: three of the Blur filters are new to CS6.
We haven't seen a new sharpen filter in years.
| | 00:29 | Well, here's the reason. As upside-down as
it sounds, blur focuses your attention.
| | 00:35 | Take this image for example. Low angle,
decent composition. Highlights are pretty blown,
| | 00:40 | so that's not so good.
| | 00:42 | But the biggest problem:
flat, flat, flat focus.
| | 00:47 | What are we supposed to look at?
| | 00:48 | The Wall Street Bull? Those little people
on the left? Or is the real subject of the
| | 00:53 | photograph the trashcan?
| | 00:55 | Compare it to this. I've made a lot of
changes, but mostly it's the focus.
| | 01:00 | The animal's ribs remain sharp,
as do its shoulders and its face.
| | 01:04 | He exudes power, menace, maybe
even a hint of Wall Street greed.
| | 01:09 | But whatever the subtext,
this thing doesn't like you that much,
| | 01:13 | and it's coming at you.
| | 01:14 | I created this effect using the new Blur
Gallery in CS6, which includes those three filters
| | 01:20 | I alluded a moment ago, which are
Field Blur, Iris Blur and Tilt-Shift.
| | 01:25 | They are not compatible with Smart Objects,
which is unfortunate, but otherwise they're amazing.
| | 01:32 | Here, let me show you exactly how they work.
| | Collapse this transcript |
| Creating depth-of-field effects in post| 00:00 | In this movie I'll show
you how to use Field Blur.
| | 00:02 | Now, if you're working along with me and you
open this image, brandnewgloves.jpg, which
| | 00:07 | is found in the 30 Blur Gallery folder,
| | 00:09 | it's going to initially open inside Camera Raw,
because it has Camera Raw settings assigned to it.
| | 00:14 | In which case, just go ahead and click the
Open Image button in Camera Raw to open the
| | 00:18 | photo in Photoshop.
| | 00:20 | Do not Shift+Click on the button to open it
as a Smart Object, because Field Blur, and the
| | 00:25 | rest of the Blur Gallery, does
not work with Smart Objects.
| | 00:28 | Now, you may recall that this image has a
pretty ratty sky, and I'll go ahead and zoom in on
| | 00:33 | it to check it out.
| | 00:34 | We have got all this posterization. So what I
decided to do in order to fix this problem,
| | 00:39 | because I really like the snapshot, is
create a kind of depth-of-field effect, and Field
| | 00:44 | Blur is perfect for that.
| | 00:46 | So I'll go up to the Filter Menu, choose Blur,
and then choose Field Blur. In fact, you can
| | 00:51 | choose any of these first three
commands to bring up the Blur Gallery.
| | 00:55 | But because I know Field Blur is what I
want, I'll just go a head and select it.
| | 00:59 | And I want to center my view by pressing Ctrl+0
or Command+0 on a Mac, and then I'll zoom in.
| | 01:05 | Now, by default, you to get one
Blur control, and that's it--
| | 01:08 | I am going to go ahead move it over to this
location--which might seem silly. Why bother
| | 01:12 | to move it when it's blurring
the entire image uniformly?
| | 01:17 | Well, the truth is that you can set more than
one of these pins in order to vary the blur
| | 01:22 | across the image.
| | 01:23 | So, I'll start with this one set to its
default Blur value of 15 pixels, as you can see in
| | 01:28 | the upper right-hand corner.
| | 01:30 | And then I'll go ahead and reestablish the
focus in Colleen's face by clicking somewhere
| | 01:35 | on her nose right there. And I'll either reduce
the Blur value up here in the Blur Tools Panel
| | 01:41 | to 0 pixels or you can also
drag inside of this ring.
| | 01:46 | So if you drag in a clockwise fashion, you'll
increase the Blur at that location; if you
| | 01:50 | drag in a counter-clockwise
fashion, you'll reduce the blur.
| | 01:54 | So reduce the blur to 0, just drag right
next to the top, so you should be that exactly
| | 02:00 | at noon, because that going
to expand the Blur value.
| | 02:03 | Instead, you want to move to about 12:15 on
the dial there, and you'll get a Blur of 0,
| | 02:08 | and then go ahead and release
in order to see the effect.
| | 02:11 | All right, now what we've done is we've created
a blur that's basically traveling horizontally
| | 02:16 | across the image.
| | 02:17 | So as things stand now, the right side of the image is
in focus and the left side of the image is blurred.
| | 02:23 | We need more control that that,
| | 02:25 | so we need to lay down more pins, and you
can even lay down as many pins as you like.
| | 02:28 | I am going to click to
set one right about there.
| | 02:31 | And for the sake of expediency, I'm just
accepting that default Blur value of 15 pixels.
| | 02:36 | I'll go ahead and set one right about there as
well, in order to blur inward into Colleen's
| | 02:41 | face, because the last thing that we want is
some sharp details surrounding her, because
| | 02:46 | that wouldn't make any sense,
| | 02:47 | that portions of this railing, for example, are out
of focus and then also other portions are in focus.
| | 02:53 | Now, I'll go ahead and set
a pin at this location.
| | 02:55 | If you find that you're encroaching too much
on the subject of your photograph, as I am
| | 03:00 | in this case--notice that I'm blurring into
the top-left region of my friend's head--then
| | 03:05 | you just want to back it off.
| | 03:06 | Now, as you drag the pin, you're not necessarily
going to get the best feedback. You have the
| | 03:10 | release in order to see the blur resolve.
| | 03:14 | And at this point I can see that I'm
still encroaching in her hair too much,
| | 03:17 | so I'll go ahead and drag up to maybe about
here and see what that looks like, and that
| | 03:22 | ends up resolving pretty nicely.
| | 03:24 | All right, now I'm going to set
another pin at this location.
| | 03:28 | And now notice that we've some blurry
details inside of Colleen's body, specifically on
| | 03:33 | her hand. We don't want that, because she's
showing off this new pair of gloves I brought her,
| | 03:37 | so I want to make sure they are in focus.
So I'll go ahead and click to set a pin right
| | 03:41 | there on the glove and dial
it down to Blur value of 0.
| | 03:45 | And I'll create another pin right there on
the collar, dial it down to 0 as well, and
| | 03:50 | I'll set one on the shoulder right about there,
looks pretty good to me, and I'll dial it down to 0.
| | 03:55 | Obviously, I'm pretty familiar with this image,
and I have worked through it. What you'll find
| | 03:59 | when you're approaching a new photo is that
you have to click to set pins and move them
| | 04:04 | around, especially when
things get as elaborate as this.
| | 04:07 | Now, notice that the water is coming back
into focus right there. That doesn't make any
| | 04:10 | darn sense at all,
| | 04:12 | so I'll set a pin here and I won't change
its focus, so I'll leave it set to a Blur
| | 04:16 | of 15. And I'll set another one right about there
I think. That should work out pretty nicely.
| | 04:21 | Just a couple of more
points are bugging me here.
| | 04:24 | This area of water should be more out of focus,
so I'll click right about there in order to
| | 04:29 | set another Blur point.
| | 04:31 | Finally, I want this stretch right in between
these two points to blur incrementally, so
| | 04:36 | I'm going to set a pin right
about there, above the collar.
| | 04:40 | I want to dial it down to a
Radius of 10, and then I'll release.
| | 04:44 | All right, now let's say you like what you're
seeing and you want to check it out in Photoshop.
| | 04:49 | Then go ahead and click the OK button.
| | 04:50 | But here's the caveat: you're permanently
assigning your changes, and the only way to
| | 04:55 | revisit your pins again in the future is to
press Ctrl+Alt+F or Command+Option+F on a Mac.
| | 05:01 | So you'll want to make sure, after clicking OK--
and of course, wait for the progress bar
| | 05:05 | there--and checking out everything inside
Photoshop, that you don't go and choose a
| | 05:10 | different filter, such as
Smart Sharpen for example,
| | 05:14 | because then that will be
the last filter applied.
| | 05:17 | You want instead take some time to evaluate
the image and make sure you like it.
| | 05:22 | That way if you don't like what you see, you can
make modifications, and I'll show you how
| | 05:26 | that works in the next movie.
| | Collapse this transcript |
| Modifying your Field Blur settings| 00:00 | In this movie, I'll show you how to modify
your Field Blur settings after you apply them.
| | 00:05 | So right now we're in a pretty tenuous spot.
| | 00:07 | My image is looking pretty good, but if I
scroll down here, I can see that this pavement
| | 00:12 | edge is in sharper focus than I would like,
and Colleen's arm is too blurry, and so forth.
| | 00:18 | And then if I scroll up to the top of the image,
I can see that the sky isn't blurry enough.
| | 00:23 | So I want to modify my settings, but I just
applied static adjustment to a flat image,
| | 00:29 | which was a really bad idea.
| | 00:31 | So, what I want to do at this point is press
Ctrl+Z or Command+Z on a Mac to undo that
| | 00:36 | modification, and then I am going to press
Ctrl+Alt+J or Command+Option+J in order to
| | 00:42 | create a copy of my image, and I'll
call it "field blur" and then click OK.
| | 00:47 | That way the original image is still safe.
| | 00:50 | Now, instead of going to the Filter menu and
choosing Blur and choosing Field Blur, which
| | 00:55 | would wipe out my previous settings, I'm going
to take advantage of the fact that the Blur
| | 00:59 | Gallery was the last filter I applied.
| | 01:02 | So that means I can apply that same filter
with new settings by pressing Ctrl+Alt+F or
| | 01:08 | Command+Option+F on the Mac, and then I will
see all of my pins here inside the image.
| | 01:13 | All right, I am going to press Ctrl+0 to zoom
out, and then I'll zoom back in again. And now
| | 01:18 | let's make some further modifications.
| | 01:20 | Now, I want to scroll down using the scroll
wheel on my mouse, but if I do that, because
| | 01:25 | the Blur value is highlighted, I'll actually
scroll down my Radius value, and that's not
| | 01:29 | what I want, so I'll go
ahead an scroll it back up.
| | 01:32 | I need to deselect this guy right here, and you
do that by Ctrl+Clicking or Command+Clicking
| | 01:37 | on it. Then I'll scroll down to the bottom of the
image, and I'll click to set a few new points.
| | 01:43 | Now, by the way, you may find that you
accidentally click to set a point and you don't like
| | 01:47 | that pin. Then to get rid of it, the active
pin right there, press the Backspace key or
| | 01:53 | the Delete key on the Mac.
| | 01:54 | If you want to get rid of all your pins,
then you go up to this option and click on it,
| | 01:59 | but be very sure that's what you want to do, because
you'll get rid of every single pin in the image.
| | 02:04 | All right, now I am going to set a couple
of pins down over here, so I'll set one at
| | 02:08 | this location and another here, and that'll
ensure that that pavement is nice and blurry.
| | 02:13 | And then I'll set a pin inside Colleen's arm
and I'll dial it down to 0, because that
| | 02:18 | wants to be in focus. And this edge of the
glove is getting a little out of focus as
| | 02:22 | well, so I'll click to set a pin
there and drag its value down as well.
| | 02:27 | And now this edge of her arm is looking to me
like it should be in better focus, so I'll
| | 02:31 | click right about there and dial down the
blur value to 0. Unfortunately, and fairly
| | 02:36 | predictably, that ends up sharpening the
focus of some of the water, so I'll click to set
| | 02:40 | another blurry pin at this location.
| | 02:42 | All right, now let's go ahead and scroll up here
so that we can see the very top of the image.
| | 02:48 | And now I want to make the sky blurrier,
so I'll click right there to set a pin, and I'll
| | 02:54 | drag it up to a value of 25, is what I am looking
for, and I'll click to set another very blurry
| | 03:01 | pinpoint right there, and
I'll drag it up to 25.
| | 03:05 | And notice, if you want more control, you can
move your cursor farther away from the pin,
| | 03:09 | and that way small movements
won't make such a difference.
| | 03:13 | And now I'll click there, and I'll go ahead
and start dragging inside the ring and then
| | 03:16 | move my cursor farther out in order to get
exactly 25, which is what I am looking for.
| | 03:21 | That makes this section of the bridge too
blurry, so I'll go ahead and set a new blur
| | 03:25 | point. It comes in by default
at 15, and that's just fine.
| | 03:30 | Okay, a couple of more tricks
you might want to know about.
| | 03:33 | I will go ahead and scroll the image back
up here so it's more or less centered.
| | 03:36 | If you want to hide all the pins, you can press
Ctrl+H or Command+H on the Mac; to bring them
| | 03:41 | back, you press Ctrl+H or Command+H again.
| | 03:44 | If you want to hide the pins temporarily,
you press and hold the H key. So as long as
| | 03:48 | the H key is down, the pins are hidden; if you
release the H key, then the pins come back.
| | 03:54 | Then finally, you can press the P key to turn
off that Preview checkbox up there at the
| | 03:58 | top of the screen, and then if you want to turn the
preview back on, you just press the P key again.
| | 04:04 | All right, now, let's say I make a modification.
I'm thinking this area along the left side
| | 04:08 | of Colleen's face is not quite blurry enough,
so I'm going to go ahead and drag this pin in.
| | 04:14 | If you think better of your adjustment
after you make it, you do have one undo.
| | 04:18 | So you can press Ctrl+Z or Command+Z on the
Mac to undo that change, and then you can press
| | 04:23 | Ctrl+Z or Command+Z on the
Mac to redo that change.
| | 04:27 | That is a little too close now, so I'll just
drag it out until we get to a position where
| | 04:31 | we have a nice amount of blur and yet
Colleen's eyes, which are the most important element
| | 04:35 | of a portrait shot, remain in focus.
| | 04:38 | All right, so that looks pretty good to me,
so I'll go ahead and click the OK button in
| | 04:42 | order to apply my modifications.
| | 04:45 | So there you have it, friends.
| | 04:46 | That's how you apply Field blur
nondestructively to a copy of your original image, and how you
| | 04:52 | modify the last settings you
applied when using the Blur Gallery.
| | Collapse this transcript |
| Editing and exporting a Field Blur mask| 00:00 | Field Blur and the other Blur Gallery effects work
their magic by automatically generating masks.
| | 00:06 | So in this case, we have a mask that's
protecting Colleen from the blur that surrounds her.
| | 00:12 | In this movie, I'll show you not only how
to view that mask, but how to modify it and
| | 00:17 | export it to the Channels panel as well, and
then we'll turn around and mask Colleen against
| | 00:22 | the sharply focused background.
| | 00:24 | So for starters here, because we are going
to make some modifications, I am going to
| | 00:28 | turn off the Field Blur layer,
| | 00:30 | click on the background item here inside the
Layers panel, and press Ctrl+Alt+J or Command+Option+J
| | 00:34 | on the Mac to make another copy of it.
| | 00:37 | And I will call this new layer
2nd pass and then click OK.
| | 00:41 | So now that we once again have a copy of
the sharply focused version of the image,
| | 00:44 | I will Press Ctrl+Alt+F or Command+Option+F on
the Mac to revisit the Filter Gallery, complete
| | 00:51 | with all of my previously applied pins.
| | 00:53 | Now there're two ways to view the
mask, and they both involve the M key.
| | 00:57 | If you press and hold the M key, you'll see
the mask temporarily, and then you can release
| | 01:02 | the M key in order to
return to the full-color image.
| | 01:05 | If you want the mask to remain onscreen
so that you can modify it, then tap the M
| | 01:09 | key, and then of course you tap the
M key again to return to the image.
| | 01:14 | I am going to tap the M key in
order to bring up the mask.
| | 01:18 | Now, wherever you see black, the image is
protected from the blur. And in this case, we have got
| | 01:23 | this big blob of black that's
surrounding and protecting Colleen.
| | 01:27 | Wherever you see gray, you're getting partial
blurs, and then wherever we have white inside
| | 01:34 | of the mask, we are seeing
the full effect of the blur.
| | 01:37 | And in our case, the whiteness surrounds each one of
the pins that are set to a radius of 25 pixels.
| | 01:43 | Now in so far as masks going, this is
pretty rough, but it's good enough to do the job,
| | 01:49 | except for down here in the area
occupied by our model Colleen.
| | 01:54 | Notice that we have a few gaps in the
blackness, meaning that we are slightly blurring the
| | 01:58 | areas inside the subject of our photograph.
| | 02:01 | So what I am going to do here is set
some points to eliminate that dark gray.
| | 02:04 | When I first click with a tool, I am going to
create some brightness, because after all,
| | 02:09 | the blur is set by default to 15 pixels.
| | 02:12 | If I go ahead and take that blur value down,
you can see, that creates blackness inside the mask.
| | 02:18 | Now, I will set another pin at this location
and I'll go ahead and dial it down as well
| | 02:22 | to darken the mask, and I will click right
about here, which should be the neck region,
| | 02:27 | and I will dial it down as well. And we get
these nice solid areas of black, as you can see.
| | 02:33 | All right, now let's check our work by
pressing the M key to switch back to the full-color
| | 02:37 | image, and it looks like we've
done a pretty splendid job.
| | 02:41 | Now, the only thing I am uncomfortable with
is the fact that the left side of Colleen's
| | 02:46 | face is getting a little too much attention
where the blur is concerned, and so it's encroaching
| | 02:51 | on her eye. But we will go ahead and solve
that problem inside the larger composition
| | 02:55 | in just a moment.
| | 02:56 | In the meantime, what I would like you to do
is go ahead and turn on Save Mask to Channels,
| | 03:01 | which is just a great idea in case you ever
have to revisit that mask in the future.
| | 03:06 | Then, assuming you're comfortable with what
you have, go ahead and click on the OK button
| | 03:10 | in order to apply that effect.
| | 03:12 | And you may have to wait a few moments for
the progress bar, because this is a pretty
| | 03:16 | processor-intense operation.
| | 03:17 | All right, now if I switch over to the Channels
panel, I can see that I have a new alpha channel
| | 03:23 | that's called Blur Mask, and I can load that
as a selection outline and use it to mask
| | 03:28 | the image in other ways anytime I like.
| | 03:30 | All right, now I will switch back to the RGB
image and return to the Layers panel. What I really
| | 03:35 | want to do is use a layer mask to mask away some of
the blurriness associated with this 2nd pass layer.
| | 03:41 | So I will go ahead and drop down to the Add
Layer Mask icon at the bottom of the panel,
| | 03:45 | and I will click on it in
order to create a layer mask.
| | 03:48 | And now I will get my Brush tool, which you
can get by pressing the B key. I will right-
| | 03:53 | click inside my image, so you can see, I am
starting with the Size value of 175 pixels
| | 03:57 | and the Hardness is set to 75%, which will give
us a little bit in the way of soft transitions
| | 04:03 | while at the same time allowing
us to paint in some focus.
| | 04:06 | So now I will press the Enter key or the
Return key on the Mac in order to hide that panel.
| | 04:10 | Make sure your foreground color is black by
pressing the D key and then the X key, and
| | 04:15 | I am going to paint right about there inside of
the caller and down here along the shoulder.
| | 04:21 | And what we're doing is we are painting down to the
background, which is sharply focused throughout.
| | 04:27 | Now I will paint up the side of Colleen's
face right there and over the flesh tones,
| | 04:31 | into her eye, and up in to the hair as well.
