1. Opening an ImageWelcome to One-on-One| 00:03 | Hello! This is Deke McClelland.
| | 00:06 | Welcome to Photoshop CS6 One-on-One
Fundamentals; part one in a series of four
| | 00:12 | video courses devoted to your
ultimate mastery of the world's most powerful
| | 00:17 | image editing software.
| | 00:19 | The One-on-One brand is a promise.
| | 00:22 | First, you'll have me, a seasoned
professional with more than 25 years of
| | 00:27 | experience in the digital arts and
more than 50 courses in the lynda.com
| | 00:32 | Online Training Library.
| | 00:34 | I'll mentor you through every facet
of the software you need to know in the
| | 00:39 | order you need to know it.
| | 00:40 | No crowded classroom and
no scheduling conflicts.
| | 00:44 | It's just you and me, one-on-one
anytime that it's convenient for you to learn.
| | 00:50 | Second, One-on-One is project-based learning.
| | 00:54 | You'll experience the power of image
size and resolution firsthand, in a way
| | 00:59 | that leaves nothing in question.
| | 01:01 | You'll build a layered
composition from the ground up.
| | 01:05 | You'll take a murky photograph and
make it blossom with luminance, as well as
| | 01:10 | correct the color balance of an image.
| | 01:12 | You'll select portions of images and combine
them into a fully-realized piece of artwork.
| | 01:18 | And you'll take a portrait photo
and turn it into a work of perfection.
| | 01:24 | The result is contextualized learning.
| | 01:26 | Photoshop's features will make sense,
because you apply them sometimes
| | 01:31 | independently, other times in concert, to
a clearly defined task, and you'll leave
| | 01:37 | each chapter with a sense of accomplishment.
| | 01:41 | I really hope there are
moments where you feel, I rule.
| | 01:44 | Not me, you saying, I rule!
| | 01:47 | I can do this and I can do more.
| | 01:51 | We'll start the way every project
starts by opening an image file.
| | 01:55 | I'll begin by answering the most
common tech-support question we get, how do
| | 02:00 | I open an image in Photoshop just by
double-clicking on it? First in Windows
| | 02:05 | and then on the Mac,
| | 02:07 | and then I'll show you all the cross
platform options, including Bridge and Mini
| | 02:11 | Bridge, which according to Adobe,
most folks don't even know they own.
| | 02:16 | This may not be the most exciting stuff
we do, but it's stuff that you have to
| | 02:21 | know, and it's how you get to work in
Photoshop in the shortest time possible.
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| Opening from the Windows desktop| 00:00 | In this movie, I'll show you how to
open an image file inside Photoshop
| | 00:04 | running under Windows.
| | 00:05 | In the next movie, I'll show you how
to do the very same thing on a Mac.
| | 00:10 | Now if you're a Premium Member or you
own a DVD version of this course, then
| | 00:14 | you have access to my exercise files, and
those are downloadable from the site by the way.
| | 00:19 | Inside the exercise_files folder
is a subfolder called 01_open_image.
| | 00:24 | Inside that folder are
three files called Welcome.
| | 00:27 | They're really called Welcome.jpg,
Welcome.psd and Welcome.tif.
| | 00:32 | Now JPEG, PSD and TIFF are the three
primary imaging formats and we'll see
| | 00:37 | why that is over time.
| | 00:39 | But right now, I'd like you to
be able to see those extensions.
| | 00:42 | If you can't, then tap the Alt key which
will bring up an old-school Windows menu.
| | 00:47 | Then go ahead and click on
Tools and chose Folder options.
| | 00:51 | Inside the Folder Options dialog box,
go ahead and switch to the View tab and
| | 00:56 | then turn off the check box that says
Hide extensions for known file types, that
| | 01:01 | way we can see our extensions.
| | 01:03 | It's not going to hurt anything.
| | 01:04 | Then go ahead and click on the Apply
button and then click OK in order to
| | 01:09 | hide the dialog box.
| | 01:10 | And now we can see the names
of each one of these files;
| | 01:13 | Welcome.jpg, Welcome.psd and Welcome.tif.
| | 01:16 | In a perfect world, you'd be able to
double-click on any of these three icons
| | 01:21 | and have it open just fine in Photoshop.
| | 01:23 | Chances are good that the TIFF file is
going to work, so let's go ahead and try it.
| | 01:27 | I'll double-click on Welcome.tif and
it opens that image inside Photoshop.
| | 01:32 | And you can tell we are in Photoshop,
because we can see a Layers panel over here
| | 01:36 | on the right-hand side of the screen.
| | 01:38 | We've got a toolbox over here on
the left and we've got this dark
| | 01:41 | lustrous interface.
| | 01:43 | But that might not be the way things work out.
| | 01:45 | I'm going to minimize Photoshop
so I can return to the Desktop.
| | 01:48 | And now I'll double-click
on a file called Welcome.jpg.
| | 01:51 | And it ends up by default, opening
inside Windows Photo Viewer and that's not
| | 01:55 | going to do us any good, because
obviously, we can't use Photoshop when we're
| | 01:59 | in the wrong program.
| | 02:00 | So I'm going to go ahead and close this program.
| | 02:02 | Here's how to solve the problem so JPG files open
automatically inside Photoshop, and this goes for any
| | 02:08 | file format, by the way.
| | 02:09 | If you want it to open in
Photoshop, here's what you do.
| | 02:12 | Go ahead and right-click on the image
file and choose Open with and then drop
| | 02:16 | down to this command, Choose default program.
| | 02:19 | Then inside the Open with dialog box,
go ahead and select the most recent
| | 02:24 | version of Photoshop installed on your machine.
| | 02:26 | If you don't see Photoshop in the
list, then go ahead and click this
| | 02:29 | down-pointing arrowhead next to Other
Programs and scroll down and see if you
| | 02:34 | can find it in this list.
| | 02:35 | If you still can't find Photoshop,
you're going to have to click on the Browse
| | 02:38 | button and locate the
application on your hard drive.
| | 02:41 | But thankfully for me, it's up here at the top.
| | 02:44 | Also make sure that this check box,
Always use the selected program to open this
| | 02:48 | kind of file, is turned on, then click OK.
| | 02:51 | And now notice the JPEG file
opens fine inside Photoshop.
| | 02:55 | All right, I'm going to go ahead
and minimize Photoshop once again.
| | 02:58 | And finally, let's try the PSD file.
| | 03:01 | A PSD file is native Photoshop
document that may contain layers.
| | 03:05 | In our case, we've got a
lot of layers to work with.
| | 03:08 | I'll go ahead and double-
click on this image file.
| | 03:10 | Now chances are very good that
you're going to see this alert message.
| | 03:14 | It tells you that some text
layers contain fonts that are missing.
| | 03:17 | These layers will need to have the
missing fonts replaced before they can be
| | 03:21 | used for vector-based output.
| | 03:23 | What that is telling you is that
you're missing fonts that I used in this
| | 03:26 | document and if you want to edit that
text or print it at high resolution, then
| | 03:31 | you're going to need to get those fonts.
| | 03:32 | However, if all you want to do is look
at the image on screen and modify the
| | 03:36 | other non-text layers, then
there's nothing to worry about.
| | 03:40 | Notice if I click OK, then even though
I have all these warnings listed next to
| | 03:44 | my text layers here inside the Layers
panel, all of the text looks just fine
| | 03:48 | inside the image file, even when I zoom in.
| | 03:52 | And the reason for that is Photoshop
goes ahead and includes a pixel version of
| | 03:56 | every single one of those text
layers along with a native PSD document.
| | 04:01 | And that's how you open image
files from the Desktop inside Photoshop
| | 04:05 | running under Windows.
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| Opening from the Macintosh Finder| 00:00 | In this movie I'll show you how to
open an image in Photoshop directly from
| | 00:04 | the Macintosh Finder.
| | 00:06 | If you're using Windows on the PC then
you can go ahead and skip to the next movie.
| | 00:10 | Those of you who are Premium Members or
own a DVD version of this course, have
| | 00:15 | access to my exercise files.
| | 00:17 | The exercise_files folder contains a
series of subfolders, including this
| | 00:21 | one, 01_open_image.
| | 00:24 | I'm currently viewing the images
inside this folder in the Icon view.
| | 00:28 | If you want to do so as well, you go
up to the View menu and choose as Icons.
| | 00:33 | Notice that I have three versions
of a Welcome screen, Welcome.jpg,
| | 00:37 | Welcome.psd and Welcome.tif.
| | 00:40 | If for some reason you can't see those
three character extensions, then go up to
| | 00:45 | the Finder menu and
choose the Preferences command.
| | 00:48 | Then inside the Finder Preferences
dialog box, click on the Advanced tab and
| | 00:53 | turn on this first check box that says,
Show all file name extensions, then you
| | 00:57 | can close the dialog box.
| | 01:00 | Now we're seeing a JPEG file, a
native PSD or a Photoshop Document file, as
| | 01:05 | well as a TIFF file.
| | 01:07 | And the reason I'm showing you these
three formats is because they're the most
| | 01:10 | important file formats
when working with Photoshop.
| | 01:14 | Now ideally, you'd be able to just double
-click on one of these files to open it
| | 01:17 | in Photoshop, but that may
or may not be the course.
| | 01:20 | I'll go ahead and try double-clicking
on Welcome.tif, and sure enough it opens
| | 01:25 | in Photoshop and I can tell I'm
working in Photoshop, because it says
| | 01:29 | Photoshop up here at the top of the screen
and I'm greeted by this lustrous dark interface.
| | 01:34 | However, that's not necessarily
going to be the way things work out.
| | 01:38 | To switch back to the Finder, I'll go
to the Photoshop menu and choose the
| | 01:42 | Hide Photoshop command.
| | 01:44 | Then this time around, I'll
double-click on Welcome.jpg.
| | 01:48 | But instead of opening inside
Photoshop, it opens inside Apple's Preview
| | 01:52 | Utility, which is not what I want at all,
because after all, I'm not going to be
| | 01:56 | able to get Photoshop work done
in the wrong application.
| | 01:59 | So I'll go up to the Preview menu and
choose the Quit Preview command in order
| | 02:04 | to return to the Finder.
| | 02:05 | If you run into that problem,
here's how to fix things.
| | 02:09 | Right-click on the image file and then choose
the Get Info command to bring up the Info panel.
| | 02:15 | Then drop down to this item that says
Open with, and if it's collapsed, as it is
| | 02:18 | for me, click the triangle to expand it open.
| | 02:21 | Then click on this popup menu that for
me it says Preview and choose the most
| | 02:26 | recent version of Photoshop
available on your machine.
| | 02:30 | Finally, you want to click on the
Change All button, at which point the Finder
| | 02:34 | warns you, hey, you're about to change
all documents that end with the extension
| | 02:38 | JPG, so that they open up inside
Photoshop, which is exactly what we want.
| | 02:43 | So go ahead and click on the
Continue button to make it so.
| | 02:47 | Then I'll go ahead and close the Info window.
| | 02:49 | And now, when I double-click on Welcome.jpg,
the image opens up in Photoshop
| | 02:54 | just as we requested.
| | 02:56 | Let's test out that final file.
| | 02:58 | We're going to go to the Photoshop
menu and choose Hide Photoshop once again.
| | 03:01 | Now this native PSD file should
definitely open in Photoshop, but here's the
| | 03:06 | thing, PSD files may contain layers,
including text layers and this one is no exception.
| | 03:12 | So if I double-click on it, I
end up getting a font warning.
| | 03:15 | Photoshop tells me, Some text
layers contain fonts that are missing.
| | 03:19 | These layers will need to have the
missing fonts replaced before they can be
| | 03:22 | used for vector based output.
| | 03:24 | What that really means is that you need
the fonts in order to edit the text or
| | 03:28 | print the image at a higher resolution.
| | 03:31 | However, for our purposes it's not a problem.
| | 03:34 | I'll go ahead and click OK and you can
see even though we have all these little
| | 03:38 | warnings next to our text layers here
inside the Layers panel, the text looks
| | 03:42 | great just like it does in the other documents.
| | 03:44 | And in fact, it continues to
look great even if I zoom way in.
| | 03:48 | And the reason is because Photoshop
goes ahead and includes pixel-based
| | 03:53 | definitions of every single text
layer when you save off a layer document.
| | 03:57 | So as long as you don't edit the text,
it's going to look great on any machine.
| | 04:03 | And that's how you go about opening
an image in Photoshop directly from
| | 04:07 | the Macintosh Finder.
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| Opening from Photoshop or Bridge| 00:00 | In this movie, I'll show you how to open
an image from inside Photoshop, as well
| | 00:04 | as using its companion program, Bridge.
| | 00:07 | As you can see, I'm running Photoshop,
so I'll go up to the File menu and choose
| | 00:11 | the Open command, or I could press a
common keyboard shortcut Ctrl+O here on
| | 00:15 | the PC or Command+O on the Mac.
| | 00:18 | In any case, that will bring up the
Open dialog box and then you'll want to
| | 00:21 | navigate your way to the desired folder,
| | 00:23 | in my case, I'm looking at the contents
of the 01_open_image folder inside the
| | 00:27 | exercise files folder.
| | 00:29 | Select the file that you want to
open and then click on the Open button.
| | 00:32 | You can also double-click on
the image file if you like.
| | 00:35 | Now if you're not seeing all your
files here on the PC, it's most likely
| | 00:40 | because Files of type is
set to a specific format.
| | 00:43 | So if I were to change Files of type to JPEG, I
would only see that JPEG file and nothing more.
| | 00:49 | If you want to see everything, all the
file formats that Photoshop supports,
| | 00:53 | then go ahead and change
Files of type to All Formats.
| | 00:56 | Again, you're unlikely to run
into that problem on the Mac.
| | 00:59 | All right, I'll go ahead and click on
Welcome.tif and then click on the Open
| | 01:02 | button in order to open the file inside
Photoshop, and then I'll just press Ctrl+
| | 01:07 | or Command+ on a Mac to zoom in.
| | 01:10 | That's one way to work.
| | 01:11 | But what if you want to be able to
browse your images, see little thumbnail
| | 01:14 | previews before you open them?
| | 01:16 | Then you go up to the File menu and you
choose this command, Browse in Bridge or
| | 01:21 | you can press the related shortcut, Ctrl+Alt+O
or Command+Opt+O on the Mac, and
| | 01:25 | that will go ahead and switch
you to Bridge, as you see here.
| | 01:29 | Presumably, you'll want to
find some files on a folder.
| | 01:32 | So click on the Folders tab in the
upper left corner of the window and then
| | 01:35 | in my case, I've navigated once again
to the 01_open_image folder inside the
| | 01:39 | exercise_files folder and then you'll see
thumbnails of all the images inside that folder.
| | 01:44 | If you want to increase the size of the
thumbnails, drop down to the slider in
| | 01:48 | the far bottom right corner of the
window and go ahead and drag to the right to
| | 01:52 | make those thumbnails bigger.
| | 01:54 | Another way to work, by the way,
is to click on any one of the image
| | 01:57 | thumbnails and press Ctrl+ to zoom in,
that'd be Command+ on a Mac, or Ctrl or
| | 02:02 | Command- to zoom out.
| | 02:04 | And then, I'll just go ahead and double-
click on one of the image files in order
| | 02:08 | to open it up inside Photoshop.
| | 02:10 | I want you to see one other way to work.
| | 02:13 | You can very easily switch between
Photoshop and Bridge, and by the way, I should
| | 02:17 | stress, Bridge is included
free along with Photoshop.
| | 02:21 | By going up to the File menu here in
Photoshop and choosing Browse in Bridge,
| | 02:26 | that will take you over to Bridge.
| | 02:28 | And to switch back to Photoshop without
opening an image file, you just click on
| | 02:31 | this little boomerang icon to
go ahead and return to Photoshop.
| | 02:36 | So it's very easy to
switch between the two programs.
| | 02:39 | And that's how you open an image file
from inside Photoshop or its companion
| | 02:43 | program, Adobe Bridge.
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| Opening an image from Mini Bridge| 00:00 | There's another thumbnail browsing
option that works directly inside Photoshop.
| | 00:04 | It's known as Mini Bridge.
| | 00:06 | To get to it, you go up to the File
menu and you choose Browse in Mini Bridge,
| | 00:10 | and you'll see this wide panel open
up here at the bottom of the screen.
| | 00:13 | Now currently, the Mini Bridge is
directed to my personal user folder.
| | 00:17 | I'm going to click on Desktop to switch
to the Desktop, which is where I have my
| | 00:21 | exercise_files folder and then I'll
go ahead and click on exercise files.
| | 00:25 | I'm not seeing the
subfolders inside of there, however.
| | 00:28 | There's two ways to get to them.
| | 00:29 | One way is to click on this right-
pointing arrowhead to the right of the word
| | 00:33 | exercise files to see a
list of all the subfolders.
| | 00:36 | The other way and perhaps the
easier way is to just double-click on
| | 00:40 | exercise files over here in the far
left-hand side, and then I'll see a
| | 00:44 | list of my subfolders.
| | 00:45 | Now I can just click on one of them in
order to see the image files inside that
| | 00:49 | folder, in this case Welcome.tif, in
order to open the image inside Photoshop.
| | 00:54 | If at any time you want to hide the
Mini Bridge panel, which you presumably do
| | 00:58 | in order to focus in on the image, just
double-click on the Mini Bridge tab and
| | 01:03 | then that'll go ahead and collapse that panel.
| | 01:05 | Now I can press Ctrl+ or Command+ a
couple times in order to zoom in on the image.
| | 01:10 | And that's how you browse image
thumbnails using Mini Bridge which runs
| | 01:14 | directly inside Photoshop.