And I might paint slightly into the ear there
| | 04:37 | in order to reestablish some of that focus.
| | 04:41 | And if you feel like you want to go a little
farther with this, you can zoom on in, so
| | 04:44 | you can better see what you're doing, and then
in my case, I am going to paint down the side
| | 04:48 | of her face, so we get a
little of that structure back.
| | 04:52 | You don't want to go too far, because if you
do, after all, you'll unblur the background,
| | 04:56 | which is the great problems.
| | 04:58 | And I have done that, so I will go ahead and
reduce the size of my cursor, press the X
| | 05:02 | key so I can now paint with white, and I will paint
back in some of that blur, as you see me doing now.
| | 05:07 | So in my experience with the blur gallery by
the way, if you're going to go this route,
| | 05:11 | if you want to paint in blurs in some areas
and paint them away in others, is that you're
| | 05:15 | best off blurring too much of the image.
| | 05:18 | That way you can paint
back in the focus later.
| | 05:21 | All right, I am going to press the X key to
switch my Foreground Color back to black, and
| | 05:25 | I might paint back up into the hair a little
bit as well, as long as I am zoomed in, and
| | 05:29 | I can see what I am doing.
| | 05:30 | I don't want to paint too far into the ears,
because I want them to sort of decline out
| | 05:35 | of focus there. But I might want to bring
back the detail like the earring and the side
| | 05:39 | of the neck, and I will go ahead and paint
back in the edge of this collar as well.
| | 05:43 | All right, that looks pretty good to me.
| | 05:44 | I will press Ctrl+0 or Command+0 to zoom on
out there and then go ahead and scroll down
| | 05:50 | inside of the image as well. And now I will press
Shift+F in order to switch to Full Screen mode.
| | 05:55 | Go ahead and scroll down little more here,
zoom in as well. And just to give you a sense
| | 05:59 | of what we have been able to accomplish here,
this is the original unblurred version of
| | 06:04 | the scene, and this is our depth-of-field effect
that we have created in post using the Field
| | 06:09 | Blur filter, combined with some very
basic masking, here inside Photoshop.
| | Collapse this transcript |
| Adding a synthetic light bokeh| 00:00 | In this movie, I'll show you how to add a
synthetic bokeh to your depth-of-field effect and when
| | 00:05 | I say bokeh I mean the one that spelled
either b-o-k-e or if you prefer Adobe's spelling b-o-k-e-h.
| | 00:12 | And it's essentially the interplay of
light, the iridescence of the Blur effect.
| | 00:18 | And I want to create a little action down
here inside the highlights in the canal,
| | 00:22 | so I am going to select the Background, press
Ctrl+Alt+J or Command+Opt+J on a Mac, and I'll
| | 00:27 | call this new layer
"canal bokeh" like so, and then click OK.
| | 00:32 | Now I'll drag that layer above the 2nd
pass layer, because we're going to eventually
| | 00:35 | mask it into place, and I'll press Ctrl+Alt+F or
Command+Opt+F on the Mac in order to revisit my pins.
| | 00:43 | Now, you get to the Bokeh options here inside
the Blur Effects panel, but it's very possible
| | 00:48 | the panel will be collapsed.
| | 00:50 | If so, double-click on words Blur
Effects in order to bring up these options.
| | 00:54 | Now I'm going to crank up this
Light Bokeh value to 55%, like so.
| | 01:00 | Notice that that just blows the heck out of
the highlights toward the top of the image,
| | 01:04 | and we'll address that in just a minute.
| | 01:06 | But you'll also notice that the Bokeh is fairly
neutral; in other words, we have white blown
| | 01:10 | highlights that transition into the
original colors inside the image.
| | 01:14 | If you want to light up those edges,
then you increase the Bokeh Color value, and I'm
| | 01:18 | going to take it all the
way up to 60%, like so.
| | 01:22 | Now at this point I've affected the highlights
at the top of the image, but I'm not affecting
| | 01:26 | any of the light that's
being cast onto the canal.
| | 01:29 | And you can change the range of luminance levels
that are affected using this Light Range slider.
| | 01:35 | So notice right now we're affecting any luminance
levels between 210 and 255, so just the brightest
| | 01:41 | luminous levels inside the image.
| | 01:43 | I'm going to drag this black slider triangle
all the way down to 115, like so, and that's
| | 01:48 | going to light up these highlights, really these
midtones in the lower-left region of the image.
| | 01:53 | And now to better focus the effect on those
midtones, I'll go ahead and drag the white
| | 01:58 | slider triangle down to a value of 160,
is actually what I'm looking for.
| | 02:03 | So I'll just go and nudge that value up. And you
can see that ends up giving us these wonderful
| | 02:08 | highlights on the water.
| | 02:09 | Now, that really messes up the details at the
top of the image, and I have all these crazy
| | 02:13 | color effects going on.
| | 02:15 | But that's okay, because we're
going to mask that region out.
| | 02:18 | So once you achieve an effect like I have
here, go ahead and click the OK button in
| | 02:23 | order to apply about that blur to the active
layer. You'll get the progress bar once again.
| | 02:28 | And then once it's finished, because we want
to mask away most of this layer, drop down
| | 02:32 | to the Add Layer Mask icon at the bottom of
the panel and then press Alt key or the Option
| | 02:37 | key and click on it,
| | 02:38 | and that will mask that entire layer away.
| | 02:41 | Then go ahead and grab the Brush tool,
which you can get by pressing the B key.
| | 02:45 | I still have my Hardness value set to 75%, as you
can see if I right-click inside the image window.
| | 02:50 | So I'll go ahead and press the
Enter key to hide that panel.
| | 02:53 | Now I'll press the D key in order to establish
white as my foreground color, and I'll begin
| | 02:58 | painting those highlights
into the water, like so.
| | 03:01 | Now I might want to scroll down, just to make
sure that I'm painting all the way to the
| | 03:05 | bottom of the image. Then I'll reduce the
size of my cursor and paint in a couple of
| | 03:09 | other highlights over this location.
| | 03:11 | But I don't want to go too far with it.
If you start painting over like that, we end
| | 03:15 | up getting an effect that's
not quite that realistic.
| | 03:17 | Anyway, I'm going to press the X key in order
to switch the foreground and background colors,
| | 03:22 | so I can paint with black, and then I'll
paint these little bits of highlight away.
| | 03:25 | And I think that's actually pretty interesting
effect, although I might want to get rid of him.
| | 03:30 | All right, you can do what you want, make
whatever aesthetic choices seem right to you,
| | 03:34 | but this is the effect I was going for.
| | 03:37 | So I'll press Shift+F once again to switch
to the Fill Screen mode, and I'll scroll down
| | 03:41 | a little bit as well.
| | 03:43 | And that is my final synthetic bokeh, thanks
to the Blur Effect options that are available
| | 03:48 | to you anytime you're
working inside the Blur Gallery.
| | Collapse this transcript |
| Using the Selection Bleed option| 00:00 | In this movie I'll introduce you to
selection bleed, and the idea is this:
| | 00:04 | If you select a portion of an image and you
apply any of the filters in the Filter Gallery,
| | 00:09 | then you can choose whether or not to bleed the
deselected portion of the image into the selected region.
| | 00:15 | Now when you're using a filter like
Gaussian blur, this happens automatically.
| | 00:19 | The great thing about Field Blur and the others
is that it doesn't happen automatically, and
| | 00:24 | I'll provide you with a couple of examples.
| | 00:27 | Over the course of this first project, which is
going to bleed, if you will, into the next movie.
| | 00:31 | we're going to take this Wall Street Bull
from the Fotolia Image Library and we're going
| | 00:35 | to turn it into something that has a lot more impact,
a much more interesting composition in my opinion.
| | 00:41 | So, let's start things off by
making a copy of this Smart Object.
| | 00:45 | Notice I have a Smart Object selected.
| | 00:48 | And if you go up to the Filter menu, you'll
see that there aren't that many filters that
| | 00:52 | you can't apply to a Smart Object.
| | 00:55 | There's Liquify and there's Vanishing Point,
and the only other ones are located in the
| | 00:59 | Blur submenu, and they include the first
three filters, which comprise the Filter Gallery,
| | 01:04 | and then we've got Lens Blur.
| | 01:06 | So everything else can be
applied to a Smart Object.
| | 01:09 | So what do we do in this case? How do we turn
this Smart Object into a flat image layer?
| | 01:14 | Well one way to work is to press Ctrl+A or
Command+A on a Mac in order to select the
| | 01:18 | entire image and then press Ctrl+Alt+J or
Command+Option+J on a Mac in order to jump
| | 01:24 | the selection to a pixel-based layer.
And I'll go ahead and call this layer backdrop
| | 01:29 | and then I'll click OK.
| | 01:30 | And we now, as you can see by the lack of
little page icon here in the thumbnail, we
| | 01:36 | now have a flat image layer.
| | 01:37 | Now I want to select a region of the image
by switching to the Channels panel, and you
| | 01:41 | can see I have a couple of
alpha channels set up in advance.
| | 01:44 | Recall that white represents the selection
and black represents the deselected area.
| | 01:49 | So I start by drawing this basic selection
outline using the Polygonal Lasso tool.
| | 01:54 | Then I used the Refine Edge command in order
to clean it up, and we'll learn more about
| | 01:59 | Refined Edge in a later
chapter in this course.
| | 02:02 | But for now what I want you to do is just
load this selection by Ctrl+Clicking on the
| | 02:05 | Refine Edge Channel; on a Mac
you'd Command+Click on it.
| | 02:09 | Then switch back to the RGB image, switch
over to the Layers panel, and because we want
| | 02:13 | to blur the background and not the bull,
we need to reverse the selection by going up
| | 02:17 | to the Select menu and choosing the Inverse command.
Or you can press Ctrl+Shift+I or Command+Shift+I on a Mac.
| | 02:23 | All right, now just to make sure that we're
starting from scratch and we're not applying
| | 02:27 | any old settings, just go to the Filter menu,
choose Blur, and once again choose Field Blur.
| | 02:32 | And you'll end up seeing this number here,
with the marching ants surrounding the selected
| | 02:36 | background and a single default pin
set to a Blur Radius of 15 pixels.
| | 02:41 | All right, I am going to drag this pin to this
region there, right under the animal's arm,
| | 02:47 | and I'm going to increase the amount of Blur.
Just so we can really tell what's going on
| | 02:50 | here, I am going to increase it to 30,
by dragging clockwise inside the ring.
| | 02:54 | And then I'm going to set another blur point
down here by clicking, and I am going to decrease
| | 03:00 | its Blur value to 4. I don't want to send it all the
way to 0; I want to keep some blurriness there.
| | 03:06 | And these two, you want to make sure that these two
pins are more or less in line with each other.
| | 03:11 | And you have to do that manually, by the way;
you're just going to have to eyeball it.
| | 03:15 | But you can check the mask if
you want to, by tapping the M key.
| | 03:19 | And if the M key doesn't stick, by the way, if
the mask ends up blinking in and then blinking
| | 03:23 | out, just tap the M key more quickly.
| | 03:26 | And what you should see is a pretty straight
gradient. You don't want to see a lot of angle
| | 03:30 | to this gradient.
| | 03:31 | All right, I am going to tap M again and now notice
this Selection Bleed option right there. It's set to 0%.
| | 03:36 | I am going to press, by the way, Ctrl+H or
Command+H on a Mac to hide the marching ants.
| | 03:41 | That also goes ahead and
hides my pins, by the way.
| | 03:44 | Right now, it's set to 0%, which means that
we don't have any halo around the selection,
| | 03:50 | so the deselected bull is not
bleeding into the selected background.
| | 03:56 | If we wanted to change that, I could crank
that value up to 100%, and notice now the horn,
| | 04:02 | for example, the deselected horn, is bleeding
outward; the blur is actually bleeding outward
| | 04:06 | into the background.
| | 04:08 | So the Blur Gallery is taking
the deselected area into account.
| | 04:12 | As I say, that's the way it works with
Gaussian blur, and with just about every other filter
| | 04:17 | inside of Photoshop, but
the Blur Gallery is special.
| | 04:19 | Anyway, I don't want that much selection bleed;
I just want a little, so I am going to take
| | 04:23 | this value down to 35%.
| | 04:26 | Then we'll go down to the Blur Effects here.
Notice that the Bokeh is turned on; however,
| | 04:30 | the values have reset to their defaults.
At least that's what you should see.
| | 04:34 | I am going to go ahead and turn Bokeh off,
because I don't want it for this specific effect.
| | 04:38 | Then I'll go up to the top of the window and
click on OK in order to apply that blur to
| | 04:43 | the selected layer.
| | 04:45 | All right, we'll finish this project in
the next movie when we discuss Iris Blur,
| | 04:49 | but in the meantime, I'm going to switch to
another image. Let's say I want to blur this
| | 04:53 | background, which is separated from the glasses
by the way, so we've just got this beach in
| | 04:58 | the background, as you can see
| | 04:59 | if I Alt+Click or Option+Click on the eye
in front of the beach layer. I'll Alt+Click
| | 05:03 | or Option+Click again. I am going to press
Ctrl+J or Command+J on the Mac to make a copy
| | 05:07 | of this layer, and then I'll switch over to
the Channels panel, and notice I have this
| | 05:12 | alpha channel that contains a gradient.
| | 05:14 | So it's going to protect the bottom portion
of the beach, and it's going to reveal the
| | 05:17 | waves and the entire background and
make that available for blurring.
| | 05:22 | So I'll press the Ctrl key or the Command
key on a Mac and click on that channel to
| | 05:26 | load it up as a selection outline.
| | 05:27 | Then I'll switch back to the RGB image, return
to the Layers panel, and then press Ctrl+Alt+F
| | 05:33 | or Command+Option+F on the Mac in order
to reload the last settings applied.
| | 05:38 | And this is really interesting. Notice now
that we can't see the pins, but we can see
| | 05:42 | the marching ants, which is great.
| | 05:43 | Now I'll press Ctrl+H ,and it reverses, so
you don't see the marching ants anymore--we
| | 05:47 | wouldn't want to see those--but we can't
see the pins, which is pretty darn useful.
| | 05:51 | Then go up to the Options bar here and click
Remove all pins, so that we can start over.
| | 05:56 | And I'm going to click to set a pin right
at this location there. And a Blur value of
| | 06:00 | 15 pixels is a little high for this effect,
so I am going to take it down to 10.
| | 06:04 | And notice what's happening here: if you look
closely, you'll see that the blur is not so
| | 06:08 | much unblurring--in other words the landscape
is not coming into focus as it comes toward
| | 06:13 | us; instead, the blur is just becoming more
translucent, which really doesn't make that much sense.
| | 06:18 | Two ways to deal with that. One is to go up
to the Selection Bleed and let's crank that
| | 06:22 | up to 100, so we are bleeding as much of the
deselected area into the selection as possible.
| | 06:28 | And the other thing you want
to do is set another pin.
| | 06:31 | So I am going to click down here at the
bottom of the image, and I'll drag inside the ring
| | 06:34 | until my Blur value is 5 pixels.
| | 06:36 | All right, now I'll click OK in order to accept
that modification. Wait for the Progress Bar
| | 06:41 | if it comes up. Then what I want you to do,
because I actually want the entire background
| | 06:46 | to be slightly blurred, I'll press Ctrl+D or
Command+D on a Mac to deselect the image.
| | 06:51 | I'll press Ctrl+Alt+F or Command+Option+F on the
Mac in order to bring back up my last settings.
| | 06:57 | This guy remains selected, as you can see there,
so I'll just press the Backspace key or the
| | 07:01 | Delete key on a Mac to get rid of it.