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| Opening through Camera Raw| 00:00 | The final way to open an image is to
bring it in the Photoshop through a utility
| | 00:04 | known as Camera Raw.
| | 00:06 | Now Camera Raw, like Bridge, ships for free
with every version of Photoshop out there.
| | 00:11 | And the advantage of Camera Raw
is that it provides a unique image
| | 00:15 | adjustment environment.
| | 00:16 | We'll be discussing Camera Raw in detail
in the next course, but for now, I just
| | 00:21 | want you to know it's here.
| | 00:23 | I'm back inside Bridge, and I'm looking
at my three image files here inside the
| | 00:27 | 01_open_image folder.
| | 00:28 | And you can open raw images from
your digital camera inside Camera Raw.
| | 00:33 | You can also open flat image files
saved in either the JPEG or TIFF format.
| | 00:39 | You cannot open PSD files.
| | 00:41 | I'm going to switch over to the TIF
file and I'll right-click on it and choose
| | 00:45 | this command, Open in Camera Raw.
| | 00:47 | You also have the keyboard short cut of
Ctrl+R on a PC or Command+R on the Mac.
| | 00:53 | And that's going to go ahead and
launch Camera Raw as you see here.
| | 00:56 | If you want Camera Raw to fill up your
screen, then you want to go ahead and
| | 00:59 | click on this little icon in the
upper right corner of the image window.
| | 01:03 | Or you can see it has a
shortcut, you just tap the F key.
| | 01:07 | Now let's say I want to create a dark
vignette around the image, I'll go and
| | 01:10 | switch from the Basic panel, which is
selected by default to this FX panel right
| | 01:15 | there just by clicking on the FX.
| | 01:18 | And then I'll drop down to the Post
Crop Vignetting option and I'll reduce this
| | 01:22 | amount, let's say, to -65, which is
going to give me a dark vignette all the way
| | 01:27 | around the image and I'll also reduce this
Midpoint value to bring the vignette in.
| | 01:31 | And I ended up taking the
Midpoint value down to 25.
| | 01:35 | Let's assume that this is all
I want to do inside Camera Raw.
| | 01:38 | And as I say, we'll be discussing
Camera Raw in more detail in the next course,
| | 01:43 | but for now I'm going to go ahead and
click the Open Image button in order to
| | 01:46 | open this image file inside Photoshop.
| | 01:49 | Then I'll switch back to the Bridge by
going to the File menu and choosing the
| | 01:53 | Browse in Bridge command, so you can
see that this Welcome.tif image is now
| | 01:58 | linked to Camera Raw.
| | 01:59 | So that little icon in the upper right
-hand corner indicates that you have
| | 02:03 | applied some Camera Raw settings.
| | 02:05 | They are all together temporary
settings and can be removed anytime you like.
| | 02:09 | So we haven't hurt the original image file.
| | 02:12 | All I need to do is right-click on
the image thumbnail, drop down to
| | 02:15 | Develop Settings, and choose Clear
Settings in order to re-establish my
| | 02:20 | original Welcome.tif file.
| | 02:22 | And that's how you open, and to an
extent, modify an image in Camera Raw which
| | 02:28 | is included for free along
with every version of Photoshop.
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| Closing one image and Closing All| 00:00 | Presumably after you open an image,
at some point you'll want to close it.
| | 00:04 | So I will end this chapter by
reviewing how closing works.
| | 00:07 | One way to close an image is to click on
the little X up on either the Title tab
| | 00:11 | or in the Mac, in the Title bar.
| | 00:14 | And in this case, I'm looking at the TIFF
image that I modified in the previous movie.
| | 00:19 | So if I close it, Photoshop will
ask me if I want to save my changes.
| | 00:22 | Now, I'll be reviewing how saving and
file formats work in a future chapter,
| | 00:27 | but for now I have the option of
clicking the Yes button, this would be the Save
| | 00:30 | button on the Mac in order to save my changes.
| | 00:33 | I can click the No button or click the
Don't save button on the Mac to close
| | 00:37 | my image without saving the changes, or I can
click the Cancel button to keep my image open.
| | 00:42 | Now each one of these
buttons has a keyboard shortcut.
| | 00:45 | In the case of the Yes button,
you just have to tap the Y key.
| | 00:48 | On the Mac, you just tap the S key to save.
| | 00:51 | If you don't want to save your changes,
you just tap the N key for No here on
| | 00:55 | the PC, or the D key for Don't save on a Mac.
| | 00:58 | And then finally, if you want to
cancel on either platform, you just go ahead
| | 01:02 | and press the Escape key, and that's
what I'm going to do in this case.
| | 01:06 | Now notice that I have multiple images
open and I can switch them by clicking
| | 01:10 | in their Title tabs.
| | 01:11 | If I want to close all open images,
then I'll go up to the File menu and choose
| | 01:16 | the Close All command.
| | 01:17 | In this case, because one of my
images has unsaved changes, I'll get that
| | 01:21 | alert message again.
| | 01:22 | Except this time, I have the option of
applying my decision to all open images.
| | 01:27 | So if I don't want to save the changes
to any open image, which is what I want
| | 01:31 | in this case, I turn on the Apply To
All check box, you would click the Don't
| | 01:35 | save button or press the D key on the Mac,
and then you'll end up with all images closed.
| | 01:41 | Then at any point, if you want to go
ahead and quit Photoshop, go up to the File
| | 01:45 | menu and choose the Exit
command here on the PC.
| | 01:48 | It's the Quit command on the Mac.
| | 01:50 | In either case, you've got a keyboard
shortcut of Ctrl+Q on a PC or Command+Q on the Mac.
| | 01:55 | And that's how you open and
close images here inside Photoshop.
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|
|
2. Getting AroundNavigating your image| 00:00 | This chapter is all about
getting around in Photoshop.
| | 00:04 | Magnifying the image, panning to
another location and managing your workspace.
| | 00:10 | I spent 11 movies on this topic,
which is a lot, for the simple reason that
| | 00:15 | there's a lot to know.
| | 00:17 | I want you to be able to move around
inside Photoshop without even thinking,
| | 00:22 | because that's how everything else
about the program is going to make sense.
| | 00:26 | Better still, you'll be able to focus
less on the mechanics of the program and
| | 00:31 | more on the task of
creating great artwork and imagery.
| | 00:36 | Allow me to help you feel at home in Photoshop.
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| The dark vs. the light interface| 00:00 | For those of you who have worked in
Photoshop in the past, the most obvious change
| | 00:04 | will be this dark interface with
the text and icons set in white.
| | 00:08 | Now, I happen to like the dark interface.
| | 00:10 | I feel like it allows me to focus in on my
image without being distracted by the interface.
| | 00:15 | However, you don't have to
accept it if you don't want it.
| | 00:18 | So in this movie, I'll show you how to
set the interface to another shade of gray.
| | 00:22 | If you're working on the
PC, you go to the Edit menu.
| | 00:25 | On a Mac, you go to the Photoshop
menu in the upper left-hand corner,
| | 00:29 | and then you drop down to the
Preferences command--this command isn't that far
| | 00:32 | down the menu on the Mac, and then
choose Interface from the submenu.
| | 00:37 | And that will bring up the Preferences
dialog box which allows you to select
| | 00:40 | from four different color schemes.
| | 00:42 | So I could go ahead and select the
next scheme lighter in order to mimic the
| | 00:45 | brightness of the old
interface and now I will click OK.
| | 00:49 | Notice now the text and icons are set in black.
| | 00:52 | You also have a keyboard shortcut by the way,
to either brighten or darken the interface.
| | 00:56 | If you press Shift+F2, you'll
advance to the next brighter interface.
| | 01:00 | If you press Shift+F1, you'll go back to
a darker interface, and you can actually
| | 01:05 | go two shades darker than this.
| | 01:07 | This is the darkest interface there
is, and again, the text and icons are
| | 01:11 | reversed out in white.
| | 01:12 | All right, I'm going to press Shift+F2
in order to restore the default interface.
| | 01:17 | You also have control
over this pasteboard color.
| | 01:20 | This area of gray outside of the
image when you're zoomed out from it.
| | 01:23 | So if you're not seeing it, just go
ahead and press Ctrl+- or Command+- on the
| | 01:27 | Mac to back out a little bit.
| | 01:29 | To change that pasteboard, just right-
click inside of it and then choose your
| | 01:33 | preferred shade of gray.
| | 01:35 | For example, I could go with light gray
or I could right-click inside the image
| | 01:39 | window and I could choose Select Custom Color.
| | 01:42 | Now I like to work with the Hue,
Saturation and Brightness values.
| | 01:45 | You definitely want Hue and Saturation
set to 0%, unless you want to end up with
| | 01:49 | a distracting, colorful pasteboard.
| | 01:52 | Presuming that you want to stick with
gray, however, you would just modify this
| | 01:55 | brightness value, 20% is the default
setting, which is pretty darn dark, so I
| | 02:00 | might go ahead and take it up to 35%,
for example, and then click OK.
| | 02:04 | And I'd end up with a pasteboard that
more or less matches the brightness of
| | 02:08 | the interface itself.
| | 02:09 | One other little trick that you may
want to know about here, I'm going to
| | 02:13 | my Color panel, which I can get to by
going to the Window menu and choosing
| | 02:16 | the Color command, but in my case,
it's already up on screen, so I don't
| | 02:20 | need to choose the command.
| | 02:21 | And I'm going to click on the Panel flyout
menu icon in the upper right-hand
| | 02:25 | corner, and I'm going to switch to HSB
sliders, which gives me control over Hue,
| | 02:29 | Saturation and Brightness.
| | 02:31 | And we'll talk about how those work
in more detail in future chapters.
| | 02:35 | But for now I'm just going to change
the Brightness value, let's say to 25%,
| | 02:40 | just so we get a different effect.
| | 02:42 | And now, I'm going to drop down to the
Gradient tool, click and hold on it and
| | 02:46 | choose the Paint Bucket tool.
| | 02:48 | Then you press the Shift Key and click
in the background in order to assign the
| | 02:52 | foreground color to that pasteboard.
| | 02:55 | So again, it's there if you
want to take advantage of it.
| | 02:58 | Don't worry about it if not.
| | 02:59 | And now, I'm going to reset things to
their defaults by right-clicking inside
| | 03:02 | that pasteboard and choosing dark gray.
| | 03:05 | And that's how you modify the
brightness of the otherwise dark interface,
| | 03:09 | here in Photoshop CS6.
| | Collapse this transcript |
| Navigating tabs and windows| 00:00 | In this movie, I'll show you how to work
with and navigate between multiple open images.
| | 00:06 | I currently have four images open,
each of which is represented by a tab at
| | 00:11 | the top of the screen.
| | 00:12 | To switch to a different image
you just click on its tab like so.
| | 00:16 | Now this has been the way things have
worked for a while on the PC, but it's new
| | 00:20 | default behavior on the Mac.
| | 00:23 | If you'd rather switch to the old
Macintosh behavior, in which each image
| | 00:26 | appears inside of its own floating
window, then go up to the Window menu,
| | 00:31 | choose Arrange and choose Float All in
Windows, and then each and every image
| | 00:36 | is independent like so.
| | 00:38 | Now a lot of Macintosh folks like
to be able to see other applications
| | 00:42 | running in the background.
| | 00:43 | If you're one of them, then you could
open up that gray background between the
| | 00:47 | toolbox in the right-hand panels by
going up to the Window menu and choosing a
| | 00:51 | command that doesn't even exist on the PC.
| | 00:54 | It's located directly above the Options
command and it's called Application Frame.
| | 00:59 | Choose the command, you turn the
Application Frame off and you could see through
| | 01:03 | Photoshop to the applications
that are running behind it.
| | 01:06 | The one thing to bear in mind however,
is that future images will go ahead and
| | 01:10 | open in tabs, much like this.
| | 01:12 | If I were to take this image and drag
it and drop it into the other one, then
| | 01:17 | the two images are now combined
into a single window with two tabs.
| | 01:22 | That's not the behavior you're looking for.
| | 01:24 | Go up to the Edit menu, this would be
the Photoshop menu on the Mac, drop down
| | 01:28 | to Preferences and then
choose the Interface command.
| | 01:32 | Notice these two check boxes right here,
Open Documents as Tabs, that one goes
| | 01:37 | ahead and opens all new images
as tabs inside existing windows,
| | 01:41 | and then Enable Floating Document
Window Docking; that's what I just showed you
| | 01:45 | a moment ago where you can
drag one image into another.
| | 01:48 | If you don't want those, turn them off.
| | 01:51 | Now I happened to like them so I'm going to
go ahead and cancel out of this dialog box.
| | 01:55 | What I want to do is restore all images to tabs.
| | 01:59 | So I'll go up to the Window menu, choose
Arrange and then choose Consolidate All
| | 02:03 | to Tabs in order to tidy things up.
| | 02:06 | Now notice that this file, Grayscale
image.jpg, is now the first tab in the list.
| | 02:11 | Well you can change the order of
tabs anyway you like just by dragging
| | 02:15 | them along the top here.
| | 02:17 | I can even go so far as to restore
that image to its final placement.
| | 02:22 | Another way to switch between
open images is from the keyboard.
| | 02:25 | On the PC, you can press Ctr+Tab to
advance from one image to the next.
| | 02:31 | On the Mac, you press Command+~.
| | 02:33 | The tilde key is that key in the
upper left corner of an American keyboard
| | 02:37 | just above the Tab key.
| | 02:40 | To move backward between the images,
press Ctrl+Shift+Tab here on a PC or
| | 02:44 | Command+Shift+~ on a Mac.
| | 02:46 | Now Photoshop only allows you
to modify one image at a time.
| | 02:51 | However, you can view
multiple images at once, if you like.
| | 02:55 | And you do so by going up to the
Window menu and then choosing one of
| | 02:58 | these display options.
| | 03:00 | I'm going to select 2-up Vertical so
that I'm seeing one of the images over on
| | 03:04 | the right-hand side.
| | 03:05 | So we have a single tab
going in this right-hand window.
| | 03:08 | And over here in the left-hand window,
we have three tabs.
| | 03:12 | One of them I can't see very well, but
I can get to all of my tabs any all time
| | 03:17 | by clicking in this double-arrow
icon and choosing an item from the list.
| | 03:21 | I'm going to go ahead and
choose the second image.
| | 03:23 | And let's say I want it to
appear over on the right-hand side.
| | 03:26 | I drag its tab and then drop
it inside the right-hand window.
| | 03:30 | So I'm looking for that blue rectangle.
| | 03:32 | If I don't see the rectangle and I drop
the image anyway, then it will appear in
| | 03:37 | the floating window like so.
| | 03:38 | And notice that the floaters can even cover
up the interface elements. I don't want that.
| | 03:43 | But that's not a permanent problem.
| | 03:45 | I can go ahead and drag this Title bar
and drop it into the right-hand window
| | 03:49 | once I see the blue rectangle, and
I end up getting this result here.
| | 03:53 | Now bear in mind, even though I'm seeing two
images at once, only one of them is active.
| | 03:58 | And you can tell which
image is active by its title.
| | 04:01 | So a bright title shows an active image.
| | 04:04 | The dim title show inactive images.
| | 04:06 | So currently, the image on the right is active.
| | 04:09 | If I click over here in the left-hand
image, then it brightens up like so.
| | 04:13 | If at any time you want to abandon the
2-up display and just see one image at a
| | 04:17 | time, then return to the Window menu,
choose Arrange, and choose Consolidate All
| | 04:22 | to Tabs once again, and you
will end up with this effect here.
| | 04:25 | And that's how you work with and
navigate between multiple open images
| | 04:30 | inside Photoshop.
| | Collapse this transcript |
| Panels and workspaces| 00:00 | In this movie, I'll show you how
to organize your panels over here in
| | 00:03 | right-hand side of the screen, so that
you can easily access Photoshop's most
| | 00:07 | important functions.
| | 00:09 | I'll also show you how to save off that
particular organization as a workspace.
| | 00:13 | But I just want you to understand how
mine is put together, so you can easily
| | 00:16 | follow along with these movies.
| | 00:19 | Now first of all, notice that you can
switch between panels just by clicking on
| | 00:22 | their tabs. I'm going to click on the
Styles tab right here, and I'm going to
| | 00:26 | drag it up and drop it in this
group that includes Color and Swatches,
| | 00:31 | and then I'll click on the
Color panel to switch back to it.
| | 00:34 | Now I'm going to grab the Adjustments
panel and I'm going to drag it over here
| | 00:39 | on this little icon that represents the
Properties panel, and I'll drag it to the
| | 00:43 | top so that Adjustments comes
first and then Properties come second.
| | 00:47 | The reason being that one of the
functions of the Properties panel is to
| | 00:51 | show the options associated with Adjustment
layers, which you create from the Adjustments panel.
| | 00:57 | Now this is going to give me a ton of
room for my Layers panel which I need
| | 01:01 | on this small screen.
| | 01:02 | All right, now I'm going to bring
up a few panels that are missing.
| | 01:05 | I'll go to the Window menu and choose
Actions, and notice that that'll go ahead
| | 01:10 | and add the Actions panel
over here directly below History.
| | 01:14 | If you want to hide a panel all you
need to do is click on its icon again.
| | 01:18 | Now I'll go back to the Window menu
and choose Histogram, and that will go
| | 01:22 | ahead and bring up both the Histogram and the
Navigator panels in this single column of icons.
| | 01:27 | Now incidentally, you can make this
second column wider if you want to, so you
| | 01:31 | can see the names of every
single one of the panels like so.
| | 01:34 | You also have the option of displaying
the contents of those panels by clicking
| | 01:38 | on this double left arrow icon
which will give you this effect here.
| | 01:42 | However, many of these panels tend
to be secondary panels, so you're
| | 01:45 | generally better off collapsing the
icons, which you can do by clicking on
| | 01:49 | the double right arrow icon.
| | 01:51 | And I'm going to drag this edge so I can
see just the icons and not their names.
| | 01:54 | All right, a few other changes, I'll
go up to the Window menu and choose the
| | 01:58 | Info Command, which brings up the Info
panel and puts it there below Properties.
| | 02:03 | It's a pretty minor issue, but I'd
rather have it below the Histogram, so I'm
| | 02:07 | going to drag and drop it into that spot.
| | 02:09 | All right, a few other
panels I want to bring up.
| | 02:11 | I'll go up to the Window menu which
gives me access to all of Photoshop's
| | 02:15 | panels, and I'll choose Brush in order to
bring up both of Brush and Brush Presets panels,
| | 02:20 | and then I'll go back to the Window
menu and choose Clone Source which would
| | 02:24 | bring up this panel here and I grab its
icon and drag it and drop it into the group
| | 02:28 | includes the Brush panel.
| | 02:30 | Now let's get the Text panels, starting
with Character, so I'll choose Character
| | 02:34 | from the Window menu.
| | 02:35 | That brings up both the Character and
Paragraph panels, which is exactly what I want.
| | 02:39 | Then I'll go back to the Window menu
and choose Paragraph Styles, which brings
| | 02:43 | up the two Styles panels, which allow
me to save off my formatting attributes
| | 02:47 | here inside Photoshop CS6.
| | 02:49 | All right, we have just three
panels to go and believe me, they're good
| | 02:53 | panels to have around.
| | 02:54 | I'll go up to the Window menu and
choose Layer Comps to bring up both
| | 02:58 | Layer Comps and Notes.
| | 02:59 | And then I go to the Window menu again
and choose Tool Presets, which brings up
| | 03:04 | this lone Tool Presets panel.
| | 03:06 | I'm going to drag its icon and
drop it between Layer Comps and Notes.
| | 03:11 | All right, next what we need is a
slightly wider Layers panel here, just so we
| | 03:16 | can see the layer names
without them getting truncated.
| | 03:19 | All right at this point, let's say you
like the way you've set up the panels,
| | 03:22 | which I do, because now we have access
to just everything inside the software.
| | 03:26 | Go ahead and click on the word
Essentials up here in the upper right-hand corner
| | 03:29 | of the screen and choose New Workspace
and I'm going to go ahead and name the
| | 03:34 | workspace after the series of courses
which is One-on-One, and then I'll go
| | 03:38 | ahead and click the Save Button in
order to save that workspace off.
| | 03:42 | Now let's say you decide you want to go
back to the way it was in the first place.
| | 03:46 | You can Click One-on-One and choose Essentials.
| | 03:49 | Now if that doesn't end up making any
difference, that's because Photoshop went
| | 03:52 | ahead and updated
Essentials as we modified the panels.
| | 03:55 | Here's what you do, click on
Essentials again and now choose Reset
| | 04:00 | Essentials down here at the bottom
of the menu, and you go back to the
| | 04:03 | original configuration.
| | 04:05 | You have a whole bunch of other
workspaces to choose from as well, including New
| | 04:09 | in CS6, Photography, Typography and so forth.
| | 04:14 | I'm going to go ahead and
switch back to One-on-One;
| | 04:16 | the workspace that I saved out, so I
have easy access to all of Photoshop
| | 04:20 | functions, and that's how you organize
your panels and save out a workspace
| | 04:25 | here inside Photoshop.
| | Collapse this transcript |
| Zooming incrementally| 00:00 | In this movie, I'll show you a few ways to
incrementally zoom in and out from an image.
| | 00:05 | I'm seeing this image at a 25% view size.
| | 00:08 | And I know that because I see 25% up
here on the title and I also see it listed
| | 00:12 | down here in this field in the
bottom left corner of the Image Window.
| | 00:16 | Now that's great for taking in the
image wide, that means I'm not seeing much
| | 00:20 | detail, because after all, what
Photoshop is doing is showing me, one quarter of
| | 00:26 | the pixels both horizontally and vertically.
| | 00:28 | So it's really only showing me one out
of every 16 pixels, and it's doing so by
| | 00:33 | averaging the colors inside the image.
| | 00:35 | If I want to zoom in so that I can
take in more detail, I could go up to the
| | 00:40 | View menu and choose the Zoom In command,
but you end up zooming in and out so
| | 00:45 | much in the software, you're better
off using the keyboard shortcuts, and
| | 00:48 | they're very easy to memorize, it's
Ctrl++ or Command++ on the Mac to Zoom In
| | 00:53 | and Ctrl+- or Command+- on
the Mac to Zoom Out.
| | 00:57 | So let me show you what that looks like.
| | 00:59 | I'll go and press Ctrl++, that would be
Command++ on the Mac to zoom from 25% to 33%,
| | 01:05 | so we're getting more detail out of the image.
| | 01:08 | That would be one out of every three
pixels horizontally and vertically, so one
| | 01:12 | out of every nine pixels overall.
| | 01:15 | Go and Press Ctrl++ or Command++ on the
Mac to zoom in the 50% and then it's 67%
| | 01:21 | and then it's 100%.
| | 01:23 | At 100%, you're seeing one image pixel
for every screen pixel, so if you zoom in
| | 01:27 | any further than that, for example, I
just zoomed to 200% by pressing Ctrl++ or
| | 01:32 | Command++ again, then you're
increasing the size of the pixels.
| | 01:35 | So at this point, each image pixel
is taking up four pixels on a screen.
| | 01:40 | To zoom out you press Ctrl+- or
Command+- on the Mac, and again, we're
| | 01:45 | observing the same increments
that we saw before, so these are both
| | 01:49 | incremental zoom techniques.
| | 01:50 | The great thing about these
shortcuts is they're easy to remember.
| | 01:54 | But the bad news is that Ctrl++ for
example, just goes ahead and zooms in on
| | 01:59 | that central portion of the image.
| | 02:00 | It's unlikely however, that I want
to zoom in on the top of her lip.
| | 02:04 | In fact, I want to zoom in on her eyes, so
I'm going to go ahead and back out once again.
| | 02:09 | And if you want to control the detail
that you're zooming into, then you use
| | 02:13 | this tool down here at the bottom of the
toolbox, the Zoom tool, and notice that that
| | 02:17 | little tooltip, lists the keyboard
shortcut in parentheses of Z. If you press
| | 02:22 | and hold the Z key you can get the
Zoom tool on the fly, so this is another
| | 02:27 | great shortcut if you care to memorize it.
| | 02:29 | With the Z key down, I'm going to click on
her eye a few times in order to zoom in on it.
| | 02:34 | So you can see, even though I'm following
the exact same zoom increments, this time
| | 02:38 | I'm controlling the point
of zoom inside the image.
| | 02:41 | If I want to zoom out, with that Z key
still down, I'd also press the Alt key or
| | 02:46 | the Option key on the Mac, and click
inside the eye to back off from it.
| | 02:51 | Then after you zoom out and you're done
clicking, go ahead and release the Z and
| | 02:56 | Alt keys or the Z and Option keys to
return to the previous selected tool, which
| | 03:01 | in my case is the default
Rectangular Marquee tool.
| | 03:04 | Now for any reasons you end up having
problems with this Z key technique, I'll
| | 03:08 | show you one other, just so you know about it.
| | 03:11 | You can also get to the Zoom tool by
pressing the Ctrl key along with the spacebar.
| | 03:15 | That would be the Command key with the
spacebar on the Mac, and keep those keys
| | 03:19 | down and zoom on in.
| | 03:21 | If you want to zoom out, you add the Alt
key here on a PC or the Option key on the Mac.
| | 03:26 | So that would be Ctrl+Alt+Spacebar on the
PC and Command+Option+Spacebar on the Mac.
| | 03:32 | So not nearly as memorable of course,
but a little bit more reliable because the
| | 03:37 | Zoom tool never ends up remaining
selected after the operation is over.
| | 03:41 | Couple of other commands to know about;
if you want to zoom all the way out, as
| | 03:45 | well as center the image on screen,
then go up to the View menu and choose Fit
| | 03:50 | on Screen, or you can press
Ctrl+0 or Command+0 on the Mac.
| | 03:55 | If you want to zoom in to 100%, so that
you can see one image pixel for every
| | 03:59 | screen pixel, then you can choose the
actual Pixels Command which has a keyboard
| | 04:04 | shortcut of Ctrl+1 for 100, or Command+1
on the Mac, and now I'll go ahead and
| | 04:09 | zoom in, in this case on the center
portion of the image, because we just got
| | 04:13 | through centering it a moment ago, but
I can easily scroll to another location
| | 04:17 | inside the image if I like.
| | 04:19 | And that's how you incrementally
zoom in and out from the image using a
| | 04:23 | combination of commands, the Zoom
tool and some helpful keyboard tricks,
| | 04:27 | here inside Photoshop.
| | Collapse this transcript |
| Zooming continuously| 00:00 | In this movie, I'll show you a few
methods for zooming continuously in and out
| | 00:04 | from an image, just in case you want
more control over your zoom ratios, so
| | 00:08 | you're not limited to 25, 33, 50 and so forth.
| | 00:12 | I am looking at this grayscale image at
the 25% zoom ratio, and I'm seeing some
| | 00:17 | moireing inside of his shirt.
| | 00:19 | In other words, we're seeing some
patterning that doesn't really exist.
| | 00:22 | But I want to do so, as a say,
with little more deliberate control.
| | 00:26 | I'm going to move my cursor over the
portion of the shirt that I want to zoom
| | 00:29 | in on, then I'll press the Alt key or
the Option key on the Mac, and I'll scroll
| | 00:34 | up on my mouse so I'm moving the scroll wheel
on my PC mouse upward as I have the Alt key down.
| | 00:40 | On the Mac, you would presumably just move
your finger upward as you press the Option key.
| | 00:45 | In either case, if you're working with
a track pad, you could just press Alt or
| | 00:48 | Option as you scroll upward as well.
| | 00:50 | Notice that two things are happening.
| | 00:52 | First of all, we're zooming in much
smaller increments, which is really great,
| | 00:56 | and we're zooming in on the cursor location
which gives us a lot more control as well.
| | 01:00 | So that's one way to work.
| | 01:02 | If you want to zoom out then you press
the Alt key or the Option key on the Mac
| | 01:06 | and you scroll downward on your mouse.
All right, I'm going to press Ctrl+0 or Command+0
| | 01:10 | on the Mac to zoom all the way up.
| | 01:12 | You can also zoom
continuously using the Zoom tool.
| | 01:15 | So if I press and hold the Z key to
get that Zoom tool on the fly and I click
| | 01:20 | and hold on his eye, notice that he
starts zooming toward me, and after I zoom
| | 01:25 | in and pass 600%, I start to see the Pixel
Grid that is the line between the pixels.
| | 01:30 | To zoom out, I would just keep the Z
key and my mouse button down and I press
| | 01:35 | and hold the Alt key or
the Option key on the Mac.
| | 01:38 | So as long as you're pressing Z and
clicking and holding, you're going to zoom
| | 01:42 | one direction or the other continuously.
| | 01:44 | Here's another option you can take advantage of.
| | 01:47 | I'll zoom out again by pressing Ctrl+0
or Command+0 on the Mac and I'll
| | 01:51 | press and hold the Z key.
| | 01:53 | If I drag to the right, I'm
going to zoom very, very quickly in.
| | 01:58 | If I drag to the left, I'm
going to zoom very quickly out.
| | 02:01 | For some folks who've been using the
software for a very long time that's pretty
| | 02:05 | confusing because that's
not the way it used to work.
| | 02:08 | Let me show you how you can
revert the behavior if you like.
| | 02:11 | I'll go ahead and manually switch to
the Zoom tool, either by clicking on it
| | 02:15 | or tapping the Z key.
| | 02:16 | Notice that check box, Scrubby Zoom.
| | 02:18 | If you turn it off, you get the old
behavior, by which I mean, instead of
| | 02:22 | dragging with the tool to suddenly
zoom in or out, you drag to marquee the
| | 02:26 | portion of the image that you want
to zoom in on, and then as soon as you
| | 02:29 | release, Photoshop zooms and centers
that portion of the image on screen.
| | 02:33 | So you can pick your poison and work
any way you like, but in any event,
| | 02:37 | you have a lot of options for
continuously zooming in or out from the image
| | 02:41 | here inside Photoshop.
| | Collapse this transcript |
| Entering a custom zoom value| 00:00 | In this movie, I'll show you your final
zoom option which is to dial in a custom
| | 00:04 | zoom value, which is great for
establishing a wide, centered view.
| | 00:09 | When I first opened this image in this
particular screen, it comes in at 16.7%,
| | 00:14 | which is just too far away.
| | 00:16 | If I press Ctrl+0 or Command+0 on the
Mac to fit the image to the screen, you
| | 00:21 | can see that Photoshop is conservative,
leaving a fair amount of pasteboard
| | 00:25 | around the edge which can be useful
when you are trying to edit the image all
| | 00:29 | the way to its perimeter.
| | 00:30 | But in my case, I don't want
to see any of the pasteboard.
| | 00:33 | If I press Ctrl++ or Command++ on the
Mac, I go the next increment, 25% which
| | 00:40 | ends up cutting off the
side of the model's face.
| | 00:42 | So I need to find something in between.
| | 00:44 | I'll go ahead and press Ctrl+0 or
Command+0 on the Mac to zoom back out.
| | 00:49 | Notice you have this custom zoom value
down here in the lower-left corner of the
| | 00:53 | Image window, so you can
dial with your own value.
| | 00:56 | For example, I'll enter 20% and then
press the Enter key or the Return key on
| | 01:00 | the Mac, in order to zoom just slightly in.
| | 01:03 | But that's not quite far enough and you
can see how this would get to be little
| | 01:06 | but laborious after a while.
| | 01:07 | So here is the most precise way to work.
| | 01:09 | I'll click inside this value and then
I press the Up arrow key a couple of
| | 01:13 | times, let's say, to take that value to 22%.
| | 01:17 | I don't know if that's going to work because
Photoshop is not previewing the zoom on the fly.
| | 01:21 | However, if I press Shift+Enter or
Shift+Return on the Mac, then I can apply
| | 01:26 | that value while keeping inactive, and I
can see that 22% still leaves a little
| | 01:31 | bit of edge over here on the left.
| | 01:33 | So I'll press the Up arrow key one
more time to take that value to 23% and
| | 01:38 | then I'll press Shift+Enter or Shift+
Return again and I can see that 23% is
| | 01:42 | exactly what I want.
| | 01:43 | Here's another way to work with the option.
| | 01:46 | If you want to be able to preview the
zooms on the fly, you press and hold the
| | 01:49 | Ctrl key or the Command key on the Mac,
and notice that your cursor changes to
| | 01:54 | the scrub cursor meaning that
you can now scrub the value.
| | 01:57 | So if I scrub to the right, I'm going
to zoom in on the fly, and if I scrub to
| | 02:02 | left, I'm going to zoom out on the fly.
| | 02:05 | I can do so with a great deal of
precision because basically, every pixel that I
| | 02:09 | scrub translates to a single percentage of zoom.
| | 02:12 | When you figure out the zoom ratio that
works for you, just press the Enter key
| | 02:16 | or the Return key on the Mac
in order to exit that value.
| | 02:20 | And that's how you zoom with the
ultimate in precision control here
| | 02:23 | inside Photoshop.
| | Collapse this transcript |
| Scrolling and panning images| 00:00 | In this movie, I'll show you how to
scroll, or if you prefer, pan your image
| | 00:04 | because after all, you want to be
able to move inside your image fluidly.
| | 00:09 | For example, I'm currently seeing a
wide view of this portrait shot, but if I
| | 00:12 | press Ctrl+1 or Command+1 on a Mac to switch
to the 100% view, I'm seeing some great detail;
| | 00:18 | but I'm not really seeing the
portion of the image I want to look at.
| | 00:21 | I can use the scroll wheel on my mouse.
| | 00:24 | So if I scroll up, I'll scroll upward,
if I scroll down, I'll scroll downward.