| | 07:03 | Then I'll select this other pin, and I am going to
take the Blur value this time down to just 3 pixels.
| | 07:09 | And so in other words, we're heaping
one field blur on top of another.
| | 07:13 | This one is very simple. It doesn't have a
selection. We're not adding multiple pins. Just click
| | 07:17 | OK in order to apply that final effect.
| | 07:21 | And that's how you take advantage of the
Selection Bleed option, available to all three filters
| | 07:26 | included in the Blur Gallery.
| | Collapse this transcript |
| Creating a radial blur with Iris Blur| 00:00 | In this movie, I am going to show you how
to use the next filter in the Blur Gallery,
| | 00:04 | which is Iris Blur, and along the way, we
are going to turn this version of the Wall
| | 00:08 | Street Bull into this final composition.
| | 00:11 | So if you're working along with me, make sure
to press Ctrl+D or Command+D on a Mac so that
| | 00:15 | the entire image is deselected.
| | 00:18 | Switch back to Wall Street Bull layer, press
Ctrl+A or Command+A on the Mac to select the
| | 00:22 | entire thing, and then press Ctrl+Alt+J or
Command+Option+J to jump in to a new layer.
| | 00:28 | And I'm going to name this layer "bull" and
then press the Enter key or the Return key
| | 00:31 | on the Mac and drag the bull
layer above the backdrop layer.
| | 00:35 | All right, now let's load that selection again,
by switching to the Channels panel and pressing
| | 00:39 | the Ctrl key or the Command key on a Mac
and clicking on that refine edge channel.
| | 00:44 | Notice, by the way, that this channel has a
keyboard shortcut of Ctrl+7 or Command+7 on the Mac.
| | 00:49 | Another way to load the selection outline
would be to add the Alt or Option key, so
| | 00:53 | you could press Ctrl+Alt+7 or
Command+Option+7 on the Mac.
| | 00:57 | Now switch back to the Layers panel and then go
up to the Filter menu, choose Blur, and choose
| | 01:03 | Iris Blur to bring up the Blur Gallery.
| | 01:06 | Now, the idea behind the Iris Blur is that you
have the central portion of focus right there.
| | 01:11 | So the pin this time represents the area of
the image that is in focus. I am going to
| | 01:15 | move it to the center of the bull's face.
| | 01:17 | I'm also going to drop the Blur value down
to 10 pixels, and that determines how blurry
| | 01:23 | everything outside of this
elliptical perimeter becomes.
| | 01:28 | These points right there--notice them, these
white dots--they represent the area that is
| | 01:33 | in focus. So this entire area right here
remains in focus, and then the focus declines between
| | 01:40 | the dots and the perimeter of the ellipse.
| | 01:42 | I am going to make the ellipse bigger all
the way around, by dragging directly on that
| | 01:46 | ellipse, and then if you want to change the shape of
the ellipse, you drag on one of these square points.
| | 01:52 | So I am going to drag on this one here in
order to make the ellipse wider, like so.
| | 01:56 | And I am also going to drag up on the one at the
bottom to make the ellipse a little bit shorter.
| | 02:01 | If you want to change the angle of the ellipse,
move your cursor slightly beyond that point.
| | 02:05 | In my case, I have got my cursor just to the right
of the ellipse, and I will drag upward, like so.
| | 02:11 | You can also change the roundness of the
ellipse by dragging on this diamond right here in
| | 02:16 | the upper-right region. And so I am going to
drag it out so that I have more of a rounded-
| | 02:21 | corner rectangle, as opposed to,
strictly speaking, an ellipse.
| | 02:26 | Now if you want to change the size of the
area that's in focus, you drag one of these
| | 02:29 | white circles. And I'm going to drag it inward
like so, to about this location, so that the
| | 02:35 | lowest circle is below the animal's chin.
You can also move each one of the dots independently
| | 02:40 | by Alt or Option dragging it.
| | 02:43 | So I will go ahead and Alt+Drag or Option+Drag
this one to the animal's rib cage right there.
| | 02:47 | I'll Alt+Drag or Option+Drag the left circle
over to the bull's shoulder, and then I will
| | 02:53 | Alt+Drag or Option+Drag the top
circle to just above his head.
| | 02:57 | So this area now, this entire region there
that I am tracing, becomes the area that's
| | 03:01 | in focus, and then the other stuff gradually
declines in focus, all the way to that rounded
| | 03:06 | corner perimeter.
| | 03:08 | All right, now I am going to change the selection
bleed. It's not going to make a huge difference,
| | 03:11 | but I am going to go ahead and raise it to its
maximum setting of 100% so the area outside
| | 03:17 | of the bull is bleeding into
the hooves and into the horn.
| | 03:21 | All right, so that should do it.
| | 03:23 | Now I don't want any kind of bokeh, so I
am going to turn that checkbox off and then
| | 03:27 | I will click OK in order to apply my change.
| | 03:30 | Now, I want to mask my bull, so I'll drop down
to the Add Layer Mask icon and I will click
| | 03:34 | on it, and that will convert the
selection outline into a layer mask.
| | 03:39 | Now I want to add a little bit of a glow,
so I will drop down to that original Smart
| | 03:42 | Object once again.
| | 03:43 | I will press Ctrl+A or Command+A on the Mac,
and I will press Ctrl+Alt+J or Command+Option+J
| | 03:47 | on the Mac and call this new layer glow, and
then I will drag it to above the bull layer.
| | 03:54 | This time we don't need a selection, so I
will just press Ctrl+Alt+F or Command+Option+F
| | 03:59 | on the Mac to bring back up my last settings.
And the only change I want to make is to add some bokeh.
| | 04:05 | So I am going to turn on the Bokeh checkbox,
and I am going to change the Light Bokeh setting
| | 04:09 | to 25%, and I'll take the Bokeh Color value
up to 100%. And finally, I will reduce that
| | 04:16 | first light range value to 30, and I will
take the last Light Range value down to 215, in
| | 04:21 | order to create this effect here.
| | 04:23 | Now, in the case of this layer, I want everything
to be slightly blurred, so right now the area
| | 04:27 | beyond the rounded-rectangle
perimeter has a Blur Radius of 10 pixels.
| | 04:32 | I am going to go up to this Focus value right
there and reduce it to 50% so that we have
| | 04:38 | the equivalent of 10 divided by two, that
is, five pixels' worth of blur right there in
| | 04:43 | the center. And now I will click OK
in order to accept a modification.
| | 04:48 | Now we need to convert this layer into a glow,
and I'll do that by going to the Blend Mode
| | 04:52 | pop-up menu here in the upper-left corner
of the Layers panel, and I will change the
| | 04:56 | mode from Normal to Soft Light, and we
will end up achieving this effect here.
| | 05:00 | Now, we're getting too much contrast out of
the effect, so we need to reduce the contrast
| | 05:05 | of all the layers below the glow layer by
clicking on the bull layer. And then you want
| | 05:10 | to press the Alt key or the Option key on the
Mac, click the black/white icon, and choose
| | 05:14 | Levels--or if you loaded DekeKeys, you could just
press Ctrl+Shift+L or Command+Shift+L on the Mac.
| | 05:19 | I will go ahead and call this new layer
"low contrast" and then press the Enter key or the
| | 05:24 | Return key on the Mac.
| | 05:25 | And I am going to select that first Output
levels value and press Shift+Up Arrow three
| | 05:29 | times in a row to change the value to 30.
Then I will tab to the second value and press
| | 05:35 | Shift+Down Arrow four times in a row to
reduce it to 215. And then finally, I'll Shift+Tab
| | 05:41 | my way back to the Gamma value and I will
press Shift+Up Arrow in order to change it
| | 05:46 | to 1.1, and now I will go ahead
and hide the Properties panel.
| | 05:49 | All right, now I have gone ahead and created
a couple of adjustment layers in advance.
| | 05:53 | The first is this layer called B&W, which is a
Channel Mixer layer. And if I double-click
| | 05:58 | on the layers thumbnail, you can
see the values that I have entered.
| | 06:02 | So I have gone ahead and turned on the Monochrome
checkbox of course, because I want a black-and-white image.
| | 06:06 | The I set Red to 42, Green to 50, Blue to
20, and it's a total of 112, which I have to
| | 06:12 | work out where the histogram is concerned,
and then just make sure I add some nice rich
| | 06:16 | blacks, I took the Constant value down to -2.
| | 06:18 | Next, we have got this Gradient Map layer.
I will go ahead and turn it on and select
| | 06:23 | the layer. And this gradient, by the way, is a
variation of one of those gradients I created
| | 06:28 | for you a few chapters back,
specifically the gradient called Plate finish.
| | 06:32 | All right, I will go ahead and hide the
Properties panel and that is the final version of the
| | 06:36 | effect, folks. And just to see how far we've
come, I will go ahead and scroll down my Layers
| | 06:40 | panel and Alt+Click or Option+Click on the
eyeball in front of the Wall Street Bull layer.
| | 06:45 | So this is the original version of the image
and if I Alt+Click or Option+Click again,
| | 06:49 | this is the final composition,
| | 06:51 | thanks to a combination of Field Blur and
Iris Blur working together here inside Photoshop.
| | Collapse this transcript |
| Creating "fake miniatures" with Tilt-Shift| 00:00 | In this movie, I'll show you how to apply the
final blur gallery filter, which is Tilt Blur.
| | 00:05 | Like Iris Blur, Tilt Blur allows you
to create gradual-focus transitions.
| | 00:09 | However, they are linear
transitions as opposed to radial.
| | 00:13 | And among other things, you can
create fake miniature effects.
| | 00:16 | So in our case, we are going to take this
bustling street scene and we are going to
| | 00:19 | turn it into this thriving little tiny town.
| | 00:22 | So, switch back to my image at hand.
| | 00:25 | And notice that I have converted the
image to a Smart Object and then I applied trio
| | 00:29 | of Smart Filters.
| | 00:30 | I'll go ahead and turn the Smart Filters on,
so you can see. First I applied a big helping
| | 00:34 | of Reduced Noise, and I'll just go ahead and double
click on Reduce Noise so we can see the values.
| | 00:39 | I set the Strength to 10, both Preserve
Details and Reduce Color Noise is set to zero, and
| | 00:44 | then I actually cranked up Sharpen Details to
75% because, as opposed to trying to correct
| | 00:50 | the image, I'm trying to achieve an effect.
| | 00:52 | Then click OK. And the idea here is we are
trying to turn these people into little toys,
| | 00:57 | essentially, that are made out of plastic.
Then I applied Median with a radius of two
| | 01:01 | pixels and finally, I added a dollop of Smart
Sharpen, at 200%, with a radius of one pixel,
| | 01:09 | and Remove set to Gaussian Blur. All right!
| | 01:11 | Let's take that layer and make a copy of it
by pressing Ctrl+A or Command+A on the Mac,
| | 01:16 | and then press Ctrl+Alt+J or Command+Option+J
on the Mac and call this layer Tilt Blur, and
| | 01:22 | then press Enter or Return.
| | 01:23 | Next, go up to the Filter menu,
choose Blur, and then choose Tilt-Shift.
| | 01:28 | And you can see that we now
have this linear transition.
| | 01:31 | So the idea here is the pin represents the
point of focus. And I'll go ahead and move
| | 01:36 | that point of focus onto the front of the
bus. And then these first lines represent
| | 01:42 | the area that will remain in focus, and then
the dotted lines represent the area that's
| | 01:47 | out of focus. And of course beyond the
dotted outline, we have the lower focus, which by
| | 01:52 | default is a blur radius of 15 pixels.
The area between the solid line and the dotted
| | 01:57 | line gradually declines in focus.
| | 02:00 | Now if you want to change the angle of your
Tilt-Shift, you could just go ahead and drag
| | 02:04 | on that white circle like so, and you will
see the angle in that little heads up display,
| | 02:08 | and you can also drag the circle in
order to move that line of focus there.
| | 02:12 | But if you want a little more control,
because you can see that you end up making pretty
| | 02:16 | big changes very quickly when you drag on the
circle, another way to work--I'll go ahead
| | 02:20 | and press Ctrl+Z or Command+Z on the Mac
to undo that change--is to click and drag.
| | 02:26 | So as opposed to just clicking, which will
set another pin--we don't want that, so I'll
| | 02:30 | press the Backspace key or the Delete key
on the Mac, and then once again click on the
| | 02:34 | pin inside the bus--
| | 02:36 | you can drag farther away from the center
point like so, and that's going to give you
| | 02:40 | a lot more control over the rotation.
| | 02:42 | Now, in my case, I don't want any rotation,
so I'll press Ctrl+Z or Command+Z on the Mac.
| | 02:47 | And I'm going to drag this circle down, like
so, and I'm pressing the Shift key in order
| | 02:52 | to constrain the angle of my drag to exactly
vertical. And I am going to drag it to the
| | 02:57 | top of the face of the bus there.
| | 02:59 | And then I'm going to drag the one below while
pressing the Shift key to the bottom of the
| | 03:03 | face of that bus, so just the
bus face is entirely in focus.
| | 03:07 | And then I am going to drag this top line
up. You don't need to press the Shift key
| | 03:11 | this time around because we
are not changing the angle.
| | 03:13 | And I'm looking for the dotted line to
intersect the windshield of that cab right there.
| | 03:19 | And then I'll scroll down. And even though
that lower dotted outline appears outside
| | 03:23 | the canvas, you can still drag it
to a new location. All right!
| | 03:26 | I'll just go ahead and reset my view by
pressing Ctrl+0, Command+0 on the Mac.
| | 03:31 | In addition to the Blur value, you have this
Distortion value, and we are going to get a
| | 03:35 | better sense of how Distortion
works if we increase the Blur.
| | 03:38 | So I'll take it not quite that high, maybe
to something like 30 for now. And now I'll
| | 03:42 | turn on Symmetrical Distortion, because otherwise you
are just going to get a distortion in the foreground.
| | 03:47 | If you turn on Symmetrical Distortion, you will get a
distortion in the foreground and the background.
| | 03:52 | And now I'll go ahead and reduce the Distortion
value, and you can see that the blur is distorting
| | 03:56 | from up-left to down-right; and then if I increase
the Distortion value, it goes in the opposite
| | 04:02 | diagonal direction.
| | 04:03 | In my case, I want a distortion of about 20%.
And I'll then Shift+Tab to the Blur value
| | 04:09 | and take it back down to
15 pixels. All right!
| | 04:12 | So assuming that I like my effect, I'll go
ahead and click OK in order to accept my changes,
| | 04:18 | and I ultimately achieve
this version of my tiny town.
| | 04:21 | So that's how you use the Tilt-Shift filter
inside Photoshop, but let's imagine that you
| | 04:25 | want to create some more points of focus inside
this image. Well, you can combine the various
| | 04:29 | blurs with each other, and I'll show you
how to do exactly that in the next movie.
| | Collapse this transcript |
| Combining multiple Blur Gallery effects| 00:00 | In this movie, I'll show you how to combine multiple Blur
Gallery filters together in order to achieve
| | 00:05 | still more sophisticated effects.
| | 00:08 | So let's say in my case I want the
upper-right corner of my image to be blurrier or still,
| | 00:12 | and yet I want to make sure that
this line right here remains in focus.
| | 00:17 | I might add a little bit of blur to this tree
as well, and I'll do so by adding a Field Blur.
| | 00:22 | So assuming you just got done applying
the Tilt Shift filter, here is what you do.
| | 00:27 | I'll switch back to that traffic layer,
| | 00:29 | press Ctrl+A or Command+A on a Mac, and then
press Ctrl+Alt+J or Command+Option+J on the
| | 00:34 | Mac in order to create a pixel-based copy of
that layer. And I'll call it "more blur" and
| | 00:39 | then I'll press the Enter key or the Return key on
the Mac and drag it above the Tilt Blur layer.
| | 00:44 | Now I'll press Ctrl+Alt+F or Command+Option+F
on the Mac to reinstate my last-applied filter
| | 00:49 | gallery settings, which is that Tilt Blur, and
I'll go head and tilt open the Field Blur
| | 00:55 | in the Blur Tools panel, and that will
automatically turn it on as well and give me a single pin right
| | 01:00 | there in the center.
| | 01:02 | I'm going to move that pin to the upper-right
region of the image, and I'm going to increase
| | 01:06 | the radius by 20 by
dragging clockwise on that ring.
| | 01:09 | Now that wipes out the
focus of the entire image,
| | 01:12 | so I need to reinstate some
focus with a couple more pins.
| | 01:15 | I'll click right there in the face of the
bus to set a pin, and I'll reduce its Blur
| | 01:19 | value to 0. And I might go ahead and drag that pin
over to the left-hand side of the face of the bus.
| | 01:26 | Then I'll click inside this little cab to add
another pin, and I'll reduce its Blur Radius
| | 01:30 | to 0 pixels as well.
| | 01:32 | Now I want to blur the tree, so I'll go
ahead and click right about there in the tree.
| | 01:36 | I don't want it to be that blurry,
| | 01:38 | so I'll reduce the Blur value to 5 pixels, and we
end up with this final version of the effect.
| | 01:44 | Now, if you what you get says what that mask
looks like after all these modifications,
| | 01:49 | you can tap the M key, and then you'll see
the mask, and you will note that we have this
| | 01:54 | hot area of white in the upper right-hand
corner. That represents the maximum blur value
| | 01:58 | we've assigned--0 pixels--and everywhere
that we see the light gray, that represents
| | 02:03 | a decline in the blur.
| | 02:05 | So in this region for examples we've had a
blur, of one would think, about 15 pixels.
| | 02:10 | Here is that tree.
| | 02:11 | So it's dark gray at 5 pixels, and then this line
right here represents the area that remains in focus.
| | 02:18 | I'm going to set one more pin at this
location and reduce its Blur value to 0 as well, so
| | 02:24 | that we have an
uninterrupted line of high focus.
| | 02:28 | Now I'll tap the M key again in
order to hide the mask.
| | 02:31 | Because it's such a nuanced mask, I'm going to go
head and turn on the Save Masks to Channels checkbox,
| | 02:36 | because that's as close as you come to being
able to save your settings from the Blur Gallery.
| | 02:41 | Hopefully, one day we will be
able to save more than this,
| | 02:44 | but that's all we got for now.
| | 02:45 | I'm going to turnoff Bokeh checkbox just to
make sure I'm not getting any Bokeh whatsoever,
| | 02:50 | and then I'll click OK in order to
accept that final modification.
| | 02:55 | Now, let's take a look at what
we've been able to come up with here.
| | 02:57 | I'm going to press the F key couple times
to fill the screen with the image, and then
| | 03:01 | I'll go ahead and zoom in as well.
| | 03:03 | Just for the sake of comparison, here's the
original unmodified version of that photograph,
| | 03:08 | and here's the image rendered as a fake
miniature, with little metal cars and plastic people,
| | 03:13 | thanks to Tilt Shift and Field Blur
working together here inside Photoshop.
| | Collapse this transcript |
|
|
31. Blend ModesBlend Modes| 00:00 | The topic of this chapter is blend modes.
| | 00:03 | In case you haven't heard of them before, a
blend mode uses some basic math -- plus, times,
| | 00:09 | minus, really easy stuff --
| | 00:10 | to blend the active layer with the ones below.