| | 00:29 | You also have the option of pressing and
holding the Ctrl key or the Command key
| | 00:32 | on the Mac, and scrolling upward to
scroll to the left or scrolling downward to
| | 00:36 | scroll to the right.
| | 00:38 | On the Mac, you can drag with two
fingers down in order to scroll the image as well.
| | 00:43 | So that's one way to work but the more
popular cross-platform technique is to
| | 00:47 | take advantage of the Hand tool.
| | 00:49 | Now you can select the Hand tool
manually down here at the bottom of the
| | 00:52 | toolbox or you can gain access to it
by pressing and holding the spacebar
| | 00:56 | either on the Mac or the PC.
| | 00:59 | And with the spacebar down, you can
drag the image in order to pan it to the
| | 01:03 | exact location you like.
| | 01:04 | Now assuming that your video card
supports OpenGL, which most do, you can also
| | 01:09 | take advantage of flick-panning
and let me show you how that works.
| | 01:13 | You press and hold the spacebar and then
you basically toss the image like so in
| | 01:18 | order to flick it to a different
location, and you can either do small flicks or
| | 01:22 | big ones to move very
rapidly through your image.
| | 01:25 | Here is another technique
that's known as the Bird's Eye View.
| | 01:28 | If you press and hold the H key, which
is another way to get to the Hand tool,
| | 01:33 | and then click and hold, you'll see this
little rectangle inside of a wide view of the image,
| | 01:38 | then go ahead and move the rectangle
to the desired location and release in
| | 01:42 | order to re-center your view.
| | 01:44 | Let me show you one more trick that allows
you to pan multiple images at the same time.
| | 01:49 | I'm going to zoom out a little bit
so we take in more this guy's face.
| | 01:52 | Press the spacebar and drag him in the view.
| | 01:54 | All right, now I'll go up to the
Window menu, choose Arrange and choose 2-Up
| | 01:59 | Vertical so that I can see
two images at the same time.
| | 02:02 | Now let's say I want to be
able to pan these images together.
| | 02:05 | Now I could click inside this right-hand
window and I can press the spacebar and
| | 02:09 | drag in order to pan just
one of the images like so.
| | 02:13 | However, if I press the spacebar and the
Shift key together, and then drag one of
| | 02:17 | the images, both of the images move in
kind as you can see here, which allows me
| | 02:22 | to pan both of the images in kind.
| | 02:25 | And those are some standard and
very helpful methods for panning images
| | 02:28 | here inside Photoshop.
| | Collapse this transcript |
| Rotating and resetting the view| 00:00 | Another option that's available to you
is to rotate your view of the image, which
| | 00:04 | is great when you're painting in edits,
because you can gain access to the exact
| | 00:08 | angle you're looking for, very much as
if you are rotating a piece of paper as
| | 00:12 | you were drawing on it.
| | 00:13 | I'm going to drop down to the Hand tool
and click and hold on it, and you'll see
| | 00:17 | that we get a flyout menu with both
the Hand tool and the Rotate View tool.
| | 00:21 | If you select the Rotate View tool,
then you can drag the image in order to
| | 00:25 | rotate it to a different angle.
| | 00:27 | Now I stress, we're just
rotating our view of the image;
| | 00:31 | we're not rotating the image itself.
| | 00:33 | That goes ahead and rotates my view
of this image and only this image.
| | 00:37 | My other open images remain just as they were.
| | 00:40 | Well let's say instead, you want to
rotate your view of all the open images and
| | 00:44 | you'd go ahead and turn on this
check box, Rotate All Windows up here in
| | 00:48 | Options bar, and then you can
rotate your image to the desired angle.
| | 00:52 | I'll go ahead and rotate her a little
farther, like so, and now when I cycle between
| | 00:57 | my other open images, you can see
that they're all rotated as well.
| | 01:01 | Now let's say at any point,
you want to reset your view;
| | 01:04 | all you do is go up to the Options bar
and click on the Reset View button and
| | 01:08 | because Rotate All Windows is checked,
I'll go ahead and reset every single one
| | 01:12 | of the images as you can see here.
| | 01:15 | So now every one of my
images is back to being upright.
| | 01:18 | Now I'm going to switch to that
first portrait, and let me show you a
| | 01:22 | quicker way to work.
| | 01:23 | I'm going to turn off Rotate All Views
up here in the Options bar and then I'm
| | 01:27 | going to switch back to my default tool
which is the Rectangular Marquee tool.
| | 01:31 | You can get that tool incidentally
by pressing the M key for marquee.
| | 01:34 | Now let's say I want to rotate this view
again, but I don't want to switch tools.
| | 01:38 | I can press and hold the R key for
Rotate View and then I can drag, like so, in
| | 01:44 | order to rotate the image.
| | 01:46 | Then once I'm done rotating, I'd
Release the R key in order to return to my
| | 01:50 | Rectangular Marquee.
| | 01:51 | The problem, of course,
is how do I reset the view?
| | 01:54 | Because the Rotate View tool isn't
selected, I'm not seeing the Reset button up
| | 01:58 | here in the Options bar.
| | 02:00 | However, you can get to it anytime just
by pressing the Escape key, and that will go
| | 02:04 | ahead and return the image to exactly upright.
| | 02:07 | And that's how you rotate your view
of the image here inside Photoshop.
| | Collapse this transcript |
| Cycling between screen modes| 00:00 | Another option for controlling your
display are the screen modes, which allow you
| | 00:04 | to hide the interface and hone in on
the image, which as you might imagine, is
| | 00:08 | very useful for showing off your
artwork to co-workers and clients.
| | 00:12 | To get to the screen modes, you go
down to the very bottom of the toolbox and
| | 00:17 | you'll see this Change Screen mode icon.
| | 00:19 | Go ahead and click and hold on it, and
currently, we're in the Standard Screen
| | 00:23 | Mode which means we're seeing all of the
interface including the title tabs and scroll bars.
| | 00:28 | However, you can switch forward to
Full Screen Mode With Menu Bar, which hides
| | 00:32 | all the elements of the image window,
which means we can still get work done but
| | 00:36 | we have more real estate for the image itself.
| | 00:39 | If you want to hide everything, but the
image, then drop down to that icon once
| | 00:43 | again, click and hold on it
and choose Full Screen Mode.
| | 00:47 | If this is the first time you're
choosing the option, then you'll get an alert
| | 00:50 | message telling you how
to work inside this mode.
| | 00:53 | But I'll tell you what's going on there.
| | 00:54 | So, I'll just go ahead and
click on the Full Screen button.
| | 00:56 | Now you can do any work you want at this point.
| | 00:59 | You can zoom in, for example, by
pressing Ctrl++ or Command++ on the Mac.
| | 01:04 | You can pan your display, as I'm doing
slightly here by Spacebar+Dragging, and
| | 01:08 | you can work on the image as well.
| | 01:10 | Then when you want to return to the
Standard Display, all you have to do is
| | 01:13 | press the Escape key and everything comes back.
| | 01:16 | You can also cycle through the
modes by pressing F for Full Screen.
| | 01:20 | So when you press the F key the
first time, you switch to the full screen
| | 01:24 | with Menu Bar Mode.
| | 01:25 | You Press the F key again, you switch
to the strict Full Screen Mode which
| | 01:29 | hides the interface, and then to
return to the Standard Mode, you press the F
| | 01:33 | key for a third time.
| | 01:35 | You also have a couple of Tab key
tricks for controlling the interface display.
| | 01:39 | If you press the Tab key, you're going
to hide everything about the interface
| | 01:43 | except for the Image window here
inside the Standard Screen Mode, as well as
| | 01:47 | the menu bar up top.
| | 01:49 | If you want everything back, then you
press the Tab key again, and notice that
| | 01:53 | the Tab key hid the toolbox, the Options bar
at the top, and all of these right side panels.
| | 01:58 | If you only want to hide the right
side panels then you press Shift+Tab.
| | 02:03 | That keeps the Options bar on screen
and it keeps the toolbox up as well.
| | 02:07 | To bring those panels back,
you press Shift+Tab again.
| | 02:10 | Now this can be really helpful when
you're in the Full Screen Mode.
| | 02:13 | So let's say I press the F key a couple
of times in order to switch to full screen.
| | 02:18 | Now I can tap the Tab key in order to
bring back the entire interface and then
| | 02:22 | press Tab again to hide it, or I can
press Shift+Tab to bring back just the right
| | 02:27 | side panels and then press
Shift+Tab to hide them again.
| | 02:31 | Now even when the interface is hidden,
you can hover over the left-hand side of
| | 02:35 | the screen in order to bring back the toolbox.
| | 02:37 | Then switch to a different tool, for
example, I might want to crop the image and
| | 02:42 | then move your cursor back to the
right to see the toolbox disappear.
| | 02:45 | This also works with the right side panels.
| | 02:47 | You can just hover over the right-hand
screen to gain temporary access to them
| | 02:51 | and then move your cursor away if
you want the panels to disappear.
| | 02:55 | All right, I'm going to go ahead
and press the M key to return to the
| | 02:59 | Rectangular Marquee tool and that
will hide the crop boundary so I can just
| | 03:02 | focus in on the image.
| | 03:04 | And that's how you take advantage of
the various screen modes including Full
| | 03:08 | Screen here inside Photoshop.
| | Collapse this transcript |
| Using the Navigator panel| 00:00 | You often want precise control over the
display of your image, which is tough,
| | 00:04 | because when you switch to a Full
Screen Mode, you lose the image window along
| | 00:09 | with this custom zoom value down
here in the lower left-hand corner.
| | 00:12 | Notice the first mode goes ahead and
hides the value, and of course, the second
| | 00:16 | mode ends up hiding everything,
| | 00:18 | and we reveal this large area of
pasteboard along the left and right-hand
| | 00:22 | sides of the image.
| | 00:23 | That's where the Navigator panel comes in.
| | 00:25 | I'll start by introducing you to the
panel and then I'll show you how to use it
| | 00:30 | in the Full Screen Mode.
| | 00:31 | So I'm going to press the F key in order
to switch back to the Standard Screen Mode.
| | 00:36 | And then I'll go up to the Window menu
and choose the Navigator command to bring
| | 00:40 | up the Navigator panel.
| | 00:42 | As you may recall, I've docked the
panel in this column of icons over to the
| | 00:46 | right of the image, and it's important
that you do so as well if you want to use
| | 00:50 | the panel on the Full Screen Mode.
| | 00:51 | Now as you can see the, Navigator
features a very small preview of the
| | 00:56 | image, but you can make it larger
just by dragging a corner of the panel in
| | 01:00 | order to expand it.
| | 01:02 | This red rectangle
represents your view into the image.
| | 01:06 | So if I press Ctrl++ or Command++ on
the Mac, the rectangle grows progressively
| | 01:11 | smaller because after all, I can
see less of the image at a time.
| | 01:16 | You can change which part of the image
you're viewing by dragging the rectangle,
| | 01:20 | and as you can see, that goes
ahead and pans the image on the fly.
| | 01:24 | Another option is to press the Ctrl
key or the Command key on the Mac, which
| | 01:28 | gets you the Zoom tool and then you
drag inside the image in order to define
| | 01:32 | the area of your zoom.
| | 01:34 | Down here at the bottom of the panel,
you have a zoom slider which allows you to
| | 01:38 | zoom in and out incrementally.
| | 01:40 | You can also click on the big mountain to
zoom in or the little mountain to zoom out.
| | 01:45 | Problem is, neither the little mountain icons
nor that slider give you all that much control.
| | 01:51 | The control comes in the zoom value
that appears in the lower-left corner of
| | 01:55 | the panel just as it does on the
lower left corner of the image window.
| | 01:59 | And it works just like that value as well.
| | 02:02 | So if I press Ctrl+0 or Command+0 on
the Mac to zoom all the way out, and then I
| | 02:07 | go ahead and hide the Navigator panel.
| | 02:09 | I'll press the F key a couple of times in
order to switch to the Full Screen Mode.
| | 02:13 | And then if I press Ctrl+0 or Command+0
on the Mac, I have more screen real
| | 02:18 | estate to work with.
| | 02:19 | So I zoom a little farther in,
however, I still have all this pasteboard.
| | 02:23 | If I want to zoom into that exact ratio
that's going to hide the pasteboard but
| | 02:27 | show me as much as possible of the image.
| | 02:29 | When I hover against the right-hand
side of the screen to bring up those
| | 02:33 | right-hand panels, I click on the
Navigator icon to bring up the Navigator
| | 02:37 | panel, and then I use it just as I do that
value in the lower-left corner of the image window.
| | 02:42 | Now you have to take care, by the way,
to keep your cursor inside the panel or
| | 02:47 | everything is going to
disappear like so. All right,
| | 02:50 | I'll go ahead and bring things
back up and I'll select that value.
| | 02:53 | And let's say I dial in a value
like 40% and press the Enter key or the
| | 02:58 | Return key on the Mac.
| | 02:59 | I can see that's too far away.
| | 03:01 | So I have a couple of options available to me.
| | 03:03 | One is to highlight the value and
then press the Down arrow key a few times
| | 03:07 | and press Shift+Enter or Shift+Return on the Mac
in order to zoom out and keep the value active.
| | 03:13 | I can also press the Ctrl key or
the Command key on the Mac, and then go
| | 03:18 | ahead and scrub the value in order to zoom
to that exact percentage that's going to work.
| | 03:23 | And for me, it happens to be 32%.
| | 03:26 | Once you find a value that works for you
then go ahead and move your cursor away
| | 03:29 | from the panels and all you'll see on
your screen is image, and that's how you
| | 03:34 | work with the simple but
remarkably powerful Navigator panel.
| | Collapse this transcript |
| Adjusting a few screen prefs| 00:00 | In this final movie of the chapter,
I'll show you how to adjust a few display
| | 00:04 | preferences so that you can
visually navigate inside of an image.
| | 00:08 | Now these are my recommended settings,
but of course, you can go on your own way.
| | 00:11 | Notice, by default, we have very small
thumbnails here inside the Layers panel,
| | 00:16 | which makes it difficult at a
glance to tell which layer is which.
| | 00:19 | If you'd like to see larger
thumbnails then you drop down to this empty
| | 00:23 | area below the last layer and you
right-click inside of it and choose the
| | 00:27 | desired thumbnail size.
| | 00:29 | For example, I could choose Medium
Thumbnails for slightly larger thumbnails,
| | 00:33 | or I could right-click again
choose Large Thumbnails for the largest
| | 00:37 | thumbnails possible.
| | 00:38 | Now if you're working inside of a
layered composition, you're not necessarily
| | 00:41 | going to be able to see an
empty area below the layers.
| | 00:44 | For example, I'll go ahead and switch to
this image, in which I've rasterized all
| | 00:48 | the type, that is I've converted the text
layer to pixels so you won't get a font
| | 00:52 | warning if you're working along with me.
| | 00:54 | And notice that I have a sufficient
number of layers that there is no empty area
| | 00:58 | below the background.
| | 01:00 | In that case, you can change the
thumbnail size by clicking on the flyout
| | 01:03 | menu icon in the upper right corner of
the Layers panel and then choosing the
| | 01:07 | Panel Options command,
| | 01:09 | and now you can select your
desired thumbnail size from this list.
| | 01:13 | I'm going to stick with the largest thumbnails.
| | 01:15 | And as long as we're here inside this
dialog box, I'll have you turn off a
| | 01:19 | couple of check boxes.
| | 01:21 | Notice this one at the bottom that says,
Add "copy" to Copied Layers and Groups.
| | 01:25 | If you turn that off, which I recommend,
you won't get the word, copy, after the
| | 01:30 | name of a copied layer.
| | 01:31 | And really having that word, copy, just
makes extra work because it forces you
| | 01:36 | to rename the layer.
| | 01:37 | I also recommend you
turn off this top check box.
| | 01:40 | It's a small item, but it says
Use Default Masks on Fill Layers.
| | 01:44 | From now on, if you create a fill
layer, a solid fill, or a gradient, or a
| | 01:48 | pattern, it won't automatically come
with a layer mask, and those automatic
| | 01:52 | layer masks just serve to
clutter up the Layers panel.
| | 01:55 | And of course, we'll learn more about layer
masks in future chapters of the series.
| | 01:59 | Now I'll go ahead and
click OK to make my changes.
| | 02:02 | All right, I'm going to switch to a
different image, one that contains lots of color,
| | 02:06 | and then I'm going to switch to the
neighboring panel which is the Channels panel.
| | 02:10 | Notice it allows me to see the
composite RGB image that is Red, Green, and Blue
| | 02:14 | as well as each of the
independent color channels;
| | 02:17 | Red, Green, and Blue that make up this image.
| | 02:21 | Well, again, these are very tiny thumbnails.
| | 02:24 | If you want to see them larger, right-
click in the empty area below the last
| | 02:27 | channel and then choose Large.
| | 02:30 | And now I'll click on RGB to
return to the full color view.
| | 02:34 | And now I'll switch once again
next door to the Paths panel.
| | 02:37 | This image doesn't contain any paths,
but if it did, they would be tiny.
| | 02:41 | To make them larger, once again, this just
applies to the thumbnails inside the panel,
| | 02:45 | right-click in this empty area and
choose Large, and from this point on you'll
| | 02:49 | see large path thumbnails.