I know; I'm already making it sound hard, but it's not.
| | 00:17 | You know opacity, right?
| | 00:19 | If you set a layer to, say, 75% opacity, that
means you see 75% of it, and 25% of the layers
| | 00:27 | below. So simple.
| | 00:30 | Blend modes just use different formulas.
| | 00:32 | Let's say that you multiply a layer.
| | 00:34 | That means you take the luminance levels from
the active layer, and multiply them by those
| | 00:40 | of the layers below,
| | 00:41 | which means you put this
layer on top of this one,
| | 00:45 | set the arm wrestlers to Multiply, and bang!
| | 00:48 | The active layer becomes a transparent overlay resting
on top of, and thereby darkening, the layer below.
| | 00:55 | Once you get it, you'll use it all the time.
| | 00:57 | Seriously, you and multiply are going to
be best friends in just a few movies.
| | 01:03 | But don't get too chummy, because you know,
there are more than 25 of these things.
| | 01:07 | You don't need to know all of them;
maybe a dozen are of any use.
| | 01:11 | But just for safety's sake, I'm going to
show you every blend mode there is.
| | Collapse this transcript |
| Using the Dissolve mode| 00:00 | All right, gang. So as I mentioned, Normal, the item
at the top of the blend mode pop-up menu, and the
| | 00:05 | default setting here at the top of the Layers
panel; that's the equivalent of having the
| | 00:09 | blend mode turned off, which makes
Dissolve the first true blend mode.
| | 00:13 | We'll be examining how Dissolve works, and
exploring one possible use for Dissolve in this movie.
| | 00:19 | So I am going to switch over to this file.
| | 00:21 | We're going to take this white text right
here, and we're going to turn it into this
| | 00:24 | kind of carving, as if the text
were hand-burned into the sign.
| | 00:28 | So I will start things off by creating a
new layer that I am going to create above
| | 00:33 | the sign layer, and below go away layer. I
will press Control+Shift+N, or Command+Shift+N
| | 00:37 | on the Mac, and I will go ahead and call this layer
black, because ultimately that will be its purpose.
| | 00:42 | But we're going to start things
off by filling it with a circle.
| | 00:46 | So if you've got your Rectangular Marquee
tool selected, you can press Shift+M in order
| | 00:50 | to switch to the Elliptical Marquee, and I
am going to drag from some place toward the
| | 00:54 | center of this signpost, and I will press the
Shift+Alt keys, or the Shift+Option keys on
| | 00:59 | the Mac, to draw from the center outward, as
well as constrain the shape to a circle.
| | 01:04 | Then once I've drawn the shape, I will press the
D key to make sure that black is my foreground
| | 01:08 | color, and I will press Alt+Backspace or Option+
Delete to fill the circle with black. All right!
| | 01:12 | Now I will click off the circle to deselect it,
and then I will go up to the Filter menu,
| | 01:17 | choose Blur, and choose Gaussian Blur, or if
you loaded DekeKeys, then you can press Shift+F6.
| | 01:23 | And I am going to enter this huge
Radius value of 100 pixels, and click OK.
| | 01:28 | So when we're working with Normal, and the
Opacity level is set to 100%, then the central
| | 01:33 | portion of the shape is 100% opaque.
| | 01:36 | It drifts away, thanks to the fuzzy edges
that we created using Gaussian Blur, to complete
| | 01:41 | transparency, so 0% opacity, and it goes and drifts
through all the levels of translucency in between.
| | 01:46 | Now, if I were to, say, press the 5 key to reduce
the Opacity setting in the upper right corner
| | 01:51 | of the Layers panel to 50%, then the most
opaque pixels at the center of the circle
| | 01:56 | will be 50% opaque, and then, of course, they drift
off to transparency, just as before. All right.
| | 02:02 | I am going to press 0 to
reestablish an opacity level of 100%,
| | 02:06 | and then I will go ahead and click on the
word Normal here to bring up the blend mode
| | 02:10 | pop-up menu, and I will change
the blend mode to Dissolve.
| | 02:14 | And notice what we get instead. I'll go
ahead and zoom in on my text, and I will scroll
| | 02:17 | over a little bit as well.
| | 02:19 | So wherever the circle is 100% opaque, we
have absolutely opaque pixels. Anywhere where
| | 02:24 | it's 100% transparent, such as up
here in the upper left corner,
| | 02:28 | we don't see any pixels at all.
| | 02:30 | In between, we see varying levels of pixels.
| | 02:33 | So for example, let's imagine this
area here is roughly 50% opaque.
| | 02:38 | In that case, half the pixels will be turned on, and
the other half of the pixels will be turned off.
| | 02:44 | As the pixels grow more translucent, we'll
see fewer and fewer of them. As they grow
| | 02:49 | more opaque, we'll see more and more of them.
| | 02:52 | So instead of having translucent pixels, we now
have pixels either turned on, or turned off.
| | 02:57 | And so the result is a kind of
poor man's airbrushing effect.
| | 03:01 | Notice if I press the 5 key to reduce the
Opacity of the circle to 50%, then at most
| | 03:06 | we're seeing half the pixels turned on, and
then fewer and fewer are turned on, until
| | 03:11 | we see absolute transparency in the
upper left corner, for example. All right!
| | 03:15 | I will go ahead and press Control+D, or
Command+D on the Mac, to deselect the image.
| | 03:18 | I will also go ahead and turn off
this black layer for the moment.
| | 03:22 | We'll come back to it later.
| | 03:23 | So I will be honest with you; Dither is not
a blend mode that I use very often, but it
| | 03:27 | can sometimes come in handy.
| | 03:29 | For example, let's say I want to take these
hand-drawn letters right there, and I want
| | 03:33 | to give them some texturized edges in order
to achieve this effect here. I will go
| | 03:37 | ahead and zoom in on these letters, so
that we can see what I am talking about.
| | 03:42 | Notice, if you examine the outlines of these
characters, you can see that they're actually
| | 03:46 | etched into the grains of wood, and that's
an effect that we can achieve, at least in
| | 03:51 | part, with Dissolve.
| | 03:53 | So I will go ahead and
switch back to my starter image.
| | 03:55 | And not only can you apply Dissolve as a
blend mode here inside the Layers panel, but you
| | 03:59 | can also apply it to any of the layer effects.
| | 04:02 | So, let's say I want to soften these letters
using that drop shadow trick that I showed
| | 04:06 | you back in Chapter 16 of
the intermediate course.
| | 04:10 | The first thing I do is make the text
invisible by setting the Fill value to 0%, and I can
| | 04:15 | achieve that from the keyboard
just by pressing Shift+0+0.
| | 04:19 | Now I'll drop down to the fx icon, and I
will choose Drop Shadow, and I will start
| | 04:24 | by switching the drop shadow color from black to white,
because we want white text to pull off this effect.
| | 04:30 | I will set the Opacity to 100%, I will change
the blend mode, for now, to Normal, and I will
| | 04:36 | reduce the Distance value to 0, and I'll take
the Size value up to 10 pixels, and then I
| | 04:41 | will turn off the Layer Knocks Out Drop Shadow
layer in order to achieve this effect here.
| | 04:46 | Now let's turn those soft edges around the
text into dithered edges by switching the
| | 04:52 | blend mode from Normal to Dissolve,
and we end up with this dot pattern.
| | 04:56 | Now, if you want more dots, then you
can raise the Size value, like so.
| | 05:01 | If you want fewer dots around those edges,
then you can reduce the Size value.
| | 05:05 | And notice, even if I take the Size value
down to 0 pixels, we're going to get a little
| | 05:10 | bit of ratty edge action.
| | 05:12 | Anyway, as I say, I came up with a size value
of 10 pixels, and then I went ahead and clicked
| | 05:17 | OK in order to accept that effect. All right!
| | 05:20 | Next, I am going to press Control+0 or Command+0
on the Mac to back out, turn my black layer
| | 05:25 | back on, and I'll change it
back to the Normal mode.
| | 05:28 | And incidentally, you've got a keyboard
shortcut for nearly all of the blend modes.
| | 05:32 | As long as the Selection tool is active, you
can press Shift+Alt, or on the Mac, Shift+Option,
| | 05:38 | along with a letter key.
| | 05:39 | So for Normal, it's Shift+Alt+N,
or Shift+Option+N on the Mac.
| | 05:44 | Then I press 0 to reinstate the Opacity to 100%,
and then I press Alt+Backspace, or Option+Delete
| | 05:50 | on the Mac, to fill that entire
layer with black, hence its name.
| | 05:55 | Now we need to go ahead and convert what
we're seeing onscreen to a selection outline.
| | 05:59 | So switch over to the Channels panel, and
press the Control key, or the Command key on a Mac,
| | 06:04 | and click on any of these items.
| | 06:06 | I went ahead and Control+Clicked
or Command+Clicked on RGB,
| | 06:10 | and what that does is it selects all the white
stuff, and deselects the black stuff. So we're
`
| | 06:14 | selecting the letters, in other words.
| | 06:15 | Now I will switch back to Layers panel, click
on this sign layer right there, and I am going
| | 06:21 | to press the Alt key, or the Option key on
the Mac, and drag the sign thumbnail up to
| | 06:25 | the top of the stack in order
to create a duplicate, like so.
| | 06:29 | Now I will go ahead and turn off the go away, and
black layers, because we don't need them anymore.
| | 06:35 | Go over here to layer Mask thumbnail for the
top sign layer, right-click on it, and choose
| | 06:39 | Delete Layer Mask, because that's not the
mask we're looking for this time around, and
| | 06:43 | then drop down to the Add Layer Mask icon,
and click on it in order to mask the sign
| | 06:49 | inside the letters. All right!
| | 06:51 | Now at this point we can't see any difference
between the letters and the sign, because they're
| | 06:54 | the same, so let's go ahead and differentiate
the letters by adding a few layer effects.
| | 06:59 | So I will drop down to the fx icon,
and I will choose Inner Shadow.
| | 07:02 | I will click on the Color Swatch, and I am
going to dial in a Hue value of 30, Saturation
| | 07:07 | 100, and Brightness of 25, and then I will go
ahead and change the blend mode from Multiply
| | 07:13 | to Linear Burn, and I'll explain how
both of these modes work in later movies,
| | 07:18 | but for now, just go ahead and do it, and
then I will reduce the Opacity value to 50%.
| | 07:22 | I am going to take the Distance value up to
15 pixels, and the Size value to 25 pixels,
| | 07:28 | Choke is set to 0.
| | 07:30 | Then switch to Color Overlay, click on its
color swatch, and I am going to dial in a
| | 07:34 | Hue of 30 once again, Saturation of 75, and
the Brightness of 35; click OK. Change the
| | 07:41 | blend mode to Hard Light, one of the big contrast modes;
we'll see how it works in a later movie as well.
| | 07:47 | And then I will take the
Opacity value down to 40%.
| | 07:50 | And finally, I'm going to
add a dark outer glow,
| | 07:53 | so I will click on the Outer Glow.
| | 07:54 | I will change its blend mode to Linear Burn,
and then I'll click on the white color swatch --
| | 07:59 | it may be yellow in your case -- and I'll
change the Hue value to 30 degrees.
| | 08:03 | I will take the Saturation up to 100%, and I
will change the Brightness to 25%, click
| | 08:08 | OK, take the Opacity down to 55%, and then
I am going to take the Size value down to
| | 08:14 | a mere 2 pixels, then click OK. All right;
| | 08:17 | let's go ahead and zoom in on this text.
| | 08:19 | Now, this wood should technically sort of
go down a little bit as it gets exposed,
| | 08:24 | so I'm going to turn off the link between
the sign and this layer mask by clicking
| | 08:30 | on that little chain icon.
| | 08:31 | Then I will click on the sign's thumbnail
there in the Layers panel, and I will press
| | 08:35 | Control+Down Arrow or Command+Down Arrow five times in
a row in order to make the grains go downward.
| | 08:40 | Now we need to roughen up those edges, because
if you zoom in, you can see that they're pretty
| | 08:46 | garbagy right now. A lot of loose
pixels; doesn't look right at all.
| | 08:49 | So I'll click on the layer mask thumbnail
to make it active, go up to the Filter menu,
| | 08:54 | choose Blur, and choose Motion Blur.
| | 08:57 | And I came up with these settings right here;
an angle of -3 degrees, because there's not
| | 09:01 | much of a pitch to these lines.
| | 09:04 | And then I set the Distance value to 5 pixels, and
that helped me achieve this effect here, click OK.
| | 09:09 | I wanted to sharpen up things just a little
bit, so then I went to the Filter menu, chose
| | 09:14 | Sharpen, and chose Smart Sharpen. Make sure,
by the way, that your layer mask, and not your
| | 09:20 | image, is selected.
| | 09:22 | And I came up with these values here: an Amount
of 100%, Radius of 1.0 pixel, and Remove set
| | 09:27 | to Lens Blur. Click OK, and we end up with
this final effect, with these character outlines
| | 09:33 | that are actually matching the
texture of the woodgrain. All right;
| | 09:36 | I will go ahead and press the F key a couple
of times in order to fill the screen with
| | 09:40 | the image, and this is my final effect,
achieved in part using the Dissolve blend mode.
| | Collapse this transcript |
| Multiply and the darken modes| 00:00 | In this movie, I'll demonstrate how to work
with the second group of blend modes in the
| | 00:04 | blend mode pop-up menu, and these include
Darken through Darker Color, and they are known as
| | 00:09 | the darken modes.
| | 00:11 | And the reason is that they turn everything
on the active layer into darkness, which is
| | 00:16 | why they're also known as the shadow mode,
because they effectively turn the layer into
| | 00:20 | a shadow that's being cast
onto the rest of the image.
| | 00:24 | Even very bright colors in the active layer
will create darkness, by the way, with the
| | 00:28 | exception of one color: white.
| | 00:31 | If the active layer contains white pixels,
then those pixels become transparent.
| | 00:37 | So let's see how they work.
| | 00:38 | I've got this background image, which is a
photograph of some parchment from the Fotolia
| | 00:42 | Image Library, about which you can
learn more at Fotolia.com/Deke.
| | 00:46 | I'm going to turn on this gradient layer,
and click on it as well to make it active.
| | 00:51 | So if you're looking at this image along with me,
this is a radial gradient that's positioned
| | 00:55 | near the top of the artwork.
| | 00:57 | Notice, by the way, that the gradient starts
white in the center, and becomes black around
| | 01:01 | the perimeter of the canvas.
| | 01:03 | If I want to turn everything on this layer
into a darkening agent, then I can switch
| | 01:08 | from Normal to any of the
darken modes, starting with Darken.
| | 01:13 | And what the Darken mode does is it keeps
the darkest pixel -- either on the active layer,
| | 01:19 | or the composite version of all the
layers below -- on a channel by channel basis.
| | 01:24 | So if I switch over to the Channels panel,
and click on Red, you'll see that some of
| | 01:28 | the parchment is showing through, because it's
darker, but most of the gradient is visible,
| | 01:33 | because in the Red channel, mostly the gradient
is darker, whereas if we switch to the Green
| | 01:39 | channel, then we get more parchment
details, because those pixels are darker.
| | 01:44 | Anywhere where we're not seeing a spot of
parchment, then that means the respective
| | 01:47 | gradient pixel is darker.
| | 01:49 | And then if I switch to Blue, we get a lot
more parchment, because the parchment is pretty
| | 01:53 | dark in the Blue channel.
| | 01:56 | Then when you switch to Red, you get an
amalgam of everything mixed together.
| | 02:00 | I'll go ahead and switch back to the Layers
panel here, and I'll tell you that Darken,
| | 02:04 | even though it's called Darken, is
one of the lesser darkening modes.
| | 02:07 | You're not going to find
yourself using it very often.
| | 02:09 | I will show you one use,
however, before this movie is out.
| | 02:13 | The better mode is the next mode
down the list, which is Multiply.
| | 02:17 | And by the way, in addition to selecting Multiply
from the menu, I'll show you a keyboard trick here.
| | 02:23 | If you want to advance from one mode to the
other, first of all, if you're working on
| | 02:26 | a PC, make sure to press the Escape key, so
the blend mode menu is not active. And then,
| | 02:32 | whether Mac or PC, as long as one of the
Selection tools is active, you can press Shift+Plus
| | 02:38 | in order to advance to
the next mode in the list.
| | 02:40 | If you want to back up, you press Shift+Minus.
| | 02:43 | Anyway, I'll press Shift+Plus
to advance to Multiply.
| | 02:46 | This is not only a much better mode than Darken, but
also the most practical of all the darken modes.
| | 02:52 | And what it does is it creates nice, organic,
smooth transitions without any color enhancement.
| | 02:59 | So it's strictly a luminance adjustment.
| | 03:01 | And notice what happens here is the darkest
colors in the gradient provide the most darkness,
| | 03:07 | while the lighter colors darken less.
| | 03:09 | And then finally, white doesn't
darken at all; white just goes invisible.
| | 03:14 | But the result is that we have an absolutely
smooth transition from black to parchment.
| | 03:19 | Now, if that's too much darkening,
you can back off the Opacity value.
| | 03:23 | For example, I could press the 7
key to reduce the Opacity to 70%.
| | 03:27 | I'll go ahead and press 0 to
reset the Opacity to 100.
| | 03:31 | If that's not enough darkening, then you can
advance to one of the two next modes; either
| | 03:36 | Color Burn, or Linear Burn.
| | 03:38 | I'll go ahead and press Shift+Plus in order
to advance to Color Burn, and you can see,
| | 03:43 | not only do we get a higher contrast
effect, but we also get enhanced saturation.
| | 03:48 | So Color Burn tends to increase
the saturation dramatically.
| | 03:52 | It also results in a lot of noise
inside of your image, just so you know.
| | 03:57 | If you want less saturation, as well as less
noise, but you still want all of the contrast,
| | 04:03 | then you advance to the next blend mode, which
is Linear Burn. And that is, in my opinion,
| | 04:08 | the second to best darken
mode inside Photoshop.
| | 04:11 | Let me go ahead and compare Multiply
to Linear Burn by doing the following.
| | 04:15 | As I was telling you in a previous movie,
you can get to a blend mode by pressing the
| | 04:19 | Shift+Alt key, or Shift+Option on
the Mac, along with a letter.
| | 04:23 | In the case of Multiply, you press Shift+Alt+M,
or Shift+Option+M on the Mac. That's Multiply.
| | 04:29 | Then to switch back to Linear Burn, I will just go
ahead and press Control+Z or Command+Z on the Mac.
| | 04:34 | So you can see, higher contrast effect, a
little bit of saturation enhancement as well, and
| | 04:40 | a very powerful effect indeed.
| | 04:42 | Now if I press Shift+Plus, we'll advance
to the final darken mode, which is Darker
| | 04:46 | Color, which just goes ahead and keeps
the darkest pixel on a composite basis.
| | 04:51 | So we're seeing these very jagged transitions
between the darker colors in the parchment
| | 04:55 | layer, and the darker
colors on the gradient layer.
| | 04:59 | I will go so far as to say I have never found
a use for this blend mode, and it is really,
| | 05:04 | honestly the least of the darken modes.
| | 05:06 | All right, I'm going to press Shift+Alt+N,
or Shift+Option+N on the Mac, to reset the
| | 05:11 | gradient layer to Normal mode, and
I'll go ahead and turn it off here.
| | 05:14 | I want you to also see what
happens with the brushstroke.
| | 05:18 | So I'll go ahead and select the
brushstroke layer, as well as turn it on.
| | 05:21 | I'm going to go ahead and skip Darken, and
Darker Colo,r and I'll press Shift+Alt+M, or
| | 05:26 | Shift+Option+M on the Mac, to switch to the
Multiply mode. And you can see, just like that,
| | 05:30 | we've turned this blue
brushstroke into a magic marker effect.
| | 05:34 | If you want a more colorful effect, you can
press Shift+Plus to advance to Color Burn,
| | 05:38 | but in this specific case, we're dropping out a
lot of the darkness, and we're creating some
| | 05:42 | jagged transitions, as well as some noise.
| | 05:45 | If you want a genuinely darker effect than Multiply,
you press Shift+Plus again to advance to Linear Burn.
| | 05:51 | Again, for the sake of demonstration, I'll
press Shift+Alt+M, or Shift+Option+M on the Mac.
| | 05:57 | That's the Multiply mode.
| | 05:58 | If I press Control+Z,
that's the Linear Burn mode.
| | 06:01 | All right; I'm going to go
ahead and turn that layer off.
| | 06:04 | I was telling you, I never use a Darker
Color mode, and I only occasionally use Darken.
| | 06:09 | I'll go ahead and click on the
wrestlers layer, and turn it on.
| | 06:13 | Just by way of example, here is
an interesting use for Darken.
| | 06:16 | I'll take that wrestlers layer, and I'll go up
to Layers panel flyout menu, and I'll choose
| | 06:20 | Convert to Smart Object, or if you loaded dekeKeys, you
can press Control+Comma, or Command+Comma on the Mac.
| | 06:25 | And then I'll go up to the Filter menu,
choose Blur, and choose Gaussian Blur.
| | 06:29 | And I'll go ahead and set the Radius
value to 4 pixels, and then click OK.
| | 06:34 | Now, that ends up
uniformly blurring the image.
| | 06:37 | If you want to turn this blur into a kind
of edge effect, what you can do is go down
| | 06:42 | here to the Smart Filters.
| | 06:43 | I'm going to right-click on that filter mask,
and delete it, just so I have a little more
| | 06:47 | room in my Layers panel
| | 06:49 | And then I'll double-click on the slider icon
to the right of the words Gaussian Blur, and
| | 06:54 | I could go ahead and change the blend mode
to Multiply -- which, I'm telling you, is your
| | 06:58 | when in doubt darken mode inside Photoshop --
but that's going to uniformly darken the image.
| | 07:03 | So it's going to use the blurry version of
the image to darken the sharp version, and
| | 07:09 | we're going to end up losing a lot of detail.
| | 07:11 | However, if I set the blend mode to Darken
instead, you can see that we're getting a
| | 07:15 | kind of dark edge effect.
| | 07:17 | That's most obvious here
inside of the hands.
| | 07:20 | So we get some abrupt transitions here and
there, but it can be interesting at times.
| | 07:24 | All right, I'll go ahead and
click OK to accept the effect.
| | 07:28 | I don't want the blur; I
just wanted to show you that.
| | 07:30 | So I'm going to turn the
Gaussian Blur effect off.
| | 07:33 | And what I want to do, when everything is
said and done, is I want to blend the wrestlers
| | 07:38 | into the background parchment.
| | 07:39 | So there is the parchment in the background.
| | 07:41 | There is the wrestler layer.
| | 07:43 | It's selected and waiting for me, so I'll go
ahead and choose the Multiply mode in order
| | 07:47 | to darken one layer into the other.
| | 07:50 | If you want an analogy for how this works,
imagine that we have the wrestlers printed
| | 07:54 | on one transparency, and we have the
parchment printed on another transparency.
| | 07:59 | We lay them on top of each other on a
light table, and this is the effect we'd get.
| | 08:04 | If that's not enough -- which it isn't in my
case, I want a more powerful effect -- then
| | 08:08 | in most cases you're going to want to skip Color Burn,
and in this case, it's certainly nothing I want.
| | 08:13 | Instead, you'll go all the way to Linear Burn in
order to create this very dramatic effect here.
| | 08:20 | And that's how you work with the five darken
modes; in particular, Multiply, and if that
| | 08:24 | doesn't work, try Linear
Burn, here inside Photoshop.
| | Collapse this transcript |
| Screen and the lighten modes| 00:00 | In this movie, I'll demonstrate
the third group of blend modes.
| | 00:03 | These are the lighten modes, shown in red
inside this slide, and every one of them uses the
| | 00:07 | active layer to brighten the contents of the
layers below, which is why these are also
| | 00:13 | known as the glow modes.
| | 00:15 | Every single color on the active layer, even
very dark colors, ends up darkening the colors
| | 00:20 | in the background, with the
exception of one color: black.
| | 00:24 | If the active layer contains black
pixels, those pixels become transparent.
| | 00:29 | Also worth noting is that there is a symmetry
associated with the lighten modes, vis-à-vis
| | 00:34 | the darken modes.
| | 00:35 | So in other words, every single one of the
lighten modes is an opposite of the darken
| | 00:39 | mode, and in the same order.
| | 00:40 | So Lighten is the opposite of Darken, Screen
is the wonderful opposite of Multiply, Color
| | 00:45 | Dodge and Linear Dodge are the opposites of
Color Burn and Linear Burn, and Lighter Color
| | 00:51 | is just as worthless as Darker Color.
| | 00:54 | So I'm going to switch to my composition in
progress here, and I'm going to turn off the
| | 00:57 | wrestlers layer, scroll down to the bottom,
and turn on this invert adjustment layer,
| | 01:02 | which turns our bright parchment dark, and
also inverts the color scheme from a palette
| | 01:07 | of oranges to one of blues.
| | 01:09 | Now I'll click on the gradient
layer, and turn it on as well.
| | 01:12 | So again, we have a radial gradient;
white in the center, black on the outside.
| | 01:17 | If I switch the blend mode for this layer to
Lighten, then I will keep just the brightest
| | 01:21 | pixels on a channel by channel basis.
| | 01:24 | So if we switch over to the Channels panel,
you'll see that the inverted parchment is
| | 01:28 | very dark in that Red channel, and as a
result, the gradient pixels tend to win.
| | 01:33 | If we switch to the Green channel, we see
the parchment brightening up, and as a result,
| | 01:38 | we're getting more pixels from the
parchment encroaching on the gradient.
| | 01:42 | Then finally, the inverted parchment is
brightest in the Blue channel, and as a result, we're
| | 01:46 | seeing a lot of pixels from the parchment layer,
along with fewer pixels in the gradient layer.
| | 01:52 | I'll go ahead and switch back to
RGB, and return to the Layers panel.
| | 01:57 | That's all fine, but once again, we end
up with some pretty choppy transitions.
| | 02:00 | If I want smoother transitions, I can press
Shift+Plus in order to advance to the Screen
| | 02:05 | mode, and that takes our white to black gradient,
and turns it into a radial glow, with no remnants
| | 02:12 | of darkening whatsoever.
| | 02:14 | Absolutely smooth, beautiful effect!
| | 02:17 | Now, if that's too timid for you, you can
press Shift+Plus to advance to Color Dodge,
| | 02:22 | but as you can see, you're going to get some
hyper-saturated colors, some very radical
| | 02:27 | luminance transitions, and you're going to
get a lot of noise as well, which is why the
| | 02:31 | better way to brighten is to switch
to the next mode: Linear Dodge (Add).
| | 02:37 | And it's so called, by the way, we're seeing
Add in parentheses, because the mode really
| | 02:41 | does add the luminance levels of the active
layer to those of the composite version of
| | 02:47 | the image below, which is why we end up
blowing a lot of highlights in this case.
| | 02:52 | And I should mention, Linear Burn does the same
thing, only opposite, so you could potentially
| | 02:57 | end up with a lot of clipped shadows.
| | 02:59 | And just to give you a sense of the difference
between Screen and Linear Dodge, I'll go ahead
| | 03:04 | and press the Escape key, so the blend mode
pop-up menu here on the PC is no longer active,
| | 03:09 | and I'll press the keyboard shortcut for the Screen mode,
which is Shift+Alt+S, or Shift+Option+S on the Mac.
| | 03:15 | So here's Screen; very smooth effect.
| | 03:17 | It doesn't enhance the saturation levels at
all, strictly affects the luminance levels,
| | 03:23 | and if I press Control+Z or Command+Z on the Mac,
here, by contrast, is Linear Dodge, which
| | 03:27 | produces a higher contrast effect that
potentially ends up clipping highlights.
| | 03:32 | Once again, something that the Screen mode
cannot do; Screen never clips highlights,
| | 03:37 | and Multiply never clips shadows.
| | 03:39 | Then finally, if I press Shift+Plus to
advance to the Lighter Color mode, we'll see that
| | 03:43 | we're either keeping pixels from the active
layer, or from the composite layers in the
| | 03:47 | background on a pixel by pixel basis, and as a
result, we unfailingly get jagged transitions.
| | 03:53 | All right, I'm going to go ahead
and turn that gradient layer off.
| | 03:57 | Now let's see how these
modes affect a brushstroke.
| | 04:00 | I'll go ahead and click in the
brushstroke layer, turn it on as well.
| | 04:03 | The brushstroke is set to Linear Burn.
| | 04:05 | Let's go ahead and press Shift+Alt+N, or Shift+
Option+N on the Mac, to reset it to the Normal mode.
| | 04:09 | I also want to invert it, so I'll just press
Control+I, or Command+I on the Mac, and that turns
| | 04:14 | that formerly bright blue
brushstroke to a darker orange.
| | 04:18 | Now, because really no sense in checking out
Lighten, or Lighter Color, I'll press Shift+Alt+S,
| | 04:23 | or Shift+Option+S on the Mac, to switch to
the Screen mode, and you can see that we get
| | 04:27 | this kind of impossible
highlighter effect, which is very cool.
| | 04:31 | Then I'll press Shift+Plus
to advance to Color Dodge.
| | 04:35 | Most of the effect drops away.
| | 04:36 | We get some pretty ratty transitions.
| | 04:39 | And then I'll press Shift+Plus again to
advance to Linear Dodge, which provides us with a
| | 04:43 | higher impact effect.
| | 04:45 | All right, I'm going to turn off brushstroke,
and I'm going to scroll down to the stars
| | 04:49 | layer, and turn it on.
| | 04:50 | And you can see that this
layer is already a Smart Object.
| | 04:52 | I want to show you that same Gaussian Blur
trick that I showed you in a previous movie,
| | 04:57 | except this time combined with Lighten.
| | 04:59 | So because Gaussian Blur was the last filter I
applied, it appears at the top of the Filter menu.
| | 05:04 | If I choose the command, because I'm working
on a Smart Object, that brings up the Gaussian
| | 05:08 | Blur dialog box. A Radius of 4 is just fine.
Click OK in order to apply the filter,
| | 05:14 | and then double-click on the slider triangle
to the right of the words Gaussian Blur, and
| | 05:18 | I'm going to change the mode
this time to a brightening mode.
| | 05:21 | I could start with Screen, because it is your
when in doubt mode, but that's going to give
| | 05:25 | us a very hot effect, because we're taking the
entirety of the blurred image, and screening
| | 05:30 | it on top of the original.
| | 05:33 | However, if we choose Lighten instead, we're going
to keep just these little glows; notice that.
| | 05:38 | I'll go ahead and zoom in
here inside of the dialog box.
| | 05:42 | We have these glows around the outside of
our synthetic stars, which I think is quite
| | 05:47 | a nice effect actually.
| | 05:48 | So I'll click OK in order to
accept that modification,
| | 05:51 | and now I want to blend the stars into
the background dark blue parchment.
| | 05:55 | So I'll start by pressing Shift+Alt+S, or Shift+
Option+S on the Mac, to assign the Screen mode to the
| | 06:01 | stars layer. And that's the way you
work, by the way, with lighten modes;
| | 06:05 | you always start with Screen, see how it works
out, and then my advice is, if Screen doesn't
| | 06:10 | deliver a sufficiently high impact effect,
go ahead and switch to Linear Dodge (Add).
| | 06:17 | What that's done in the case of this image
is create this kind of hole in the center
| | 06:21 | of the paper that's so bright,
| | 06:24 | the star is so very bright, that it's difficult to
even look at, which is exactly the effect I want.
| | 06:29 | Now I'm going to turn the wrestlers layer
back on, and click on that layer as well.
| | 06:33 | You can see that, because they're set to
Linear Burn, they now appear too dark.
| | 06:38 | So I'm going to press the Escape key.
| | 06:39 | Do you see what I'm talking about?
| | 06:40 | There is a little blue highlight around the
blend mode pop-up menu that prevents basically
| | 06:45 | all of your keyboard shortcuts from working,
because Windows is focused on the pop-up menu.
| | 06:50 | And if this ever happens to you -- you try out a
keyboard shortcut, and nothing happens -- just
| | 06:54 | try tapping on the Escape key. Even on the
Mac this kind of stuff can happen, and tapping
| | 07:00 | the Escape key is oftentimes the solution.
| | 07:03 | Then I'll switch to the Multiply mode by
pressing Shift+Alt+M or Shift+Option+M on the Mac.
| | 07:09 | And I want to mention one more thing.
| | 07:10 | I'm going to turn that wrestlers layer off
for a moment, switch back to stars, and press
| | 07:14 | Shift+Alt+S, or Shift+Option+S on the Mac.
| | 07:17 | The reason the Multiply mode is called Multiply
is because it actually multiplies the luminance
| | 07:22 | levels of pixels.