| | 02:51 | All right, I'm going to
switch back to the Layers panel.
| | 02:53 | One last change that I recommend you
make is to go up to the Window menu and
| | 02:58 | choose Adjustments to bring up the
Adjustments panel, which allows you to create
| | 03:02 | Adjustment Layers which let you
correct colors and luminance levels; things
| | 03:06 | like brightness and contrast without
permanently harming the detail inside your images.
| | 03:12 | You'll be working with them a lot, and
of course, I'll be explaining them in
| | 03:15 | detail in future chapters.
| | 03:17 | But what I'd like you to do inside
the panel for now is click on the flyout
| | 03:20 | menu icon, and then drop down to this
command, Add Mask by Default, and click
| | 03:26 | on it to turn it off.
| | 03:27 | In that way, you won't have default
layer masks for your Adjustment layers which
| | 03:31 | again, just serve to clutter up the panel.
| | 03:33 | But it does not prohibit you for making
your own layer masks anytime you like.
| | 03:38 | All right, I'm going to go ahead and
hide the panel and that takes care of it.
| | 03:42 | There's just one more thing to do.
| | 03:44 | These are global preference settings.
| | 03:46 | They are not saved as part of the
workspace we created, which means that in order
| | 03:50 | to really save these settings,
we have to quit the program.
| | 03:54 | And to do that, go up to the File menu
and choose the Exit command here on the
| | 03:58 | PC or the Quit command on the Mac, or
you can press Ctrl+Q on a PC or Command+Q
| | 04:03 | on a Mac and that'll go ahead and close
Photoshop and save out those settings.
| | 04:07 | And that from beginning to end is
how you get around inside Photoshop
| | 04:12 | so you'll ultimately feel
absolutely comfortable inside the program.
| | Collapse this transcript |
|
|
3. Image Size and ResolutionDigital imaging fundamentals| 00:00 | To understand digital imagery, you
have to understand its most basic
| | 00:04 | building block, the pixel.
| | 00:07 | Short for picture element, a pixel
is a single dot or line of color.
| | 00:12 | In still photographs and on the screen
of computers and other devices, the pixel
| | 00:17 | is a perfect square.
| | 00:19 | Each pixel aligns to the one next to it in
regular rows and columns with no gaps in between.
| | 00:27 | As the pixels grow smaller and more
numerous, they dissolve into what's known as
| | 00:31 | a continuous tone image, in which
groups of similarly colored pixels merge to
| | 00:37 | represent details that look anything
but square, which is why it's often
| | 00:42 | characterized that the more pixels you
have the better the final image will be.
| | 00:48 | But pixels are more analogous to organic cells.
| | 00:52 | Quantity is important.
| | 00:53 | For example, it takes several trillion
cells to make a human being, but quality
| | 00:58 | is just as important.
| | 01:00 | It takes healthy cells to
make a successful organism.
| | 01:04 | In much the same way, a badly
rendered image may contain a hundred million
| | 01:09 | pixels, and a well-rendered one may
contain just a few hundred thousand.
| | 01:15 | It all depends on the quality of the
original digital photo or scan and the
| | 01:20 | purpose of the final image.
| | 01:22 | In this chapter, we'll explore two
image attributes that depend on pixels:
| | 01:27 | image size and resolution.
| | 01:30 | You'll learn how many pixels you need.
| | 01:32 | You'll learn how best to resize an
image when you need fewer or more.
| | 01:37 | And in the end, you'll understand the
mechanics of what makes a successful image
| | 01:42 | both in print and on your screen.
| | Collapse this transcript |
| Image size and resolution| 00:00 | In this movie, I'm going to
introduce you to a couple of terms;
| | 00:03 | image size and resolution, both of
which are core concepts to understanding
| | 00:08 | Photoshop specifically in a larger
world of digital imaging in general.
| | 00:13 | Now I happen to be working in a piece
of graphic artwork that I created along
| | 00:17 | with my kids a few years back.
| | 00:19 | And the reason we're looking at line art
is because it's the best way to learn
| | 00:22 | what's going on with image size.
| | 00:24 | We'll be translating these concepts to
photographic images later in this chapter.
| | 00:28 | Now you note that I'm viewing
the image at the 100% view size.
| | 00:32 | So this is a dinky file.
| | 00:34 | You often hear people call such files
low resolution or low res, but it's more
| | 00:39 | accurate to just say they're small
because the resolution value is ultimately
| | 00:43 | incidental as we'll see.
| | 00:45 | Now I set-up this file to
serve as a kind of slide show,
| | 00:48 | and if you wonder how that's happening
behind the scenes here, you can go to the
| | 00:51 | Window menu and choose the Layer Comps
command, and you'll see a list of comps
| | 00:55 | that I have created in advance.
| | 00:56 | We'll be discussing layer comps
in more detail in a later course,
| | 01:00 | but for now, just know that they allow
you to save which layers are turned on
| | 01:04 | and which are turned off.
| | 01:05 | I've also set up a custom keyboard shortcut
so I can advance from one comp to another.
| | 01:10 | Now this image happens to measure 918
pixels wide as well as 632 pixels tall.
| | 01:17 | As you know, a pixel is a colored square.
| | 01:20 | So if you do the math, you find out
that we have 918x632 = 580,176 pixels,
| | 01:29 | which may seem like a lot.
| | 01:31 | However, that's not very many pixels
where a digital image is concerned.
| | 01:35 | Bear in mind that a megapixel is a
million pixels, and your typical digital
| | 01:39 | camera captures anywhere from 10 to 20
million pixels, in some cases even more.
| | 01:44 | These values right here amount to the
image size, and if you want a definition,
| | 01:49 | image size describes the pixel
dimensions and the total pixel count.
| | 01:53 | So 918x632 would be the dimensions,
the total pixel count is 580,000.
| | 01:59 | Now by comparison, resolution is the
number of pixels packed into a linear
| | 02:04 | inch or millimeter.
| | 02:05 | So for example, the resolution of this image
is set to 100 pixels per inch, or 100 PPI.
| | 02:11 | That means, that are 100 pixels
packed into a horizontal inch, and 100
| | 02:15 | pixels packed into a vertical inch, or
a total of 100x100 which is 10,000
| | 02:20 | pixels in every square inch.
| | 02:22 | Again, that may sound like a lot but
that's nothing where print resolution is
| | 02:27 | concerned, and we'll
discuss that in more detail later.
| | 02:30 | But for now, what I need you to
understand is that where Photoshop is
| | 02:33 | concerned, resolution applies to print only.
| | 02:37 | It is meaningless for screen graphics.
| | 02:39 | So in other words, if you're
creating an image for the web or some other
| | 02:43 | screen environment, then you don't
care what the resolution value is set to,
| | 02:47 | it just doesn't matter.
| | 02:49 | Whereas, image size applies both to
web graphics, screen graphics, print
| | 02:54 | graphics, any kind of digital image out there.
| | 02:58 | And that's how the core concepts of image
size and resolution work inside Photoshop.
| | Collapse this transcript |
| The Image Size command| 00:00 | In this movie, I'll introduce you to
the Image Size command which allows you to
| | 00:04 | change both the image size and the
resolution of a Photoshop document.
| | 00:09 | I'm looking at that same low res artwork.
| | 00:11 | However, this time it's a flat file
without any layers or layer comps.
| | 00:15 | Now let's say I want to change the
pixel dimensions or the resolution.
| | 00:19 | I'd go up to the Image menu, and choose
the Image Size command, or you can press
| | 00:23 | the keyboard shortcut Ctrl+Alt+I
or Command+Option+I on the Mac.
| | 00:28 | Notice that this dialog box
is divided into three parts;
| | 00:32 | at the top we have the Pixel
Dimensions, our Width of 918 pixels, and a
| | 00:36 | Height of 632 pixels.
| | 00:39 | The two values are linked to each
other because the Constrain Proportions
| | 00:43 | check box is turned on.
| | 00:44 | Were I to turn that value off, my link
would disappear so that I could change
| | 00:49 | each value independently.
| | 00:50 | But, that's not what I want to do.
| | 00:52 | So I'll just go ahead and
leave that check box on.
| | 00:54 | This Megabyte value at the top here
tells you the size of the image in memory.
| | 00:59 | So when Photoshop opens an image in RAM,
it opens the image uncompressed always,
| | 01:04 | there's no way around that.
| | 01:06 | And how this value is calculated, just
in case you're curious, is you take the
| | 01:10 | total pixel count of the image, in our
case about 580,000, and you multiply that
| | 01:15 | value times 3, because every full
color RGB pixel consumes 3 bytes in memory.
| | 01:22 | Next we have the so-called
Document Size options.
| | 01:25 | This should probably read Print Size because
that's what all of these values are about.
| | 01:30 | The size of the image when you either
print it or place it inside of a print
| | 01:33 | file such as one created
in Illustrator or InDesign.
| | 01:37 | Notice in our case, the image measures
about 9 inches wide, and about 6 inches
| | 01:41 | tall because the Resolution
is set to 100 pixels per inch.
| | 01:45 | Also, notice right now that we have
a link between the Width and Height
| | 01:48 | values, again because Constrain
Proportions is turned on, but we don't have a
| | 01:52 | link to the Resolution.
| | 01:54 | So I could change the Resolution value
to something like 300 pixels per inch.
| | 01:58 | That will not change the Width or
Height value in our case, but that will
| | 02:02 | increase the number of pixels inside
the image dramatically, and it will
| | 02:06 | increase the size of the image in RAM as well.
| | 02:09 | That's because Resample Image is turned on,
and resample means to invent new pixels.
| | 02:15 | So in our case, we would be upsampling
the image because we're adding pixels to it.
| | 02:20 | If we are reducing the number of pixels,
that's called downsampling and you'll
| | 02:24 | hear those terms more in the future.
| | 02:26 | However, I could turn off
the Resample Image check box.
| | 02:30 | And if I do that, then my Pixel
Dimension values become dimmed and all of my
| | 02:36 | Document Size values are linked together.
| | 02:38 | And that's because with this check
box off, you are not going to change the
| | 02:42 | number of pixels inside the image.
| | 02:44 | The image size, that is, the Pixel
Dimensions, will remain exactly the same,
| | 02:49 | just the resolution and the size
of the printed image will change.
| | 02:54 | And then notice in our case, because we've
taken the Resolution value up and we're
| | 02:58 | packing more pixels into a linear inch,
the result will be a much smaller image.
| | 03:03 | It will print at just 3 inches wide
and a little more than 2 inches tall.
| | 03:07 | If I were to reduce the number of pixels,
let's say I take it down to 72 pixels
| | 03:12 | per inch, then the printed size of the
image expands to nearly 13 pixels wide
| | 03:16 | and nearly 9 pixels tall.
| | 03:19 | And that's how you work
inside the Image Size dialog box.
| | 03:22 | In the next movie, I'll show you a
practical application of this command.
| | Collapse this transcript |
| Common resolution standards| 00:00 | In this movie, we'll discuss how to
figure out the ideal resolution setting when
| | 00:04 | you're printing an image.
| | 00:05 | I've gone ahead and taken this low res
image, and I've made a duplicate of it so
| | 00:09 | that I can edit it independently and
that will allow us to compare an upsampled
| | 00:13 | version of the image to the original pixels.
| | 00:16 | I did that by the way by just going
up to the Image menu and choosing the
| | 00:19 | Duplicate command, and that allows you
to have two versions of the image that
| | 00:23 | you can open independently.
| | 00:26 | Now let's say that I want to print this image.
| | 00:28 | I'll go up to the Image menu
and choose the Image Size command.
| | 00:32 | And then, inside the Image Size dialog box,
I will make sure that Resample Image
| | 00:35 | is turned on for now because I want the
image to remain the same size when it prints.
| | 00:40 | I just want to modify the Resolution
value independently and thereby upsample
| | 00:44 | the image, that is, to say add pixels to it.
| | 00:47 | Now notice that we have
this Auto button over here.
| | 00:50 | I'm going to click on it because I
want to demonstrate what's going on.
| | 00:54 | The ideal resolution value that
everybody bandies about is 300 pixels per inch.
| | 00:59 | I want to give you a sense of where
that comes from because it's not always the
| | 01:02 | resolution you want to use.
| | 01:04 | Notice that this Auto Resolution
option offers a Screen value right here.
| | 01:09 | When you take an image into a
commercial printer, they're going to reproduce it
| | 01:13 | using a series of tiny halftone dots
typically printed in cyan, magenta,
| | 01:17 | yellow, and black ink.
| | 01:19 | The number of tiny halftone dots in a
linear inch is known as the Screen Frequency.
| | 01:24 | That's what this value right here is.
| | 01:26 | Now one of the big print
standards is 133 lines per inch.
| | 01:30 | If you select the Draft Quality
setting, the Resolution, and the Screen
| | 01:34 | value will be the same.
| | 01:36 | So if I click OK now, I change the
resolution value to 133 pixels per inch.
| | 01:41 | That's a pretty low resolution value though.
| | 01:43 | You're going to be able to
see the pixels in your image.
| | 01:45 | It's not going to look very smooth.
| | 01:47 | So I'll go ahead and click Auto again.
| | 01:49 | Screen is still set to the same value.
| | 01:51 | If I switch over to Good, now we'll get
a Resolution value that's one-and-a-half
| | 01:55 | times that Screen value, or 200 pixels per inch.
| | 01:59 | If I click Auto again and switch this
option to Best, then Photoshop will set
| | 02:03 | the Resolution value to twice the
Screen value or 266 pixels per inch.
| | 02:09 | But the more typical
standard for what it's worth is 267.
| | 02:13 | And yet, if you go higher than that,
if you set the resolution to something like
| | 02:16 | 276 let's say, you're not really
going to be able to tell the difference
| | 02:20 | because once you have about 4
pixels per halftone dots, the perceived
| | 02:24 | resolution really doesn't change.
| | 02:26 | Now the other really common screen
frequency in commercial printing is 150.
| | 02:31 | If I set the Screen value to 150 and
leave the Quality set to Best, click OK,
| | 02:35 | and now I have a Resolution of 300
pixels per inch which is the print standard
| | 02:41 | that you always hear about.
| | 02:42 | The other value that's worth knowing is
360 pixels per inch which is generally
| | 02:47 | the best setting for high-quality inkjet output.
| | 02:50 | Now about the lowest you want to go,
and this is just a rule of thumb is
| | 02:53 | 220 pixels per inch.
| | 02:55 | And once again, all of these values are
assuming that you're printing the image.
| | 03:00 | If the image is ultimately intended
for the web, none of this stuff matters.
| | 03:04 | So those are the typical resolution
settings, 220 at the low end, 267, and 300
| | 03:10 | for high-quality commercial
printing and 360 for high-quality inkjet.
| | 03:16 | In the next movie, we'll see what
it looks like to upsample an image.
| | Collapse this transcript |
| Upsampling vs. real pixels| 00:00 | In this movie, I'll show you the
difference between manufacturing pixels by
| | 00:04 | upsampling in Photoshop versus capturing
a high resolution high-quality image in
| | 00:09 | the first place with your
scanner or digital camera.
| | 00:12 | I'm still working in that
duplicate version of the low res image.
| | 00:15 | I'm going to go up to the Image menu,
and choose the Image Size command.
| | 00:19 | I'll make sure that Resample Image is
turned on, Constrain Proportion should
| | 00:23 | be turned on as well.
| | 00:24 | The Scale Styles option only matters
for layer effects and we don't have any
| | 00:28 | layers inside this image, so it doesn't matter.
| | 00:30 | Just make sure those final
two check boxes are turned on,
| | 00:33 | and then, let's go ahead and send that
Resolution value through the roof.
| | 00:37 | I'm going to crank this up to 1000
pixels per inch, which is way more than I
| | 00:41 | need for printing purposes but great for
demonstration, and then I'll go ahead and click OK.
| | 00:46 | Now I'm still viewing the
image at the 100% view size.
| | 00:49 | However, I'm looking at some
detail in the center of the image.
| | 00:51 | So I'll press and hold the H key,
click and hold, then drag up to the eyes of
| | 00:56 | this Tyrannosaurus over here in
the right-hand side, and release.
| | 01:00 | You can see that we have some pretty
gummy detail, but you might argue it's
| | 01:03 | better than the original.
| | 01:04 | I'll go ahead and switch back to
that original low resolution image.
| | 01:08 | I'll drop down to this little zoom
value here, and change it to 1000% so that
| | 01:12 | we're equally zoom in on the image.
| | 01:14 | So I'll go ahead and press and hold the
H key, click and hold inside the image,
| | 01:18 | drag over to the dinosaur's eyes, and release.
| | 01:21 | Now because we're zoomed in farther
than 600%, we can see the pixel grid, which
| | 01:25 | are the lines between the individual pixels.
| | 01:28 | The easiest way to hide those lines is
to press Ctrl+H or Command+H on a Mac.
| | 01:33 | And that way, we'll just be
able to focus in on these pixels.
| | 01:36 | Now obviously, we have some pretty
choppy transitions inside this low res image,
| | 01:41 | whereas inside the upsampled version of
the image, the transitions are a heck of
| | 01:45 | a lot smoother as you can see.