| | 07:23 | The reason Screen is called Screen is
because of the analogy for how it works.
| | 07:29 | It's just like taking the stars, for example,
and the dark blue parchment, putting them
| | 07:33 | on, say, 35mm slides, putting those slides in
separate projectors, and shining them both
| | 07:40 | at the same screen.
| | 07:42 | And that's why you end up
getting this brightening effect.
| | 07:45 | Anyway, I'll go ahead and turn
the wrestlers layer back on.
| | 07:48 | And I actually think I like this
combination of Screen and Multiply better here.
| | 07:52 | A great thing about blend modes, of course,
is that they're entirely nondestructive, and
| | 07:56 | you can change your mind anytime you like.
| | 07:59 | That's how you work with the lighten modes.
| | 08:01 | Remember to start with Screen, and if that
doesn't give you the effect you're looking
| | 08:05 | for, try out Linear
Dodge here inside Photoshop.
| | Collapse this transcript |
| Cleaning up and integrating a bad photo| 00:00 | In this movie, I will show you how to take
some bad artwork that gets foisted on you,
| | 00:04 | for example, by a client, and then integrate
it seamlessly with your wonderful composition
| | 00:09 | using a combination of
darken and lighten blend modes.
| | 00:13 | So let's say, for example, that we are looking
at that comp that I created at the end of
| | 00:17 | the movie before last, and my client wants
me to take this light bulb, not some other
| | 00:22 | light bulb, but this light bulb that's this
piece of line art that they printed out.
| | 00:26 | They hired a guy to draw some Sharpie lines
on it, and then they didn't even scan it;
| | 00:30 | they took a digital photo, and applied
as much JPEG compression as possible.
| | 00:35 | And I'm supposed to integrate it into my
composition in order to create this seamless effect here.
| | 00:40 | Thanks to blend modes,
the answer is, no problem.
| | 00:44 | So I am going to go ahead and
switch back to this image.
| | 00:46 | So first thing that we need to do is get
rid of all these weird aberrant colors.
| | 00:49 | So I am going to go up to the Image menu,
choose Mode, and just choose Grayscale.
| | 00:52 | I don't need to create a custom mix.
| | 00:54 | I will get that alert message; I
will click on the Discard button.
| | 00:58 | Now we have a Grayscale image.
| | 00:59 | The next step is to increase the Contrast,
and I am just going to do that using a static
| | 01:03 | adjustment, so I will press Control+L, or Command+L
on the Mac, to bring up the Levels dialog box.
| | 01:09 | And then I could grab the white Eyedropper
tool, and then click somewhere in what should
| | 01:12 | be page white in order to clip that
background to white. And that's not quite enough,
| | 01:17 | so I will try clicking at this location instead here. And
I am still seeing some noise around the light bulb,
| | 01:22 | so I am going to take that white point value
down to 90, let's say, and then I will increase
| | 01:27 | the black point value to 20.
| | 01:29 | I figured that works pretty good for this
image, and then finally I'll click in the
| | 01:33 | gamma value, and press Shift+down arrow a
couple of times in order to take that middle value
| | 01:38 | down to 0.8, and I will click OK.
| | 01:41 | Now we need to get rid of all the folderol
around the light bulb, and I am going to do
| | 01:45 | that by first confirming that I've got white,
and only white, around the bulb, and so I will
| | 01:51 | go ahead and click and hold on the Quick Selection tool,
and select the Magic Wand from the flyout menu.
| | 01:56 | This is a great use for the wand, by the way.
| | 01:58 | I will press the Enter key in order to
highlight the Tolerance value, and then I will change
| | 02:02 | it to 0, and I will turn off the Anti-alias
checkbox, and then I'll click somewhere in
| | 02:07 | that background, and I can see that I have got
this big area of white surrounding the bulb.
| | 02:12 | That's great.
| | 02:13 | I want to get rid of the stuff that's not
selected, so I will go up to the Select menu,
| | 02:16 | and choose the Inverse command, or press Control+Shift+
I, Command+Shift+I on the Mac. And then, of course,
| | 02:22 | I want to keep the bulb, so I will go ahead
and switch to the standard Lasso tool, which
| | 02:26 | I can get by pressing the L key, and I will
press the Alt key, or the Option key on the
| | 02:30 | Mac, which allows me to subtract from the
selection, and I will just drag around the bulb, like
| | 02:35 | so, and then I will release.
| | 02:38 | Now everything that remains selected needs
to be white, so I will press the D key to
| | 02:42 | ensure I have got my default colors, and I
will press Control+Backspace, or Command+Delete
| | 02:46 | on the Mac, in order to get
rid of all that garbage.
| | 02:49 | All right, now I will press Control+D, or Command+
D on the Mac, in order to deselect the image,
| | 02:54 | and I am going to go ahead and double-click
on this background inside of the Layers panel,
| | 02:58 | and I'll rename this new layer lightbulb,
and click OK, and now I will copy the image
| | 03:02 | to my composition by right-clicking anywhere
inside the image window, and choosing Duplicate
| | 03:06 | Layer, and I will set the Document to Wrestlers
simplified, which is the name of my image,
| | 03:12 | and I will click OK.
| | 03:13 | All right, now I will switch back to that
image, and you can see that the light bulb is
| | 03:17 | doing a great job of
covering up the composition,
| | 03:20 | but the composition is here.
| | 03:21 | I will turn the lightbulb
layer off, so you can see.
| | 03:24 | Now I will turn it back on.
| | 03:25 | Now, you may think the thing to do, and
frequently I will hear this from folks;
| | 03:29 | the thing to do to get rid of that white
background is to reselect the Magic Wand tool, and then
| | 03:34 | click inside the image, and delete the white,
and you will end up with a bunch ratty edges,
| | 03:39 | and it'll look terrible.
| | 03:40 | That's not what you want to do at all.
| | 03:42 | Instead, you want to just go ahead and select
that when in doubt darken mode: Multiply.
| | 03:48 | And because I have the Selection tool active, I
can just press Shift+Alt+M, or Shift+Option+M
| | 03:53 | on the Mac, and that automatically drops out the
whites. And it does so temporarily, of course.
| | 03:58 | It is still there; you can see
that in the layer thumbnail,
| | 04:01 | but we are able to exactly get rid of them,
and seamlessly integrate the light bulb with
| | 04:05 | one blend mode, and nothing more.
| | 04:07 | All right, I am going to press the M key to
switch back to the Rectangular Marquee tool,
| | 04:10 | and now we need to transform the light bulb;
scale, and rotate it, and apply a little bit
| | 04:15 | of distortion as well,
| | 04:16 | so it properly matches the scene. And actually, I
want to transform the light bulb nondestructively,
| | 04:22 | so I'll go ahead and convert
the lightbulb to a Smart Object.
| | 04:26 | Now, generally speaking -- this
is just by way of advice --
| | 04:29 | generally speaking your best off applying the
blend mode after you create the Smart Object.
| | 04:33 | You don't have to work that way, but
it gives you the most flexibility.
| | 04:37 | So I am going to reset this layer to Normal
by pressing Shift+Alt+N, or Shift+Option+N
| | 04:42 | on the Mac, then I will go to the Layers panel
flyout menu, and choose Covert to Smart Object,
| | 04:47 | or if you loaded dekeKeys, you can press Control+Comma
or Command+Comma, and now I will press Shift+Alt+M,
| | 04:52 | or Shift+Option+M, in order to apply
Multiply to the overall Smart Object.
| | 04:58 | Now let's transform it, so I will go up to
the Edit menu, and choose a Free Transform
| | 05:02 | command, or you can press Control+T, or Command+T
on the Mac, and I want to start things off
| | 05:06 | by reducing the size of this bulb.
| | 05:08 | I happen to know that
it wants to be about 55%.
| | 05:11 | So I will click on the chain icon up here in
the options bar, click on W to select that
| | 05:17 | value, and change it to 55, and now I will
go ahead and drag this guy up a little bit,
| | 05:22 | and rotate the bulb by dragging outside the
bounding box, and I'm rotating it at this
| | 05:27 | one about 26.5 degrees, but you can go your
own way. And now I'll move this guy up, and
| | 05:32 | he is a little slanted, as you can see here.
| | 05:35 | So I will Control+Drag or Command+Drag one of
the side handles until the bottom of the bulb
| | 05:40 | looks pretty darn straight, and I think that's
going to work, but I'd like the bulb to be
| | 05:44 | a little taller as well.
| | 05:45 | So I'll go ahead and drag on the bottom handle,
and that ends up making the bulb look a little
| | 05:51 | crooked, I am thinking here.
| | 05:52 | So I am sort of going back and
forth, just eyeballing things.
| | 05:55 | I will Control+Drag or Command+Drag the bottom
handle, in order to slant the bottom of the
| | 06:01 | bulb to the right, and this ends
up looking pretty good to me.
| | 06:05 | All right, now I will press the Enter key, or
the Return key on the Mac, in order to apply
| | 06:09 | that transformation. Because we are working
with a Smart Object, this is a nondestructive
| | 06:13 | modification, so obviously if you want to make
further changes, all you have to do is press
| | 06:18 | Control+T, or Command+T on the Mac, to
re-enter that Free Transform mode.
| | 06:22 | All right, so that gets us about half the
way there, but you may recall that we are
| | 06:26 | actually interested in coloring the light bulb,
as well as taking those black rays, and making
| | 06:31 | them bright, and I'll show you how to pull
off those modifications, again with the help
| | 06:35 | of blending, in the next movie.
| | Collapse this transcript |
| Blending inside blend modes| 00:00 | In this movie, I'll show you how to pull
off what I call blending inside blend modes.
| | 00:05 | So here is the idea.
| | 00:06 | You are looking at this composition, and you
are thinking this black and white bulb really
| | 00:10 | doesn't match the natural warmth of the scene,
so you have got to do something about that.
| | 00:14 | And then the client comes to you and says,
you know, it doesn't even make any sense that
| | 00:17 | these rays of light coming off the bulb are
black. Even though that's the artwork I gave
| | 00:22 | you, I want you to change them to bright yellow,
and while you're at it, make the bulb glow too.
| | 00:28 | Turns out, it's really easy to
pull this off once you know how.
| | 00:31 | There's a little selecting and masking involved,
but it's mostly a matter of combining the
| | 00:35 | color overlay layer effect,
along with some advanced blending.
| | 00:39 | So let's start by colorizing the bulb.
| | 00:41 | I will drop down to the fx icon at the
bottom of the panel, and choose Color Overlay.
| | 00:46 | As usual, we don't want red, so I will click
on the color swatch, and I came up with a Hue
| | 00:50 | value of 40, a Saturation of 100% is fine,
and then a Brightness of 65%, then click OK.
| | 00:58 | Now, typically when you want to colorize a
layer, you change the blend mode or the color
| | 01:02 | overlay effect from Normal to Color.
| | 01:06 | But that ends up giving us a pretty garish
effect; not really what I'm looking for.
| | 01:10 | I want to match some of the
natural browns inside the scene.
| | 01:13 | So I am going to apply the first of the contrast
modes, which we will be discussing in the future
| | 01:18 | movie; specifically Overlay,
and we end up with this effect.
| | 01:22 | Now, you can see the bulb is nice and
brown, but we do have a few problems here.
| | 01:28 | This color overlay set to the Overlay mode
is affecting the background art as well, so
| | 01:32 | the model's faces are turning orange.
| | 01:35 | That's a problem.
| | 01:36 | Well, here is how you solve it.
| | 01:38 | You go back to Blending Options here in the
left-hand list, and you will see mid way down
| | 01:42 | a series of checkboxes, and while these
checkboxes have some pretty cryptic names, just bear
| | 01:47 | in mind that they're all
designed to solve problems.
| | 01:50 | In our case, we are applying the color overlay
effect after we are multiplying the
| | 01:55 | light bulb into the composition.
| | 01:56 | What we want to do is reverse that order, and if
you turn on Blend Interior Effects as Group,
| | 02:02 | then you first apply color overlay with the
Overlay mode to the lightbulb layer, and then
| | 02:07 | you multiply that effect into the artwork, and
we end up getting this seamless transition.
| | 02:12 | All right, now I will click OK
in order to accept that affect.
| | 02:16 | Now we need to make those black rays bright.
| | 02:19 | So I will start things off by switching to
the Elliptical Marquee tool, and then I will
| | 02:23 | drag around the light bulb, and I have got
the Shift key down, so I am tracing a perfect
| | 02:27 | circle, and I am using the spacebar in order
to align that circle around the main portion
| | 02:32 | of the bulb there at the top, and then I will
press Shift+M to switch back to the Rectangular
| | 02:37 | Marquee tool, and I will Shift+Drag like that
in order to enclose the bottom portion of
| | 02:43 | the light bulb. And this is
not a very accurate selection;
| | 02:46 | it looks like a key hole, but it does a great job of
separating the rays of light from the bulb itself.
| | 02:52 | Now drop down to the bottom of Layers panel,
and click on the Add Layer Mask icon in order
| | 02:57 | to mask away those rays.
| | 02:59 | Now we need to separate the rays on an independent
layer, so we need to regain access to our last
| | 03:04 | selection outline, which you can do by going
up to the Select menu, and choosing Reselect,
| | 03:08 | or pressing Control+Shift+D, or
Command+Shift+D on the Mac.
| | 03:12 | We need to select the rays, not the blubs, so
revisit the Select menu, and choose Inverse,
| | 03:17 | or press Control+Shift+I, Command+Shift+I on
the Mac, then click on the thumbnail for the
| | 03:21 | layer itself here inside the Layers panel,
and press Control+Alt+J, or Command+Option+J on
| | 03:27 | the Mac, and we will go ahead and call this
new layer rays, and then click OK, and you now
| | 03:32 | have the rays separated
to an independent layer.
| | 03:35 | Now, for what it's worth, the rays are a pixel-based
layer; they're not a Smart Object, but that's okay.
| | 03:40 | We don't need them to be.
| | 03:41 | All right, we want to make them bright, so
press Control+I, or Command+I on the Mac, in order
| | 03:46 | to invert that layer, and then switch from
Multiply to Multiply's opposite, which is Screen,
| | 03:53 | and you will end up
screening those rays of light.
| | 03:56 | Problem is, they're white; we
want them to be bright yellow.
| | 04:00 | So notice that we still have
the color overlay effect.
| | 04:03 | We also have this little double box item here,
which is telling us that there are some advanced
| | 04:08 | blending options at work.
| | 04:09 | Go ahead and double-click on it, and that'll
bring up the Blending Options panel inside
| | 04:13 | the Layer Style dialog box, and what it
means is this checkbox has been turned on.
| | 04:18 | So Blend Interior Effects as
Group is still turned on.
| | 04:21 | That's what we want,
| | 04:21 | so it's excellent news.
| | 04:22 | I will go ahead and switch to Color Overlay,
and we want to burn this color into the white,
| | 04:28 | which means the blend mode we want, and this
may seem strange, but it's Multiply, because
| | 04:33 | that way we will colorize those white
lines with whatever color we select.
| | 04:38 | Now, I want this color to be a little
brighter, so I will click on the color swatch, and I
| | 04:42 | found that I just needed to switch out the
Saturation and Brightness values, so I will
| | 04:46 | change Saturation to 65%, and Brightness to 100%, and
then click OK, and we get these bright rays of light.
| | 04:53 | Now, you need to remember those values, by the
way. I will click on the swatch again; 40,
| | 04:58 | 65, 100, because we are going to use
them to create the glow as well.
| | 05:02 | All right, now go ahead and click the OK button
in order to apply that change, and now let's
| | 05:07 | create a new layer below the light bulb. So
I will click on the wrestlers layer, press
| | 05:11 | Control+Shift+N, or Command+Shift+N on Mac, in
order to create a new layer. I will name it
| | 05:15 | glow, and click OK.
| | 05:16 | And now I will switch to the Gradient tool
by clicking on it, or you can press the G key,
| | 05:22 | and I want a radial gradient, so I will go
ahead and click on the second item in, and
| | 05:26 | I also want to switch to
Foreground to Transparent.
| | 05:30 | Now my foreground color is wrong.
| | 05:31 | I don't want black,
| | 05:33 | so I will go ahead and dial in that same color
that we applied for the last color overlay.
| | 05:38 | So the Hue value should be 40 degrees, we
want a Saturation value of 65%, and a Brightness
| | 05:43 | of 100%, and then I will drag from the center
here outward to about this location in order
| | 05:50 | to create a bright glow.
| | 05:52 | Now, currently the glow is opaque, so you have to
press the M key to switch back to the Rectangular
| | 05:57 | Marquee tool, so you have a Selection tool
active, and then you can press Shift+Alt+S,
| | 06:02 | or Shift+Option+S on the Mac, to switch to
the screen mode. And I want to make just one
| | 06:07 | more modification.
| | 06:08 | I am going to click on the lightbulb layer,
which is the next layer up, to make it active,
| | 06:12 | and I want to increase the intensity of that
light bulb effect, so I get a little more
| | 06:17 | saturation out of it.
| | 06:18 | I will press Shift+Plus in order to advance
to the Color Burn mode. Obviously that's not
| | 06:23 | what I want, so I will press Shift+Plus again
in order to advance to the Linear Burn mode,
| | 06:28 | and that looks much better.
| | 06:30 | So just for the sake of comparison, I
will press Shift+Alt+M, or Shift+Option+M.
| | 06:34 | That's the Multiply version of the light bulb,
and if I press Control+Z, or Command+Z on the
| | 06:39 | Mac, this is the more
intense Linear Burn version.
| | 06:42 | And that folks, strange as it may seem, is how
you combine a layer effect with some advanced
| | 06:48 | blending in order to effectively blend
inside blend modes here inside Photoshop.
| | Collapse this transcript |
| Overlay and the contrast modes| 00:00 | In this movie, I will demonstrate the next
group of blend modes, which are the so-called
| | 00:04 | contrast modes, that I've color-coded in green
inside of this diagram, beginning with Overlay,
| | 00:09 | and ending with Hard Mix.
| | 00:11 | Each one of them brightens the highlights,
and darkens the shadows, meaning that they
| | 00:15 | all increase the contrast of the image, and
in each case, gray is treated as a neutral
| | 00:20 | color, meaning that 50% gray turns invisible.
| | 00:24 | Now, the good news is they are all
based on modes we've seen so far.
| | 00:28 | Overlay, Soft Light, and Hard Light are
combinations of Screen and Multiply.
| | 00:32 | So Photoshop screens the brightest
stuff, and multiplies the darkest stuff.
| | 00:36 | Vivid Light is a combination of Color Dodge
and Color Burn working together. Linear Light
| | 00:41 | is a combination of the two linear modes, and then
Pin Light is a combination of Lighten and Darken.
| | 00:47 | Hard Mix, as we'll see, is its own thing.
| | 00:50 | All right, so let's switch to this composition
featuring this model masked against a blue sky background.
| | 00:55 | I also have this layer called sunlight.
| | 00:57 | I will go ahead and turn it on, and select it, and
notice that it contains a few clouds as well.
| | 01:02 | Now, I want to clip it inside of the model
layer, so I will press the Alt key, or the
| | 01:05 | Option key on the Mac, and click the horizontal line
below sunlight, and we end up with this effect here.
| | 01:11 | Now, the idea behind the contrast modes, generally
speaking, is that you want to wrap the luminance
| | 01:15 | levels of the active layer around
the contours of the layers below.
| | 01:20 | So in other words, we are going to paint the
model with the colors inside the sunlight layer.
| | 01:24 | So I will start things off by clicking on
Normal in order to bring up the blend mode
| | 01:27 | pop-up menu, and I will select the when in
doubt blend mode; so just as Screen is the
| | 01:32 | most practical lighten mode, and Multiply is
the most practical darken mode, Overlay is
| | 01:36 | your most practical contrast mode. And you
can see that we are wrapping the clouds from
| | 01:41 | the sunlight layer onto the model's
skin over here on the left arm.
| | 01:45 | Now, what's interesting about this mode -- where
Overlay is unique is that it makes its decisions
| | 01:51 | based on the contents of the underlying layers. So
wherever we have bright colors in the underlying
| | 01:56 | layers, Overlay uses the active layer to
further brighten the composition. Wherever we have
| | 02:02 | dark colors, 50% gray or darker, in the
underlying layers, then Photoshop goes ahead and uses
| | 02:08 | the active layer in order
to darken the composition.
| | 02:11 | And we will see why that makes
a difference in just a moment.
| | 02:14 | If Overlay is too over the top for you, then I
will press the Escape key, so that the blend
| | 02:18 | mode option is no longer active here on the
PC, then you can reduce the Opacity of the
| | 02:23 | layer obviously, but if you want to soften
the effect, go for something more organic,
| | 02:28 | then press Shift+Plus in order to advance
to the Soft Light mode, and you can see that
| | 02:32 | the details from the active
layer are much less obvious.
| | 02:36 | However, Soft Light and the others are making
their decisions based on the active layer.
| | 02:40 | So where the active layer is 50% gray or lighter,
then Photoshop is brightening the composition.
| | 02:46 | Where the active layer is 50% gray or darker,
Photoshop is darkening the composition.
| | 02:51 | Now, if you want something stronger than Overlay,
then you press Shift+Plus to advance to Hard
| | 02:56 | Light, and we get this
absolutely stunning effect here.
| | 03:00 | So it may come as a surprise that Hard Light
and Overlay are actually the same blend mode;
| | 03:05 | however, they examine the image differently.
| | 03:08 | Hard Light applies the same equations in the
background, but it does so based on the luminance
| | 03:12 | levels of the active layer. So
let me show you what I mean.
| | 03:15 | I will go up to the Image menu, and choose
the Duplicate command, and I will call it Mode
| | 03:20 | comparison, and then click OK. And I am going
to swap the sunlight and model layers for each
| | 03:25 | other. So I will grab that model layer there;
the top one. Drag it on top, grab the layer
| | 03:29 | mask; drag it and drop it on the sunlight
layer. Go ahead and clip the model inside
| | 03:34 | the sunlight layer, click in the sunlight
layer, and press Shift+Alt+N, or Shift+Option+N
| | 03:39 | on the Mac, in order to restore it to the
Normal mode. Then I will click on this model layer,
| | 03:43 | which is called Normal, because that's the mode
she's set to, and I will change her to Overlay
| | 03:49 | by selecting Overlay from the blend mode pop-up
menu. And you can see, now, this is how that
| | 03:54 | composition looks when the sunlight layer is
on top set to Hard Light, and this is how
| | 03:58 | things look when the model
layer is on top set to overlay.
| | 04:01 | That is to say, we get an identical effect.
| | 04:04 | Now, this may seem a little bit academic, but
it can make a big difference when it comes
| | 04:08 | to deciding the order and blending
options that you assign to your layers.
| | 04:13 | All right, I will switch back to my image in
progress here, and I will go ahead and advance
| | 04:17 | to the next mode, which is Vivid Light.
| | 04:19 | It's that combination of Color Dodge and Color
Burn working together, and we get this over
| | 04:23 | the top, fantastically saturated effect.
| | 04:27 | If you want something with even more contrast,
without necessarily the garish saturation, then press
| | 04:32 | Shift+Plus in order to advance to Linear Light.
Now, what I am going to tell you is the best
| | 04:38 | contrast modes for working
inside Photoshop on a regular basis
| | 04:42 | are Shift+Alt+O, or Shift+Option+O on the
Mac, for Overlay; Shift+Alt+H, or Shift+Option+H
| | 04:48 | on the Mac, for hard light; and then Shift+Alt+J,
or Shift+Option+J on the Mac, for Linear Light.
| | 04:55 | Think of the Ls in Linear
Lights being backwards.
| | 04:58 | Next I will press Shift+Plus
to advance the Pin Light.
| | 05:00 | As I say, that is the same as Lighten and
Darken working together, and so what Photoshop
| | 05:05 | is doing is looking at the channels independently,
and evaluating whether the bright pixels of
| | 05:11 | the active layer are the brightest, or the
bright pixels on the underlying layer are
| | 05:16 | brightest, and doing the same thing with the
darker pixels as well. And so we end up creating
| | 05:21 | these pretty high contrast effects
on a channel by channel basis here.
| | 05:25 | Notice, in the case of green channel, we are
keeping these bright rays of light up in the
| | 05:28 | model's hair, but we are losing
the clouds down on her blouse,
| | 05:33 | whereas if I switch to the blue channel, we
are getting the clouds back in the blouse,
| | 05:36 | but we are losing a lot of the highlights in
the hair. And then Photoshop just goes ahead
| | 05:40 | and throws all the channels
together to create the composite effect.
| | 05:44 | The last of the Contrast
modes is the least impressive.
| | 05:47 | This is Hard Mix, by the way, and what it's
doing is finding the brightest or darkest
| | 05:52 | pixels on a channel by channel basis, but it's
calculating a threshold as well, meaning that
| | 05:57 | it's just keeping black or white in the red channel,
the green channel, and finally, in the blue channel.
| | 06:04 | The reason we are keeping all these grays
in the background is because that sunlight
| | 06:08 | layer is clipped inside the model.
| | 06:10 | As a result, you end up with just a handful
of colors, in this case, black, white, yellow,
| | 06:14 | and red, but you might also end up seeing
green, cyan, blue, and magenta as well.
| | 06:19 | Now, in case you are thinking there is never
a time in a million years where I'm going
| | 06:23 | to use that mode, I'll show you how to
mitigate Hard Mix in order to achieve pretty great
| | 06:29 | effects in a future movie.
| | 06:31 | For now, though, I'll go ahead and press Shift+Alt+H,
or Shift+Option+H on the Mac, in order to restore
| | 06:36 | the Hard Light mode, which for this image
provides me with my favorite effect, and that's how
| | 06:41 | you go about applying the contrast modes.
Remember, start with Overlay. If that's too
| | 06:45 | much, try out Soft Light.
| | 06:47 | If Overlay is not enough, skip ahead to Hard
Light, and if that's still not enough, give
| | 06:50 | Linear Light a try.
| | Collapse this transcript |
| A few great uses for the contrast modes| 00:00 | In this movie, I'm going to share a few really
great tips and tricks for using the contrast
| | 00:04 | modes, both to increase the contrast of an
image, and to reduce the contrast of an image.
| | 00:11 | Let's say you want to increase the contrast
for effect, as in the case of this image here.
| | 00:15 | I'll go ahead and merge the contents of all
the visible layers onto a new layer by pressing
| | 00:20 | Control+Shift+Alt+E, or Command+
Shift+Option+E on the Mac.
| | 00:23 | And then I'll go ahead and rename this layer
grayness, because I'm going to turn it into
| | 00:27 | a grayscale version of itself by going up to
the Image menu, choosing Adjustments, and
| | 00:32 | then choosing Desaturate, or if you loaded
dekeKeys, you can press Control+Shift+Alt+U, or
| | 00:37 | Command+Shift+Option+U on the Mac.
| | 00:39 | Then you want to go ahead and try out
the Overlay and Hard Light blend modes.
| | 00:43 | So assuming one of my Selection tools is active,
I'll press Shift+Alt+O, or Shift+Option+O on
| | 00:48 | the Mac, in order to apply the Overlay mode, and
then I'll press Shift+Alt+H, or Shift+Option+H
| | 00:53 | on the Mac, in order to
apply the Hard Light mode.
| | 00:57 | And so, just to give you a sense of the
difference here, this is the image without that grayness
| | 01:02 | layer; this is the image with that grayness layer, adding
contrast, without heightening the saturation of the colors.
| | 01:09 | Now, it may look as if we're blowing highlights inside
the model's hair, but this actually isn't the case.
| | 01:15 | And you can test it for yourself by dropping
down to the black/white icon, and choosing
| | 01:19 | the Levels command.
| | 01:21 | And then if I press the Alt key, or the Option key
on the Mac, and drag the black slider triangle,
| | 01:26 | you can see that nothing is
clipped inside the image right now.
| | 01:29 | And then if I press the Alt or Option key, and
click and hold on the white slider triangle,
| | 01:33 | I can see that there is a little clipping in
the Red channel, in the model's hair right
| | 01:38 | there at that white spot, but not very much
actually, and we have to drag this White point
| | 01:43 | down to a value of about 250 before I see anything
in the way of clipping that would concern me.
| | 01:49 | So I'll go ahead and press the Backspace key,
or the Delete key on the Mac, in order to get
| | 01:52 | rid of that Levels layer.
| | 01:54 | So the idea is this: because Overlay, Soft
Light, and Hard Light are based on Multiply,
| | 01:59 | and Screen, then you're not going to add any
clipping to the image that you didn't already
| | 02:03 | have in the first place. All right.
| | 02:05 | Now I'll switch over to this image here.
| | 02:07 | Let's say you want to increase the contrast of an
image for the sake of correcting that image.
| | 02:12 | Well, you can go with the technique I just
showed you; that is, creating a grayscale version
| | 02:16 | of the image, or you can work with an adjustment
layer, which is going to give you more control.
| | 02:21 | So press and hold the Alt key, or the Option
key on the Mac, click the black/white icon
| | 02:24 | at the bottom of the Layers panel, and choose
Vibrance, or if you loaded dekeKeys, you can
| | 02:28 | press Control+Shift+V, or Command+Shift+V on the
Mac, and I'll go ahead and call this layer
| | 02:33 | grayness as well.
| | 02:34 | And then I'll crank the Saturation value down
to -100. And again, you could experiment with
| | 02:40 | the Overlay mode if you want to. I'm going
to go direct for Hard Light here in order
| | 02:44 | to achieve this effect.
| | 02:45 | Now, we've got some great contrast; however,
we don't have all the saturation we need.
| | 02:51 | So I'll once again click inside the Saturation
value here in the Properties panel, and then
| | 02:55 | I'll incrementally raise it by pressing Shift+up
arrow until I get a level of saturation that I like.
| | 03:01 | And for me that happens at a
Saturation value of -20%.
| | 03:05 | So despite the fact that we're actually leaching
saturation from the image using this Vibrance
| | 03:10 | adjustment layer, the Hard Light mode is increasing
the contrast to the extent that we get more
| | 03:16 | saturation, not less.
| | 03:17 | And once again, just to give you a sense of
what we've accomplished here, this is the
| | 03:20 | before version of the image; not only very
washed out, but some weird wandering colors
| | 03:25 | in the midtones there; and this is the after version,
with much better color throughout. All right.
| | 03:32 | Now let's say you want to take
the contrast out of an image.
| | 03:35 | So here is this high contrast barn that
we took a look at back in Chapter 26.
| | 03:39 | Now, the Curves adjustment layer is still
your best bet for correcting the contrast
| | 03:44 | of your image, but let's say
you just don't have the time.
| | 03:46 | You want to get, say, half the work
done in about a tenth of the time.
| | 03:50 | Well, then you drop down to the black/white
icon, and choose Invert in order to add an
| | 03:55 | Invert adjustment layer.
| | 03:56 | Now, there are no options for this layer. so I'll
just go ahead and close the Properties panel.
| | 04:01 | And then the next step is to press Shift+Alt+O,
or Shift+Option+O on the Mac, in order to apply
| | 04:06 | the Overlay mode.
| | 04:08 | So it's just a two step operation; create an
Invert adjustment layer, apply the Overlay
| | 04:12 | adjustment mode, and you're done.
| | 04:14 | Now, again, this effect doesn't measure up to
what we did back in Chapter 26, but I also
| | 04:19 | spent less than a minute just now
showing you how to do it. All right!
| | 04:22 | I'm going to switch to my final image here.
| | 04:24 | Now, by now you know that you can use a High
Pass adjustment layer to add sharpness to
| | 04:28 | an image. What if you want to add smoothness?
| | 04:31 | Well, here is a technique
you might want to try out.
| | 04:33 | I'll go ahead and create a copy of this layer
by pressing Control+Alt+J, or Command+Option+J
| | 04:38 | on the Mac, and I'll
call this layer high pass.
| | 04:41 | And then I'll go up to the Filter menu, and
I'll choose Other, and then I'll choose High
| | 04:45 | Pass, or if you loaded
dekeKeys, you can press Shift+F10.
| | 04:49 | And I'm going to set the Radius
of this image to about 10 pixels.
| | 04:52 | And the idea is, I want of fill in the creases
on this gentleman's face, and I estimate that
| | 04:58 | they're about 10-20 pixels thick,
so this should fill it in.
| | 05:02 | And then click OK in
order to accept that effect.
| | 05:05 | Now I want to convert this layer to grayscale, so
I'll go up to the Image menu, choose Adjustments,
| | 05:10 | and choose Desaturate.
| | 05:12 | And then finally, I'll press Shift+Alt+O, or
Shift+Option+O on the Mac, in order to apply
| | 05:17 | the Overlay mode.
| | 05:18 | Now if I turn the layer off, and then back on,
you can see that we're adding sharpness,
| | 05:23 | so we're actually
emphasizing the details in his face.
| | 05:27 | If you want to do the opposite, then with that
high pass layer selected, just press Control+I,
| | 05:32 | or Command+I on the Mac,
in order to invert it,
| | 05:35 | and you can see that those
details pretty near disappear.
| | 05:38 | Now, we don't want to go that far with the
effect, so I'll press the 5 key in order to
| | 05:42 | back it off, so that we get this effect here.
| | 05:45 | And then, so we don't have these
sort of unnatural transitions here,
| | 05:49 | I'm going to apply a little bit of Gaussian
Blur by going up to the Filter menu, choosing
| | 05:53 | Blur, and then choosing Gaussian Blur.
| | 05:56 | And I decided to go with a Radius value of 2.
| | 06:00 | And it's not a big difference, by the way. If
you turn off the Preview checkbox, and then
| | 06:04 | turn it back on; I'll go ahead and zoom in
actually another click, so we can hopefully
| | 06:08 | see some kind of difference here.
| | 06:10 | So this is before the Gaussian Blur.
| | 06:12 | You can see that we don't
have much detail at all.
| | 06:14 | We just have a bunch of color transitions.
| | 06:17 | And then if I turn Preview back on, we restore
some of that detail, which is ironic, because
| | 06:22 | we're blurring the layer.
| | 06:23 | Anyway, I'll go ahead and click OK in order
to accept that change, and then I'll go ahead
| | 06:28 | and zoom back out here.
| | 06:30 | Now then, let's say I want to lighten up
the side of his face just a little bit.
| | 06:33 | Well, you can create a kind of
dodge effect using the Overlay mode.
| | 06:37 | I'll press Control+Shift+N, or Command+Shift+N on
the Mac, and call this layer dodge; click OK.