| | 01:47 | So we don't have that
appearance of jagged edges.
| | 01:49 | Of course, we can't see the individual
squares as we can in a low res image.
| | 01:54 | Even so, I wouldn't say that we
have a particularly detailed graphic,
| | 01:58 | whereas, let's take a look at a high
res version of this image created by
| | 02:02 | scanning the image at a high
resolution in the first place.
| | 02:05 | Notice I'm viewing the image at the 10%
zoom ratio, so I am way zoomed out from
| | 02:10 | this image at the moment.
| | 02:12 | I'm going to press Ctrl+1 or Command+1
on the Mac to zoom all the way in, and
| | 02:17 | then I'm going to once again press
and hold the H key, and drag over to the
| | 02:20 | T-Rex's eyes like so, and notice
the gorgeous detail inside this image.
| | 02:26 | You can see the independent crayon
lines, you can see all this edge detail
| | 02:30 | associated with the water coloring,
you can even see the paper texture.
| | 02:34 | Compare that with the upsampled
version of the file and you can see that real
| | 02:38 | pixels captured with a scanner or
digital camera just can't be beat, because the
| | 02:43 | fact of the matter is when you
upsample an image, Photoshop just has the
| | 02:46 | original pixels to work from,
and it can't make up new detail.
| | 02:50 | I want you to notice one
more thing about these images.
| | 02:54 | If I switch back to the zoomed in low
res version of the graphic, you can see
| | 02:58 | down here in the lower-left corner of the
window that the document size is 1.66 Megs.
| | 03:02 | If you can't see that value by the way,
click on the right-pointing arrowhead
| | 03:06 | and choose the Document Sizes option.
| | 03:08 | That's a very small file in memory.
| | 03:11 | Photoshop can easily handle files of
this size with no delay whatsoever.
| | 03:15 | Whereas, these other two files, both the
upsampled version of the image, and the
| | 03:20 | scanned high res version of the image
are right at 166 megabytes in memory.
| | 03:26 | What that means is that you are going
to have occasional delays while editing
| | 03:29 | such files, especially as you add layers to them.
| | 03:33 | As a rule of thumb, it depends on your
system of course, but that performance
| | 03:36 | threshold occurs around 100
megabytes, just so you know.
| | 03:40 | But even now these two files are
exactly the same size, and require the same
| | 03:45 | performance hit where Photoshop is
concerned, this file which has the same
| | 03:49 | Resolution value of 1000 pixels per inch,
does not contain nearly as much detail
| | 03:54 | and this is a function of what's known
as Spatial Resolution, which is how our
| | 03:58 | eyes resolve the detail.
| | 04:00 | So this upsampled version of the image
is said to have a low spatial resolution,
| | 04:05 | where the high resolution scan is said
to have a high spatial resolution, and
| | 04:10 | that's what you want.
| | 04:12 | So when in doubt, scan as
many pixels as possible.
| | 04:16 | You always want to go with the highest
optical resolution that your scanner offers.
| | 04:21 | And where your digital camera is
concerned, you always want to capture at its
| | 04:25 | maximum resolution as well, because
what you want in your digital images
| | 04:29 | regardless of where they're ultimately
going, print or web, is as much detail
| | 04:34 | as you can get.
| | Collapse this transcript |
| Changing the print size| 00:00 | In this movie, I'm going to show you
how to change the size and resolution at
| | 00:04 | which an image prints, and we're
going to do so without harming a single
| | 00:07 | pixel inside the image.
| | 00:09 | In other words, the image size will not change.
| | 00:13 | I'm working inside that version of the
graphic that I scanned at a high resolution.
| | 00:17 | Now there's two ways to change
the size of which an image prints:
| | 00:20 | one is to go to the File menu and choose
the Print command, or you can press that
| | 00:24 | standard keyboard shortcut
Ctrl+P or Command+P on the Mac.
| | 00:28 | Now we'll be discussing printing in a
lot more detail in a future chapter.
| | 00:32 | But, for now, just know that the Print
command is designed for printing to a
| | 00:36 | local device, that is, a printer that's
attached directly to your machine or on
| | 00:40 | a network in a home or office.
| | 00:43 | It does not define the size at which an
image commercially reproduces or places
| | 00:47 | inside of another application
like Illustrator or InDesign.
| | 00:51 | Now if you look at the preview,
you'll see that we have a horizontal image
| | 00:54 | printing on a vertical page. I don't want that.
| | 00:56 | So I'll go ahead and
switch to the second layout icon.
| | 00:59 | Now if I wanted to go ahead and
expand this image so it takes advantage of
| | 01:03 | every bit of the printable area of the
page, then I'd go ahead and turn on this
| | 01:07 | check box Scale to Fit Media.
| | 01:09 | But let's say that's not big enough, I
wanted to print even wider, so it fills
| | 01:13 | the page vertically as well.
| | 01:15 | I'll turn off Scale to Fit Media, and then
I'll change the Width value to say 12 inches,
| | 01:20 | and the Scale value automatically
changes to more than 130%.
| | 01:25 | Now bear in mind that the Print
command neither adds nor subtracts
| | 01:28 | pixels inside the image.
| | 01:29 | So because we're expanding the image,
fewer pixels will print in any given
| | 01:34 | inch, and the Resolution value
automatically drops down to 764 PPI.
| | 01:39 | At this point, you can either click the
Print button in order to actually print
| | 01:42 | the image, or you can click Done to
save this information with the file.
| | 01:47 | Now I'm going to choose that
command again just so that you can see that
| | 01:50 | the changes were made.
| | 01:51 | I'll go up to the File menu,
and choose the Print command.
| | 01:54 | And sure enough, our Scale value is
still more than 130%, the Width value is 12
| | 01:59 | inches, and the Print Resolution is 764.
| | 02:02 | So I'll go ahead and cancel out.
| | 02:04 | Now the reason I'm making this point is
there's a kind of disconnect between the
| | 02:07 | Print command, and the Image Size command.
| | 02:11 | The Print command pays attention on
what you do inside the Image Size dialog
| | 02:14 | box, but the Image Size command does
not pay attention to what happens inside
| | 02:18 | the Print dialog box.
| | 02:19 | Now that may at first seem like a bad
thing, it's actually a really great thing,
| | 02:23 | because it means you have independent
control over how your image commercially
| | 02:26 | reproduces and how it prints to a local device.
| | 02:30 | So let's say we want to
change the size at which the image
| | 02:32 | commercially reproduces.
| | 02:34 | Go up to the Image menu, and
choose the Image Size command.
| | 02:38 | And then, notice that we have the same old
values here in the Document Size area, so
| | 02:42 | the Width value is 9 inches, not 12,
the Resolution value is 1000 pixels per
| | 02:46 | inch, not 764, or whatever it
was inside the Print dialog box.
| | 02:51 | Now notice this image size
information up at the top.
| | 02:55 | The Width of the image is 9,180
pixels, and the Height is 6,318 pixels.
| | 03:00 | I make note of that because if I
change the Width value to 12 inches,
| | 03:04 | those values pop up.
| | 03:06 | The Width value becomes 12,000
pixels and the Height becomes 8,259.
| | 03:12 | The size of the image in RAM grows
from this was value, 166 megabytes
| | 03:17 | approximately, to more than 283
megabytes, which is a whopping difference.
| | 03:21 | Not only that, if I click OK, it will appear
as if Photoshop has panned me to a new location.
| | 03:27 | I'm actually at the same location I was;
| | 03:29 | problem is that the image is being rewritten.
| | 03:32 | So I'll press the H key,
and scroll back to the eyes,
| | 03:36 | and you can see that they're
actually larger than they were before.
| | 03:39 | Photoshop has added pixels to this image.
| | 03:42 | So if I press Ctrl+Z or Command+Z on
the Mac, this is the before version of the
| | 03:46 | image and this is the after version.
| | 03:49 | Now it's a big problem that Photoshop
has rewritten these pixels, because if
| | 03:53 | you look closely, we have softer
transitions between the details, because
| | 03:57 | Photoshop has gone into this file
and averaged the original detail.
| | 04:00 | This is what's known as a
destructive modification, because Photoshop has
| | 04:05 | rewritten every single one of what are
now 99 million pixels inside the file.
| | 04:12 | That's not only absolutely absurd, it's
a bad thing to do because we're adding
| | 04:16 | file size and it's
actually not doing us any good.
| | 04:20 | In fact, it's doing the image harm.
| | 04:22 | So I'm going to press Ctrl+Z or Command+Z
on the Mac to get back to my undamaged
| | 04:26 | image, then I'll go up to the Image
menu and choose the Image Size command.
| | 04:31 | This time, I'll turn off Resample Image.
| | 04:34 | Anytime you'd want to change just the
Print size and Resolution values without
| | 04:39 | harming the image, this check box goes off.
| | 04:42 | And now, I could either dial in a Width
value of 12 inches and I'd see a Resolution
| | 04:47 | value of 765 inside the Image Size
dialog box, so a slight disconnect from what
| | 04:52 | we saw in the Print Dialog box,
or I could say, you know what?
| | 04:55 | I've got plenty of pixels inside this file.
| | 04:57 | I'm going to take the Width
value up to let's say 34 inches.
| | 05:02 | That drops the Resolution value to 270,
that's still more than 267 however.
| | 05:07 | So I have enough pixels to
create a whopping big print.
| | 05:10 | Now I'll click OK in order to apply that change,
and notice nothing happens to the image;
| | 05:15 | it is not harmed in the least.
| | 05:17 | And that's because all we did
was changed three numerical values;
| | 05:19 | Width, Height, and Resolution, and that's all.
| | 05:23 | I should mention by the way that this
version of the image contains a total of
| | 05:26 | 58 million pixels which is more than
you can capture with any digital camera.
| | 05:32 | So it's a very large file.
| | 05:34 | All right, now just to see what the Print
dialog box did, let's go up to the File
| | 05:37 | menu, and choose the Print command, and sure
enough, all that information has been updated.
| | 05:43 | So we're seeing the Scale value of 100%,
a Print Resolution of 270, a Width
| | 05:47 | value of 34 inches and so forth.
| | 05:50 | Now I could scale the image to fit the
media if I wanted to, or I could decide
| | 05:54 | to just print the detail from the file.
| | 05:56 | If you want to do that, then you turn
off the center check box right there and
| | 06:00 | you can drag the image directly inside
the Preview window and then either click
| | 06:03 | the Print button to print it, or click
Done in order to save that information
| | 06:07 | along with the file.
| | 06:09 | And that's how you change both the size
and resolution at which an image will
| | 06:13 | print here in Photoshop.
| | Collapse this transcript |
| Downsampling for print| 00:00 | In this movie, I'll show you how to
downsample or reduce the number of pixels
| | 00:04 | inside of an image for print.
| | 00:06 | Now at first, this may seem like a daft idea.
| | 00:09 | After all, if upsampling or adding
pixels is a destructive modification, then
| | 00:14 | downsampling or reducing the number of
pixels must be doubly destructive, but in
| | 00:19 | fact, whereas you rarely upsample
an image in Photoshop, you frequently
| | 00:23 | downsample for a variety of reasons.
| | 00:26 | First of all, let's say we're working
in a production environment and we want
| | 00:30 | this image to be 12 inches wide.
| | 00:31 | But we don't want to hand off this
gargantuan file, either to a designer who's
| | 00:36 | going to lay it out in a print document
or to a commercial printer because it's
| | 00:40 | going to take forever to upload and
is going to waste everybody's time.
| | 00:43 | Instead, what we want to do is
downsample the image for the occasion.
| | 00:48 | So here is how it works.
| | 00:49 | Make sure to do all the work that you
want to in a high res version of the file
| | 00:53 | and you go ahead and save your work.
| | 00:55 | That's very, very important.
| | 00:57 | Then assuming you're working inside of
a layered image, you go up to the Layer
| | 01:00 | menu and choose the Flatten Image command.
| | 01:03 | It's dimmed in my case because I'm
working in a flat file in the first place.
| | 01:07 | And then of course, by the way, you would
not resave the file at that point, because
| | 01:11 | you would destroy your layers in a saved image.
| | 01:14 | Instead, you wait a moment to save, and
you go up to the Image menu, and choose
| | 01:18 | the Image Size command.
| | 01:21 | Then you can turn on the Resample
Image check box so you are changing the
| | 01:24 | number of pixels inside the image.
| | 01:27 | I'm going to dial in a Width value of
let's say 12 inches, and then I'll tab
| | 01:31 | down to the Resolution value, and
I'll take it down to the absolute highest
| | 01:35 | resolution I really need, which
is at most 360 pixels per inch.
| | 01:40 | But I could take it down to 300 PPI
or 267 PPI depending on my destination.
| | 01:45 | Well let's say I don't know exactly
what line screen my printer is using, and
| | 01:48 | I've got all these pixels to
work within the first place.
| | 01:51 | I'll just take that
Resolution down to a conservative 360.
| | 01:55 | Now notice that my file size in RAM is
dropping from its original 166 megabytes
| | 02:00 | down to a mere 36 to 37 megabytes here.
| | 02:04 | So that's a big drop.
| | 02:06 | Now I'll go ahead and click OK
in order to apply my modification.
| | 02:10 | Then I'll press the H key so that I
can get that bird's eye function, and I'll
| | 02:14 | drag over to this section of the image here.
| | 02:17 | And just look at the sharpness of
that detail, and that's a great thing
| | 02:20 | about downsampling.
| | 02:22 | We're not asking Photoshop to make
up new detail, we're just asking it to
| | 02:26 | coalesce the original detail inside the
image, and often times, the detail ends
| | 02:30 | up looking better because we get rid
of noise and other image artifacts.
| | 02:35 | Now at this point, just to make
sure you don't harm your high resolution
| | 02:39 | layered file, we would go up to the
File menu, and choose the Save As command,
| | 02:44 | and then save the image to a
different location, name, or file format.
| | 02:48 | I'll explain how saving
works in an upcoming chapter.
| | 02:52 | Now just for the sake of comparison,
I want you to see what would have
| | 02:55 | happened if we had done a similar upsampling
from that low resolution version of the image.
| | 03:01 | So here is the low resolution image.
| | 03:03 | I'll go to the Image menu, choose the
Image Size command once again and I'll
| | 03:07 | dial in those same values.
| | 03:08 | So I'll change the Width value to 12
inches, and I'll take the Resolution value
| | 03:13 | up to 360 PPI, and now whereas the
image was formerly 1.6 megs in memory, it's
| | 03:19 | going to grow to almost 37 megs, I'll
go ahead and click OK, and now I'll press
| | 03:24 | the H key and pan to a
different location in the file.
| | 03:27 | I'll go ahead and drag the image with
the Hand tool for a moment just to get it
| | 03:31 | into a good location here.
| | 03:33 | And here's the difference. Even though we
have just as many pixels inside this
| | 03:37 | image, the details are gummy,
if not downright indistinct,
| | 03:41 | whereas, they look absolutely great
in a downsampled version of the high
| | 03:45 | resolution file, because we have a much
better spatial resolution when we scan
| | 03:51 | or photograph at a high resolution in
the first place, and then downsample, than
| | 03:55 | we do if we capture a few pixels
in the first place and upsample.
| | 04:00 | The moral of the story is, Photoshop is
not very good at upsampling, but it's
| | 04:04 | great at downsampling, and your
decisions about downsampling all depend on the
| | 04:09 | final destination of the image.
| | Collapse this transcript |
| Downsampling for email| 00:00 | In this movie, I'll show you how to
downsample an image with the assumption that
| | 00:04 | you want to email it, whether
to a friend, client, or coworker.
| | 00:07 | This time we're working with a
photographic image from the Fotolia Image
| | 00:11 | Library, about which you can
learn more at fotolia.com/deke.
| | 00:15 | This is a wide panorama, so I'm going
to go ahead and press Shift+Tab to hide
| | 00:19 | the right side panels as well as the
panels down here at the bottom of the
| | 00:22 | screen so that we can take in the entire image.
| | 00:25 | Now of course, we don't
want to harm the original.
| | 00:27 | And another way to protect your original
images is to go up to the Image menu and
| | 00:31 | choose the Duplicate command.
| | 00:33 | And I'll go ahead and rename this new
image something like Downsampled Moab, and
| | 00:39 | if you were working with the layered
image, you'd want to go ahead and turn on
| | 00:42 | this check box, Duplicate Merge Layers
Only so that you're working from a flat
| | 00:46 | image file, then click OK in
order to create that new image.
| | 00:50 | Next I'd go up to the Image menu
and choose the Image Size command.
| | 00:54 | Now this image as you can see here,
measures 7,000 pixels wide by 2,822 pixels
| | 01:00 | tall, that's a total of 19,754,000 pixels,
which tells me that this panorama was
| | 01:06 | probably created by stitching
together a bunch of lower resolution images.
| | 01:11 | Next I would make sure that both the
Constrain Proportions and Resample Image
| | 01:14 | check boxes are turned on.
| | 01:16 | Then I'll drop down to this
Resolution value and lower it to 100 pixels per
| | 01:21 | inch, which is basically a
random modification.
| | 01:24 | I'm not suggesting you always go
with the resolution of 100 Pixels/Inch.
| | 01:28 | In fact, strictly speaking, the
resolution value does not matter.