| | 06:42 | Go ahead and grab the Brush tool.
| | 06:44 | I'll right-click inside the image window to
show you that my Hardness value is set to
| | 06:47 | 0%, so we've got a soft brush, and I'm going
to reduce the size of my brush a little bit.
| | 06:52 | Then I'm going to press the X key, so that
White is my foreground color, and I'll just
| | 06:56 | paint inside these areas a little bit,
just to give you a sense of how this works.
| | 07:01 | Then I'll press the M key to switch back to
the Rectangular Marquee tool, and I'll switch
| | 07:05 | the mode from Normal to Soft Light. That ends
up blending that lightness into the image.
| | 07:10 | Of course, we've gone too far, so I'll press
the Escape key, so that the blend mode pop-up
| | 07:14 | menu is no longer active, and I'll press the
2 key to reduce the Opacity value to 20%.
| | 07:20 | So this is the appearance of the image
without that layer, and this is the appearance of
| | 07:24 | the image with that layer.
| | 07:26 | So it's just a quick and dirty dodge effect.
| | 07:28 | If you wanted to burn instead,
you would paint with black.
| | 07:30 | Okay, finally a couple more corrections.
| | 07:32 | I'll press the Alt key, or the Option key on
the Mac, click the black/white icon at the
| | 07:35 | bottom of the panel, choose Vibrance, and I'll
go ahead and call this grayness once again.
| | 07:41 | And the idea is I want to add some more
contrast back to this image, because we got rid of
| | 07:45 | some of the contrast
with that high pass layer.
| | 07:47 | So I'll take the
Saturation value down to -100%.
| | 07:50 | I'll set the blend mode this time to Soft
Light, and then I'll crank the Saturation
| | 07:55 | value back up to -70%, and then
I'll hide the Properties panel.
| | 08:00 | So this is what the image
looked like without that layer;
| | 08:02 | this is how it looks now.
| | 08:04 | And finally, I think he's looking a little
bit too reddish at this point, so I'm going
| | 08:08 | to click on the background
in order to make it active.
| | 08:11 | And then I'll press the Alt key, or the Option
key on the Mac, click the black/white icon
| | 08:14 | and choose Hue/Saturation, or if you loaded dekeKeys,
you can press Control+Shift+U, or Command+Shift+U
| | 08:19 | on the Mac, and I'll call
this orangeness, and click OK.
| | 08:24 | And then I'll go ahead and select the Target
Adjustment tool, and I'll press the Control key,
| | 08:28 | or the Command key on the Mac, and click and
drag to the right a little bit. And I actually
| | 08:33 | want to take that Hue value up to +5,
just for the Reds, as you can see.
| | 08:40 | And so now I'll go ahead and
hide the Properties panel.
| | 08:42 | And just to give you a sense of what we were
able to accomplish where this image is concerned,
| | 08:47 | I'll press the Alt key, or the Option key on the Mac,
and click on the eye in front of the Background.
| | 08:51 | This is the original version of the image, and
this is the enhanced version of the image,
| | 08:56 | thanks to a combination of both contrast
reductions, and enhancements, applied with the help of
| | 09:02 | the Overlay, Soft Light,
and Hard Light blend modes.
| | Collapse this transcript |
| Difference, Exclusion, Subtract, and Divide| 00:00 | In this movie, I'll demonstrate the fifth group
of blend modes, which are color-coded in purple
| | 00:04 | inside of this diagram.
| | 00:06 | The first two -- Difference, and Exclusion -- are
inversion modes that have been included in
| | 00:10 | the software for a long time now.
| | 00:13 | The other two were added recently, and
they're known as the cancelation modes.
| | 00:17 | And the thinking was, according
to some programmers at Adobe,
| | 00:20 | they wanted to round out the
basic arithmetic.
| | 00:23 | So where the Layers panel is concerned, we already
had Linear Dodge, which adds luminance levels,
| | 00:28 | so we might as well get Subtract as well,
and then we've got Multiply, which actually
| | 00:33 | does multiply luminance levels, so they
figured they might as well add Divide.
| | 00:38 | Neither of them is terribly useful for layering,
and in truth, they're duplicates of blend modes
| | 00:43 | that already exist.
| | 00:45 | So let me show you what's up here.
| | 00:46 | I'm going to switch over to this version of
the image with light bulb, and I'm going to
| | 00:50 | scroll down to the wrestlers layer.
| | 00:52 | I'll go ahead and select it, and I'm going
to change the blend mode from Linear Burn
| | 00:55 | to Difference, which incidentally is far and a
way the most useful of this group of modes.
| | 01:01 | Now, what we're seeing here is Photoshop is
subtracting the luminance level on the active
| | 01:05 | layer from the luminance level
on the composite layers below.
| | 01:09 | So, for example, when you subtract black, as
in the jackets, you don't do anything, so
| | 01:14 | black is a neutral color, which is
why we can see through the jackets.
| | 01:18 | On the other hand, when you subtract white,
as in the case of this background, you do
| | 01:21 | serious damage to an image, because
white is such a big thing to subtract.
| | 01:26 | So the question is, why don't we
just see blackness in the background?
| | 01:30 | And the answer is because
Photoshop is taking in absolute value.
| | 01:33 | In other words, if the results of the formula is
a negative number, Photoshop makes it positive.
| | 01:39 | And as a result, white ends up inverting.
| | 01:42 | So black does nothing, white inverts, and
everything else does something in between,
| | 01:48 | which means that if you want to get a more
normal effect, you need to invert the layer.
| | 01:52 | So I'm going to press the Alt key, or the
Option key on the Mac, click the black/white icon
| | 01:55 | and choose the Invert Command.
| | 01:57 | I'm going to call this layer reverse, and turn
on Use Previous Layer to Create Clipping Mask,
| | 02:02 | so we're inverting the active layer only,
| | 02:04 | and I'll click OK. And now, by virtue of the
fact that we're turning the background black,
| | 02:08 | it has no effect, so we're seeing through to
the parchment, and because we're inverting
| | 02:12 | the jackets to make them white,
they are inverting the background.
| | 02:17 | Another thing to note about Difference is,
when two like colors encounter each other,
| | 02:21 | in other words, the pixel on the active layer
matches the pixel behind it, then the result
| | 02:26 | of the Difference mode is black.
| | 02:28 | Compare that, if I go ahead and click on the
wrestler's layer, to the next blend mode in
| | 02:32 | the list; I'll press Shift+Plus
in order to advance to Exclusion.
| | 02:37 | Exclusion does much of the same thing.
| | 02:39 | Black is the neutral color;
it doesn't do anything.
| | 02:41 | White inverts absolutely.
| | 02:43 | However, the colors in between don't go nearly
as far, so when the luminance level of a pixel
| | 02:48 | matches that of the pixel
behind it, you don't get black;
| | 02:51 | you get gray instead.
| | 02:53 | So exclusion produces a more tepid effect.
| | 02:56 | If I press Shift+Plus again, we advance to the
Subtract mode, which goes ahead and subtracts
| | 03:02 | out the luminance levels without finding the
absolute value the way that Difference mode does.
| | 03:06 | So it's very similar to Difference, with the
big exception that white, which is the color
| | 03:12 | of the jackets now, because they've been inverted,
goes ahead and gets subtracted out to beyond
| | 03:18 | black, so you can end up getting
some very, very dark effects indeed.
| | 03:22 | Now, you may look at this
composition and think, gosh!
| | 03:25 | This looks pretty familiar,
and sure enough, it is.
| | 03:28 | If I go up to the File menu, and I choose
Revert command, or I press F12, you're going to see
| | 03:34 | the exact same effect.
| | 03:36 | The big difference is that the wrestlers
layer here is set to the Linear Burn mode,
| | 03:40 | whereas, if I press Control+Z, or Command+Z on
the Mac, to reinstate the Subtract mode, again,
| | 03:46 | it looks exactly the same.
| | 03:47 | And that's because applying Linear Burn to a
layer is the same as inverting that layer,
| | 03:52 | and then applying Subtract, which is why I
say subtract isn't really a new mode, and it
| | 03:58 | also existed elsewhere inside the software.
| | 04:00 | All right, now let's switch over to this image,
which is a variation on the composition with
| | 04:06 | a low contrast version of the
wrestlers layer set to Color Dodge.
| | 04:10 | And the reason I'm setting it to Color Dodge
is because Divide and Color Dodge are very
| | 04:15 | similar to each other.
| | 04:16 | So what I'm going to do is turn off this Reverse
layer here, which is an Invert adjustment layer.
| | 04:21 | And you can see that Color Dodge now blows the
heck out of the composition, and I'll switch
| | 04:25 | the mode from Color Dodge to Divide, and
we end up getting the exact same effect.
| | 04:31 | And to prove that, I'll go back up to the
File menu, and choose the Revert command, or press
| | 04:36 | F12, and we're seeing exactly the same thing.
| | 04:39 | So applying the Divide mode to a layer is
exactly the same thing as inverting the layer,
| | 04:44 | and applying Color Dodge.
| | 04:45 | All right, so that gives you a sense of how
the Inversion and Cancelation modes work.
| | 04:51 | If you want to find out some uses for them, you
can check out my Photoshop Masking & Compositing:
| | 04:56 | Advanced Blending course,
included along with lynda.com.
| | 05:00 | To learn a really great use for the
Difference mode, stay tuned for the very next movie.
| | Collapse this transcript |
| Capturing the differences between images| 00:00 | In this movie, I am going to show you a
terrific use for the Difference blend mode.
| | 00:03 | Basically, it is the go to mode any time you
are trying to find the differences between
| | 00:07 | a couple of images, and that's because if a
pixel on the active layer is the same color
| | 00:13 | as the pixel behind it, then the composite
pixel turns black, which means that anything
| | 00:18 | that's not black is at difference.
| | 00:20 | So let's say I am trying to create a
screenshot of the Gradient Mesh feature inside Adobe
| | 00:25 | Illustrator, and I went ahead and drew these
two peppers, and now we're seeing the mesh
| | 00:29 | points throughout.
| | 00:30 | And in my case, they are showing up as orange
against a red background, which isn't a terrific
| | 00:35 | amount of contrast.
| | 00:36 | Now, I could have changed the color of those
points in Illustrator, but I wanted still
| | 00:40 | more control than that.
| | 00:42 | What I wanted to be able to do was dim the
peppers back, like you see them here, and
| | 00:46 | then turn the points black, so that there
is no ambiguity whatsoever, whether I show
| | 00:52 | this image on screen, at my Web site, or whether I put
it in one of my books, you can see those mesh points.
| | 00:58 | So I'll go ahead and switch
back to the image at hand.
| | 01:00 | Here's what we've got.
| | 01:02 | I took one screenshot of the peppers with
the mesh point selected, and I took another
| | 01:06 | screenshot of the peppers deselected, and
then I went ahead and set one on top of the
| | 01:11 | other, and with the gradient mesh layer
selected here, I'll go ahead and switch the
| | 01:15 | blend mode from Normal to Difference,
and we end up getting this effect here.
| | 01:20 | So you can see everything that's not part of the mesh
becomes black, and only the mesh lines remain.
| | 01:25 | Now we need to turn all the differences white,
| | 01:27 | so press Control+Shift+Alt+E, or Command+Shift+Option+E
on the Mac, in order to merge the composite
| | 01:33 | layers onto a new layer, and I'll call this new layer
merged, and then you need to apply two adjustments.
| | 01:39 | You go up to the Image menu, choose Adjustments,
and choose Desaturate, or if you loaded dekeKeys,
| | 01:44 | you can press Control+Shift+Alt+U, or Command+Shift+
Option+U on the Mac, and that goes ahead and gets rid
| | 01:49 | of all the color.
| | 01:50 | And then you go up to the Image menu, choose
Adjustments, and choose a command we haven't
| | 01:54 | seen so far, Threshold, which allows you to turn all
pixels on the active layer either black or white.
| | 02:01 | And the reason this feature is called
Threshold is because this slider triangle right there
| | 02:06 | represents the threshold.
| | 02:08 | If I take it down to, say, 110, then anything
with a Luminance level of 110 or brighter
| | 02:13 | becomes white; anything with a Luminance
level of 110 or darker becomes black.
| | 02:18 | You can see we have got this
tiny little histogram right there.
| | 02:21 | We need to move the slider
triangle all the way to the left of it.
| | 02:25 | I ended up going with a Threshold level of 30,
but I could have selected 20, for example,
| | 02:29 | and gotten exactly the same results.
| | 02:32 | As long as I'm inside of this area,
it doesn't matter. All right.
| | 02:35 | So I'll click OK.
| | 02:36 | I've now got the white mesh point lines;
everything that's not a mesh point is black. I want to
| | 02:40 | convert that mesh to a selection, so I'll
switch to the Channels panel, and press the
| | 02:46 | Control key, or the Command key on the Mac, and
click on RGB, and that goes ahead and selects
| | 02:50 | anything that's white, and
deselects anything that's black.
| | 02:53 | Now I'll switch to the Layers panel, turn
off both merged, and grad mesh, so we are just
| | 02:59 | seeing the no mesh versions of the peppers.
| | 03:01 | I'll press Control+Shift+N, or Command+Shift+N
on the Mac, to create a new layer.
| | 03:05 | I'll call the layer mesh lines, and then I'll
press the Enter key, or the Return key on the
| | 03:09 | Mac, and I will press Alt+Backspace, or Option+
Delete on the Mac, to fill the selection with black.
| | 03:15 | So we now have the black mesh lines.
| | 03:17 | Go ahead and click outside the selection in
order to deselect it, and now let's go ahead
| | 03:22 | and give this no mesh layer a special treatment,
so that it fades back, and I am going to do
| | 03:27 | that using a layer effect.
| | 03:29 | So click on the fx icon, choose Color Overlay,
and then click on the color swatch, and I recommend
| | 03:35 | you change the Saturation to 0,
and then change Brightness to 90.
| | 03:40 | We need it to be bright, but
something less than white.
| | 03:43 | So 90% will work.
| | 03:45 | Go ahead and click OK, and then switch the
blend mode to Luminosity, so that we take
| | 03:50 | out the luminance, but we leave the color
behind, and then to bring back some of that
| | 03:55 | luminance, I reduced the Opacity
value to 70%, and then click OK.
| | 04:00 | And we end up achieving that effect that we
saw at the outset of the movie in which the
| | 04:04 | mesh lines are clearly distinguished
from the artwork in the background.
| | 04:08 | And that's one of the many ways to use the
Difference blend mode in order to find the
| | 04:13 | difference between two
mostly identical images.
| | Collapse this transcript |
| Hue, Saturation, Color, and Luminosity| 00:00 | In this movie, I'll demonstrate how to work
with the final group of blend modes, which
| | 00:04 | are Hue, Saturation, Color, and Luminosity.
| | 00:07 | Together they make up the component modes,
so called because these blend modes divide
| | 00:11 | an image into its color components.
| | 00:14 | Now, I'll be discussing these blend modes in
opposite order, because that's the easiest
| | 00:18 | way to understand them.
| | 00:20 | I'll switch over to this image
of the model against the sky.
| | 00:23 | You can see that she has a layer mask,
which will become important in just a moment.
| | 00:27 | Now, let's say I want to keep all the detail
information that's associated with the model,
| | 00:31 | but I want to let the blues
from the background show through.
| | 00:34 | Any time you want to keep the Luminance
levels for the active layer, then you change
| | 00:38 | the blend mode in the upper left corner of
Layers panel from whatever it is -- Normal in
| | 00:43 | my case -- to Luminosity.
| | 00:45 | And notice now we can see all the detail of
the model, but we're seeing the color of the
| | 00:49 | clouds show through in the background.
| | 00:51 | Now you may ask, well why are we seeing the
luminance levels of the clouds outside of the model?
| | 00:57 | And that's because of the layer mask.
| | 00:59 | If I where to Shift+Click on this layer mask
thumbnail to turn it off, then you can see now
| | 01:03 | we're overriding the background luminance,
and we're just seeing the colors from the
| | 01:08 | clouds and the sky.
| | 01:10 | All right, I'll go a head and Shift+Click on
the layer mask thumbnail to turn it back on.
| | 01:14 | The opposite of Luminosity is the next blend
mode up, and that's Color, and let me show
| | 01:19 | you how that works.
| | 01:20 | I'll go ahead and click on the sunlight
layer to make it active, and turn on as well.
| | 01:24 | Let's say we're not interested in any of
the luminance information in this layer, but
| | 01:28 | we do want to colorize a
composition using this layer.
| | 01:31 | Then with that layer active, you go to the
blend mode pop-up menu once again, and this
| | 01:35 | time choose Color, and now we're seeing the
color from the sunlight layer, and the luminance
| | 01:40 | information from the composite
version of the two layers below.
| | 01:45 | All right, now we'll go and turn
that sunlight layer off for a moment.
| | 01:48 | Here I am playing around in my image, and I
decide to click on the model layer once again.
| | 01:53 | And in reviewing this composition, it bothers
me that I can see the contours of the clouds,
| | 01:58 | because of the saturation
levels that are showing through.
| | 02:01 | So sometimes we have these low saturation
clouds coming into the model, and other times
| | 02:05 | we see this high saturation sky, and
interferes with our view of the model, I think.
| | 02:11 | And so what I would like to do is
retain the model's saturation levels.
| | 02:14 | In other words, I'd like to go ahead and
apply |
|
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