| | 01:33 | So there's no sense of
setting it to 72 Pixels/Inch either.
| | 01:36 | You can do that, but the notion that
that's what you have to do when working
| | 01:39 | with screen images is an absolute myth.
| | 01:42 | I'm going to restore that value to 100
Pixels/Inch, the reason being that what
| | 01:46 | I'm really looking to accomplish here
is to create a file that can be opened up
| | 01:50 | on a large screen, preferably
at 100% view size.
| | 01:54 | And I want the final file, which would
presumably be a JPEG file, to be about a
| | 01:59 | megabyte because that's a
perfect size for emailing.
| | 02:02 | In my case, the image is descended
from 56 megabytes and changed to 3.5
| | 02:07 | megabytes, which can compress down
when we save to the JPEG format just fine.
| | 02:12 | All right, now I will click OK in order
to create the smaller version of the image.
| | 02:17 | I'll go ahead and zoom it in.
| | 02:18 | Notice it fits on this tiny screen at 66.7%,
but it would probably fit on your
| | 02:23 | screen at the 100% view size.
| | 02:26 | And notice that we've managed to
retain some beautiful detail.
| | 02:29 | All right, now to save the file, I'd go up to
the File menu and choose either the Save
| | 02:33 | or Save As command.
| | 02:34 | Since this file has never been saved,
either command will bring up the Save As
| | 02:38 | dialog box, then I change the
Format to JPEG, click on the Save button.
| | 02:43 | Generally speaking, I like to crank
the Quality value to its maximum of 12
| | 02:47 | because that way we apply as little
compression as possible and I could still
| | 02:51 | see by this value below the Preview
check box, and I will end up with the file
| | 02:55 | on disk, that's about 1 megabyte.
| | 02:57 | Now I'll go ahead and
click OK to save off that file.
| | 03:00 | From here it's just a matter of going
to your email client or web browser,
| | 03:04 | attaching this file to an
email and sending it off.
| | 03:07 | And that's how you downsample an
image for email here in Photoshop.
| | Collapse this transcript |
| The interpolation settings| 00:00 | This next topic is a little technical, but
I think it's important to understand if
| | 00:04 | you really want to come to terms
with modifying image size in Photoshop.
| | 00:09 | It's all about the methods of interpolation.
| | 00:12 | Now interpolation is what Photoshop
uses to decide how to rewrite the pixels in
| | 00:16 | the image, either when you
upsample or downsample a file.
| | 00:21 | And it's all about taking the existing
pixels in the image and somehow comparing
| | 00:26 | them to come up with new pixels.
| | 00:28 | To give you a sense of what I'm talking
about, I'll go up to the Image menu
| | 00:31 | and choose the Image Size command.
| | 00:34 | When the Resample Image check box is
turned on, you have access to this pop-up menu.
| | 00:39 | By default in CS6, it's set to Bicubic
Automatic, and I'll explain what that
| | 00:44 | means in just a moment.
| | 00:45 | But you can manually override this
option if you want to by selecting any of
| | 00:50 | these five interpolation options,
Nearest Neighbor and any of the three
| | 00:54 | manual Bicubic overrides.
| | 00:56 | Now to give you a sense of how they work,
I created a test file and this is it
| | 01:01 | right here, just these
nondescript gray checkers.
| | 01:04 | We're viewing the file at the 200%
zoom ratio so the checkers are actually a
| | 01:08 | little smaller than this.
| | 01:10 | What I did was I went up to the Image
menu, chose the Image Size command, changed
| | 01:15 | this option here from Pixels to Percent
and went ahead and dialed in a percent
| | 01:19 | value of 72, and notice that, that
changes both the Width and the Height values.
| | 01:24 | Now by way of a little tip here;
| | 01:26 | notice that when I switched the option
to Percent, both of the values switched
| | 01:29 | to Percent, if that's not what you're
looking for, if you just want to change
| | 01:32 | one of the values to something
different, you press the Shift key while
| | 01:36 | choosing a new option.
| | 01:37 | So in this case, I had the Shift key
down when I chose Pixels, and as a result I
| | 01:41 | can see that the Height of my image is
going to decline to a 184 pixels when the
| | 01:46 | Width is set to 72%.
| | 01:48 | Then I went down to this pop-up
menu and chose each of these options.
| | 01:52 | Well just to save us time, let
me show you what that looks like.
| | 01:56 | I'm going to switch over to this
diagram that I created, and here is each and
| | 02:00 | every one of those manual
interpolation settings shown in order.
| | 02:04 | So we'll start right here with Nearest Neighbor.
| | 02:07 | Notice that Nearest Neighbor doesn't
attempt to do any real interpolation;
| | 02:11 | it just keeps pixels or throws them away.
| | 02:14 | And as a result, some of my checkers are
shorter or narrower than others, and so
| | 02:19 | we get this kind of patterning
effect that's known as aliasing.
| | 02:23 | Nearest Neighbor can work well
for highly graphic files, for
| | 02:27 | example, screenshots.
| | 02:28 | If you want to take a screenshot and
expand it to 200% of its former size, then
| | 02:34 | Nearest Neighbor would be the way to do it.
| | 02:35 | That's about the only time I use that
option, however, except I should say, for
| | 02:40 | magnifying each one of these images.
| | 02:42 | Notice that I have taken them all and
scale them to 400% and I did that using
| | 02:46 | Nearest Neighbor so as not
to introduce any new pixels.
| | 02:50 | All right, I'll zoom into Bilinear.
| | 02:52 | Bilinear is ultimately a
simple averaging formula.
| | 02:56 | And as you can see it ends up
creating soft transitional pixels.
| | 03:00 | But it doesn't do a very good job
of maintaining detail, which is why
| | 03:04 | Bicubic was invented.
| | 03:05 | Now Bicubic is much more complicated.
| | 03:08 | It uses a series of derivatives that
you don't need to know anything about.
| | 03:12 | But notice that what we get are these
halos inside and outside of the checkers.
| | 03:18 | So we get this kind of border pattern
around the checkers and we get dark halos
| | 03:22 | inside the dark squares and
light halos inside the light squares.
| | 03:27 | Now if those halos end up being a
problem, you can switch over to Bicubic
| | 03:31 | Smoother which downplays
the halos significantly.
| | 03:35 | So you can see that we don't have
nearly as much halo action going on.
| | 03:38 | It's subtle but it's distinct.
| | 03:41 | If you want more halo action--and the
idea is the halos end up emphasizing edge
| | 03:45 | contrast which creates the appearance
of crisper detail, then you can bump
| | 03:50 | things up by switching to Bicubic Sharper.
| | 03:53 | Now I should say, when you're
working with Bicubic Automatic anytime you
| | 03:58 | downsample an image, Photoshop is going
to automatically apply Bicubic Sharper
| | 04:03 | with the assumption that you want
crisp detail out of your downsampled image.
| | 04:08 | I've also created a demo file for upsampling.
| | 04:11 | What I did this time was I
switch to a smaller version of the
| | 04:14 | checkerboard image.
| | 04:15 | We're still seeing it at the 200% zoom
ratio, and I upsampled the image to 576%.
| | 04:22 | It just happened to work well for my demo
file and came up with this composition here.
| | 04:26 | I'll go ahead and zoom in--notice that
this time around, things work out pretty
| | 04:31 | well for Nearest Neighbor.
| | 04:32 | Some of the squares are different sizes
than others, but it's not nearly so noticeable.
| | 04:37 | Where Bilinear is concerned, we end up
with these soft, continuous transitions.
| | 04:41 | So it's almost like we've turned each
one of the squares into a kind of gradient.
| | 04:45 | We have the appearance of sharper detail
because we have these dark halos inside
| | 04:49 | the dark checkers and these
light halos inside the light ones.
| | 04:53 | Bicubic Smoother ends up resulting
with less haloing and then Bicubic Sharper
| | 04:59 | ends up resulting with even more haloing.
| | 05:02 | Now when you're upsampling an image,
Bicubic Automatic goes ahead and applies
| | 05:07 | the Bicubic Smoother setting.
| | 05:10 | The assumption being that you
still want bicubic detail but you want
| | 05:13 | smoother transitions.
| | 05:15 | So that's how the various interpolation
settings work. In the next movie, I'll
| | 05:19 | show you how they affect a photographic image.
| | Collapse this transcript |
| Downsampling advice| 00:00 | The previous movie was a bit academic,
which is why I want to show you how these
| | 00:04 | interpolation settings affect an actual
continuous tone photograph and offer you
| | 00:09 | some advice for how to use them.
| | 00:11 | So what I did was take this high-res
panorama and then once again choose the
| | 00:15 | Image Size command, make sure Resample
Image was turned on, set the Resolution
| | 00:20 | value to 100 Pixels/Inch, just as I did
when downsampling this image for email,
| | 00:25 | and then I tried out each and everyone
of the manual interpolation settings.
| | 00:29 | And let me show you what that looks like.
| | 00:31 | I'll switch to this file
called Interpolated panos.psd.
| | 00:34 | Notice that we're seeing the
image at the 100% view size.
| | 00:37 | I'm going to zoom in quite a bit here
because we'll need to see these pixels in detail.
| | 00:42 | Now once again this file
has layer comps inside of it.
| | 00:45 | This first slide shows the result of
downsampling the image using the Nearest
| | 00:49 | Neighbor setting, which just drops
pixels, and as a result we end up getting
| | 00:53 | this pretty choppy detail.
| | 00:56 | One might argue that the detail is very
crisp and we don't have any halos around
| | 01:00 | this mountainous formation here,
however, we have jagged transitions.
| | 01:04 | This next slide shows up Bilinear
Interpolation, and notice that the Bilinear
| | 01:08 | setting ends up generating the smoothest
detail of them all, however, we end up
| | 01:12 | with some almost plastic-looking forms.
| | 01:15 | Next is Bicubic Interpolation.
| | 01:17 | We get more detail, it looks less
plasticky, but we're starting to see some
| | 01:22 | halos around the sides,
especially here in the sky.
| | 01:25 | It's subtle but it's there.
| | 01:27 | If we want to get rid of those halos,
then we would switch forward to the next
| | 01:31 | one. Very subtle distinction by the way,
you'll have to look closely at this.
| | 01:35 | But what we're seeing now is Bicubic Smoother.
| | 01:38 | If we want sharper, crisper details,
we'll go ahead and switch forward to Bicubic
| | 01:43 | Sharper which ends up
generating the most halos of them all.
| | 01:46 | So this is a pretty big difference.
| | 01:48 | Again, I'll show you Bicubic
Smoother and then this is Bicubic Sharper.
| | 01:53 | Now just to eliminate any confusion, I
want you to see what these settings are
| | 01:57 | called inside the Image Size dialog box.
| | 02:00 | So I'll call up the Image Size command
again and notice right here, each one of
| | 02:05 | the three Bicubic settings
includes a parenthetical after it.
| | 02:09 | So standard Bicubic
Interpolation says best for smooth gradients.
| | 02:13 | Well, that's not really true.
| | 02:14 | It's not that many times when you're
concerned about downsampling gradients,
| | 02:18 | rather it's that standard Bicubic
setting that goes ahead and preserves the
| | 02:22 | details with a little bit of haloing
and it tends, in my experience, to work
| | 02:27 | best when you're downsampling for print,
and I'll explain why that is in just a moment.
| | 02:31 | Bicubic Smoother says best for
enlargement, which is why it's selected by
| | 02:36 | Bicubic Automatic when you upsample an image.
| | 02:38 | However, it's also useful if you have
noise in the image, that is, digital
| | 02:42 | grain inside the sky region, for example, or
if you want to take it easy on portrait shots.
| | 02:48 | After all, you don't necessarily want
to sharpen the pores in a person's face.
| | 02:52 | And then next we have Bicubic Sharper,
which says best for reduction, which is
| | 02:56 | why it's selected by Bicubic
Automatic when you downsample an image.
| | 03:00 | And it tends to work great if you have
a low noise file and you're downsampling
| | 03:05 | it for the screen, whether than means
email, or the web, or what-have you.
| | 03:10 | All right, so I'm going to go ahead and Cancel
out of this dialog and I'm going to zoom
| | 03:14 | back out here and bring up some more slides.
| | 03:17 | These are my rules
specifically for downsampling by the way.
| | 03:22 | When in doubt, especially when you're
downsampling for the screen, you can stick
| | 03:26 | with Bicubic Automatic which
applies a Bicubic Sharper setting.
| | 03:30 | However, if you plan on sharpening
the image, which typically happens when
| | 03:35 | you're preparing the image for print,
and here's what that looks like.
| | 03:38 | Immediately after downsampling the
image you would go up to the Filter menu,
| | 03:43 | choose Sharpen and then chose either
Smart Sharpen or Unsharp Mask depending
| | 03:47 | largely on taste, and I'll be
explaining in all kinds of detail how those
| | 03:51 | filters work in a future course.
| | 03:53 | But the thing about
sharpening is that it adds more halos.
| | 03:57 | And the last thing you want to do is
take those halos that are automatically
| | 04:00 | generated by Bicubic Sharper and then
exaggerate them using a Sharpening filter.
| | 04:06 | So again, if sharpening, use Bicubic
(best for smooth gradients), and then
| | 04:12 | finally, if the image is noisy, if it
contains random pixel variations, then try
| | 04:17 | Bicubic Smoother instead.
| | 04:20 | For continuous tone photographs you
can safely ignore Nearest Neighbor, and
| | 04:24 | Bilinear is a kind of middling
function that doesn't serve a lot of purpose.
| | 04:28 | So there is my advice for employing the
interpolation settings when downsampling
| | 04:32 | a photographic image here inside Photoshop.
| | Collapse this transcript |
| Upsampling advice| 00:00 | In this movie, I'll explain what to
do if you have to upsample an image.
| | 00:04 | Now normally, I try to avoid
upsampling as much as possible because you're
| | 00:08 | always better off capturing a high
resolution image in the first place.
| | 00:12 | But there are times where
upsampling is just unavoidable.
| | 00:15 | For example, here I am looking at a
detail from the Moab skyline.jpg file.
| | 00:20 | That's the high resolution version of the image.
| | 00:23 | And let's say I have a client who
wants to print this image 30 inches wide.
| | 00:27 | So I go up to the Image menu,
choose the Image Size command.
| | 00:29 | Of course, I turn off the Resample
Image check box and then I dial in a
| | 00:35 | Width value of 30 inches and I note
that the Resolution value is 233.333
| | 00:41 | repeating Pixels/Inch.
| | 00:43 | That's not necessarily ideal, but that's
better than 220 Pixels/Inch, which is a
| | 00:48 | nice rule of thumb minimum,
so that will do just fine.
| | 00:51 | So now I just click OK, don't harm a
single pixel on the image and it's ready to go.
| | 00:56 | But what do I do if I'm working from
a low resolution version of the image
| | 01:03 | like this one here?
| | 01:04 | So this is the image that I
downsampled in an earlier movie.
| | 01:08 | If I go up to the Image menu and
choose the Image Size command and take that
| | 01:12 | Width value up to 30 inches, that
drops the Resolution value down to 58 and a
| | 01:16 | third Pixels/Inch, which is awfully low.
| | 01:20 | Now it's not necessarily too low
however, it's not nearly enough pixels, if
| | 01:24 | you anticipate that people are
going to be looking at the image from a
| | 01:27 | distance of just a few inches.
| | 01:29 | But if this image were about for a
billboard or some other distant environment
| | 01:34 | where a person is going to be standing
several feet or even yards away, then a
| | 01:38 | low resolution value like this is not
necessarily a problem because the pixels
| | 01:42 | will resolve from a distance.
| | 01:44 | However, let's say you want to put this
on a poster people are going to see it
| | 01:48 | up close, then you would regrettably
turn on the Resample Image check box, go
| | 01:52 | ahead and leave it set to Bicubic
Automatic, which is going to grab that
| | 01:56 | Bicubic Smoother setting.
| | 01:57 | And I'll increase the Resolution value
to 233.333 just because I know that's
| | 02:03 | what I'm looking for, and then I would click OK.
| | 02:06 | Well I've got to have done that in advance.
| | 02:08 | So I'll show you what that looks like.
| | 02:10 | We end up getting this effect here.
| | 02:12 | Now we do have smoother transitions, we
don't have to jagged pixel effect anymore.
| | 02:17 | So these are the actual pixels in the
original image that I've not upsampled,
| | 02:22 | and this is the upsampled
image subject to Bicubic Smoother.
| | 02:26 | Now one of the big problems is though
we can see magnified halos around these
| | 02:30 | details, which is a function of the
fact that when I downsampled this image I
| | 02:34 | left the interpolation set to Bicubic
Automatic, which grabbed Bicubic Sharper
| | 02:38 | and generated the halos.
| | 02:40 | So sharpening isn't always a positive
effect over the lifetime of the image.
| | 02:44 | Now there's another rule of thumb
that suggests that you want to divide your
| | 02:48 | upsampling into pieces.
| | 02:50 | So you'll apply just a little
bit of upsampling at a time.
| | 02:53 | And that's where this image comes into play.
| | 02:55 | It's called Upsampled Moab x10.jpg.
| | 02:59 | Now what I did in this case was I
went up to the Image menu and chose the
| | 03:02 | Image Size command.
| | 03:04 | And I turned on the
Resample Image check box of course.
| | 03:07 | Left the Interpolation set to Bicubic
Automatic and I switched to Percent, and
| | 03:12 | the Percent value that I dialed in was 114.87%.
| | 03:17 | Now where in the world did I get this value?
| | 03:19 | Well the percentage difference
between the low-res image and the high-res
| | 03:23 | version of the image is 400%.
| | 03:25 | You may recall that our original image
had a resolution of 400 Pixels/Inch and I
| | 03:29 | took it down to 100 Pixels/Inch.
| | 03:31 | So that's where that comes in.
| | 03:32 | So to figure this out, you whip out a
scientific calculator, which you get on an
| | 03:36 | iPhone at any rate, by viewing the
calculator horizontally, and then I took the
| | 03:41 | number 4, which is 400%, and found the
10th power of that number, and it turns
| | 03:47 | out to be 1.14.87, you multiply
that times 100 to get the percent.
| | 03:53 | It's so easy, right?
| | 03:54 | Anyway, then I clicked OK and applied that
exact same modification 10 times in a row.
| | 04:00 | Now if you want to do that, if you want
to try that out, you may want to load an
| | 04:03 | action that I've created in advance.
| | 04:05 | You go to the Window menu and choose
the Actions command, and then in the
| | 04:09 | Action panel, you go to the flyout
menu and you choose the Load Actions
| | 04:13 | command, and you'll find an Action
file in the 03 Image Size folder called
| | 04:18 | Multipass upsample.
| | 04:20 | Go ahead and load it up.
| | 04:21 | Then you just want to click on Upsample
400% right there and click on the Play
| | 04:25 | button in order to play that back.
| | 04:28 | In any event, we end up
getting this effect here.
| | 04:31 | Well, that's a pretty long-winded
way to tell you.
| | 04:34 | I don't think it works worth beans, I
will go ahead and switch back to the
| | 04:37 | single pass of upsampling.
| | 04:38 | So here I just upsampled the image to
400% in one fell swoop, and here is the
| | 04:44 | version of the image in
which I upsampled in 10 passes.
| | 04:47 | There's almost no difference whatsoever.
| | 04:48 | We have some smoother halos but that's about it.
| | 04:51 | And in fact, if that's kind of the
route you want to go, if you want to achieve
| | 04:55 | a plastic, sort of modeled effect, then
what I would recommend you try out is
| | 04:59 | the Bilinear setting.
| | 05:01 | So if you set the interpolation to
Bilinear, you're going to see a little bit of
| | 05:04 | jagged edge around the
outline, it's just a titch;
| | 05:07 | however, you're also going to
see a lot less in a way of haloing.
| | 05:11 | And then finally, here's my real true advice.
| | 05:14 | If you find yourself upsampling on a
regular basis and it's a kind of thing
| | 05:19 | that just part of your job, then there's a
program that does this better than Photoshop.
| | 05:24 | It's available from a group
called onOne Software, so you go to
| | 05:28 | ononesoftware.com and you search for a
product called Perfect Resize, and this is
| | 05:33 | the effect that it produces.
| | 05:35 | Notice that we have extremely plastic details.
| | 05:38 | We don't end up with much of any
haloing and it ends up comparing the best to
| | 05:43 | the actual high resolution file.
| | 05:45 | So this is a true high-res version of
the image, and this is a version that I
| | 05:49 | upsampled in Perfect Resize.
| | 05:52 | So again, if you're going to upsample in
Photoshop try to take it easy, don't go
| | 05:56 | as far as I've gone in these
examples, they're just for demonstration.
| | 06:00 | Stick with one pass of upsampling.
| | 06:02 | I think it works just as well
and it's lot easier to pull off.
| | 06:05 | And then finally, if it's a regular part
of your work, look into Perfect Resize.
| | Collapse this transcript |
|
|
4. Using LayersThe layered composition| 00:00 | In this chapter, we'll take our first
look at one of Photoshop's most powerful
| | 00:05 | image creation tools, layers.
| | 00:08 | Layers do not occur spontaneously.
| | 00:10 | In fact, every digital photograph or
scanned artwork begins life as a flat
| | 00:16 | no-layer image file.
| | 00:18 | In Photoshop, this flat image is
called the Background, and it's locked inside
| | 00:24 | the four walls of the always rectangular canvas.
| | 00:28 | But layers are easy to create.
| | 00:30 | When you so much as move one image
into another, the moved image becomes
| | 00:35 | a floating layer. This means that it can be
any shape and size inside the rectangular file.
| | 00:42 | This also makes it and any other
layers in the document, all together
| | 00:46 | independent of each other.
| | 00:48 | You can move, scale and rotate one
layer without adversely affecting another,
| | 00:54 | making for a highly flexible penalty-
free editing environment, and you can
| | 00:59 | introduce transparency.
| | 01:02 | So whereas in a flat image, a pixel
maybe one of several million colors, in a
| | 01:07 | layer, it may also be one of
several hundred levels of translucency.
| | 01:12 | This permits you to see
through one layer to another.
| | 01:15 | Plus, you can blend layers together to
create interactions between images that
| | 01:20 | were simply not possible before the digital age.
| | 01:24 | In Photoshop, a document that
contains layers is said to be a layered
| | 01:28 | composition or comp for short.
| | 01:31 | In this chapter, I'll show you how to
create one such comp from beginning to end.
| | 01:37 | Welcome to the power of layers.
| | Collapse this transcript |
| Introducing the Layers panel| 00:00 | All right, so here's the Layers panel down here
in the lower right region of the screen.
| | 00:04 | If for some reason you can't see the
panel, then go up to the Window menu which
| | 00:08 | lists every single panel on the
software and choose the Layers command.
| | 00:11 | You also have a keyboard
shortcut, which is the F7 key.
| | 00:15 | Those of you working on a Mac may have
to press the Function key that is the Fn
| | 00:19 | key and the F7 key at the same time.
| | 00:22 | In my case however, the Layers command
has a check mark in front of it, so if I
| | 00:26 | were to choose the command, I
would make that panel disappear.
| | 00:29 | To make it come back of course, I just go to
the Window menu and choose the command again.
| | 00:34 | And notice that brings back that
whole group of panels including
| | 00:37 | Layers, Channels and Paths.
| | 00:40 | Each of these items here inside the
Layers panel represents an independent
| | 00:44 | image, one stacked on top of another.
| | 00:47 | Now the great thing about layers is
each of the images is isolated so that you
| | 00:51 | could move them independently as
well as scale and rotate the layers.
| | 00:55 | And you can even blend the layers together
without harming a single pixel in the actual image.
| | 01:00 | In other words, layers are for the
advantage of allowing you to apply
| | 01:04 | non-destructive modifications.
| | 01:07 | Now over the course of this chapter,
we'll be creating this piece of framed
| | 01:10 | artwork by combining a total
of six images and here they are.
| | 01:15 | We'll start off with this piece
of red and yellow illustration.
| | 01:17 | We will add these black swirls against
the white background and we will set the
| | 01:22 | whole thing against this wall background.
| | 01:24 | We'll also use this wood texture
in order to build up the frame.
| | 01:28 | We'll use this grunge Stucco texture
to rough up the artwork a little bit.
| | 01:32 | And finally, we'll add this
photographic image as a kind of finishing touch.
| | 01:38 | Now when you assemble multiple images
into a Photoshop document, it's known as a
| | 01:42 | layered composition.
| | 01:44 | And one of the best ways to come to
terms with Photoshop if you're new to the
| | 01:48 | program is to walk through a layered
composition that someone else has created.
| | 01:52 | Now notice these eyeball icons next to
the layer names, if I click on the eye in
| | 01:58 | front of the swirls layer, I'll hide
that layer temporarily, meaning, I can turn
| | 02:02 | it on anytime I like, and you can have
as many hidden layers as you want inside
| | 02:06 | of a Photoshop file.
| | 02:08 | Photoshop goes ahead and saves hidden
layers and saves them as hidden so that
| | 02:12 | they don't suddenly reappear
the next time you open the file.
| | 02:15 | To make the layer visible again, you just
click on that square where the eye used to be.
| | 02:20 | You can also hide all but one
layer inside of a composition.
| | 02:24 | So let's say I want to start at the
bottom of this layer stack here and work
| | 02:28 | my way up, and incidentally, you can
scroll up and down the layer list when
| | 02:33 | your cursor is hovered over the Layers panel
just by using the scroll wheel on your mouse.
| | 02:38 | I'm going to go down here to the
bottommost layer, which is the wall layer and
| | 02:42 | instead of clicking on the eyeball,
I'll press the Alt key or the Option key
| | 02:45 | on the Mac and click.
| | 02:47 | And oftentimes inside Photoshop, Alt or
Option reverses the behavior of an icon.
| | 02:54 | So as you know, when you click on the
eyeball, you turn the layer on or off.
| | 02:57 | When you Alt+Click or Option+Click on
the Mac, you either turn all the other
| | 03:01 | layers off, or if I Alt+Click or Option+Click
again, I will turn all the other layers on.
| | 03:07 | All right, I'm going to Alt+Click or Option+Click
there in order to view the wall layer by itself.
| | 03:11 | Notice that that same white wall
we saw a moment ago, but has been
| | 03:15 | colorized green using what's known as
a Layer Effect and we'll see how that
| | 03:19 | works in a future movie.
| | 03:21 | Now I'll go ahead and turn on the next
layer up which is this red and yellow
| | 03:25 | illustration, which will serve
as the background for the artwork.
| | 03:28 | Next is that grunge Stucco layer, and
notice that I'm using a layer as I said,
| | 03:32 | to rough up the artwork.
| | 03:34 | And I've created an interaction between
the grunge layer and the artwork below
| | 03:38 | using what's known as a Blend mode.
| | 03:41 | Again, I'll show you how that works shortly.
| | 03:43 | Next comes the swirls layer which
is that black and white artwork.
| | 03:46 | I've got the photographic image layer
on top of it, again set to a Blend mode.
| | 03:51 | So we get this subtle,
almost reflective interaction.
| | 03:55 | Finally, I converted part of that red
and yellow artwork to the frame and I went
| | 03:59 | ahead and added a couple of wood
layers on top in order to create the grain.
| | 04:04 | And that's an introduction, not only to
the project we're about to assemble, but
| | 04:08 | also to the Layers panel here inside Photoshop.
| | Collapse this transcript |
| Adding, scaling, and aligning layers| 00:00 | Now there is a fair amount
going on inside this composition.
| | 00:03 | We have a total of eight layers.
| | 00:05 | We'll be applying some blend modes as
well as some layer effects, we will even
| | 00:09 | employ a couple of clipping masks, which
is my way of saying, I don't expect you
| | 00:13 | to understand every single little bit
of minutia, nor is it important that you
| | 00:17 | do understand it at this point in the game.
| | 00:19 | I just want you to have a feel for
how layered compositions work inside
| | 00:23 | Photoshop and I want you to leave this
chapter with a sense of accomplishment.
| | 00:27 | We're going to start things off by
combining this image, which is called Big
| | 00:31 | swirls.tif and combining it with
this red and yellow artwork, which I am
| | 00:36 | calling Paper art.tif.
| | 00:38 | They're both found inside the 04-layers folder.
| | 00:40 | Now one way to combine two images
together is to just copy and paste.
| | 00:45 | And let me show you what that looks like.
| | 00:47 | We'll start inside the Big swirls image.
| | 00:49 | Go up to the Select menu and choose
the All command, which you can also
| | 00:53 | access by pressing Ctrl+A or Command+A on the
Mac, which is a fairly common keyboard shortcut.
| | 00:59 | Then I'll go up to the Edit menu and
choose the Copy command, which has the
| | 01:03 | familiar shortcut of Ctrl+C on
the PC or Command+C on the Mac.
| | 01:07 | Now that we have the image in the
pasteboard, I'll switch over to the Paper art
| | 01:11 | image and then I'll go up to the Edit
menu, and I'll choose the Paste command,
| | 01:15 | which you can get by pressing
Ctrl+V or Command+V on the Mac.
| | 01:19 | And the image comes in on an
independent layer as you can see over here
| | 01:23 | inside the Layers panel.
| | 01:24 | So Photoshop always creates a new layer
when you combine two or more images together.
| | 01:29 | Now obviously the layer is too big to
suit its new home, so we need to reduce
| | 01:34 | its size and we can do that by scaling it.
| | 01:37 | I'm going to back out a little here by
pressing Ctrl+- or Command+- on
| | 01:41 | the Mac, and then I'll go up to the
Edit menu, which is where you will find
| | 01:44 | your Scaling Options.
| | 01:46 | You can choose Transform to bring up
a list of the various transformations
| | 01:51 | available inside Photoshop and
then choose the Scale command.
| | 01:54 | But I'd like you get in the habit of choosing
this next command up, which is Free Transform.
| | 01:59 | It allows you to apply any of
Photoshop's transformation functions, including
| | 02:04 | Scaling, and it has a keyboard shortcut
of Ctrl+T or Command+T on the Mac, the T
| | 02:10 | being for Transform.
| | 02:11 | So now, I'll go ahead and choose the
command and I end up with this bounding box
| | 02:16 | surrounded by these corners and side handles.
| | 02:19 | I can drag any of these handles in
order to scale the layer like so.
| | 02:23 | And you have one Undo by the way.
| | 02:25 | You can press Ctrl+T or Command+T one
time while you're working inside the
| | 02:30 | Free Transform mode.
| | 02:32 | If things go too haywire for you, then
just go ahead and press the Escape key in
| | 02:36 | order to escape out.
| | 02:37 | Anyway, things are fine for me.
| | 02:39 | I'm going to go ahead and
drag this corner handle here.
| | 02:42 | Notice that you can scale the layer non-
proportionally as you see me doing now.
| | 02:46 | If you want to scale it proportionally,
you press and hold the Shift key as you
| | 02:51 | drag a corner handle.
| | 02:52 | Now if you take a look up here in the
Options Bar, you'll see that I so far
| | 02:56 | have scaled my layer by 67%.
| | 02:59 | Your results will vary of course.
| | 03:01 | And notice that both the Width and
Height values read 67%, because after all I
| | 03:06 | have the Shift key down and I
applied a Proportional scale.
| | 03:10 | However, I want to scale this artwork
non-proportionally and I just happened to
| | 03:13 | know the values I want to enter.
| | 03:16 | If you click on a letter such as the W
there for width, then you'll select the
| | 03:20 | entire value, and I'm going
to dial in a value of 70%.
| | 03:23 | Then I'll press the Tab key to advance
to the H value for Height and I'll change
| | 03:28 | it to 59% and then I will press the
Enter key in order to accept that value.
| | 03:34 | Then to accept your transformation, you
press the Enter key again, that would be
| | 03:38 | the Return key on the Mac, and you
have now scaled your artwork. All right,
| | 03:43 | I'm going to zoom back in.
| | 03:45 | Now the problem at this point is
that my new layer is off center.
| | 03:48 | You can move a layer by switching over
to the Move tool, which you can get by
| | 03:52 | pressing the V key, and that's a
useful keyboard shortcut to bear in mind.
| | 03:57 | Notice that the cursor
looks like a little arrow.
| | 03:59 | Well, just some back story here.
| | 04:01 | If you wanted to switch to the Arrow
tool, which serves a totally different
| | 04:05 | purpose, it allows you to select the
path outlines, you press the A key for
| | 04:09 | Arrow, which makes sense, or you can
think of the V key as an upside down arrow,
| | 04:14 | which is why it's a keyboard
shortcut for the Move tool.
| | 04:18 | And then I could drag this layer
wherever I like and I see this little Heads Up
| | 04:22 | Display also known as a HUD, which is
telling me the coordinate position of my
| | 04:26 | artwork measured from the upper
left-hand corner of the image.
| | 04:30 | You might find that helpful or perhaps not.
| | 04:32 | What I really want to do is
absolutely align this artwork.
| | 04:35 | Notice that we have these Alignment
options that are available to me now up
| | 04:39 | in the Options Bar.
| | 04:40 | And the options in the Options Bar
change according to the selected tool.
| | 04:45 | But I can't get to them
currently because they're dimmed.
| | 04:47 | Well, here's what you do.
| | 04:49 | You go up to the Select menu and
once again, choose the All command to
| | 04:53 | select the entire image.
| | 04:54 | And now, you have access
to the Alignment options.
| | 04:57 | I'll click on the Align Vertical
Centers icon, the second one in, to align the
| | 05:02 | layer vertically inside of the artwork,
and then I'll go to that fifth icon,
| | 05:06 | Align Horizontal Centers to
align the layer horizontally.
| | 05:10 | Now I can deselect the image by going
up to the Select menu and choosing the
| | 05:14 | Deselect command, which also has a
handy keyboard shortcut of Ctrl+D or
| | 05:19 | Command+D on the Mac.
| | 05:20 | And that's how you add, scale and
align a new layer here inside Photoshop.
| | Collapse this transcript |
| Dragging and dropping layers| 00:00 | In this movie, I'm going to introduce the
White wall into the background of the artwork.
| | 00:05 | But this time instead of copying and
pasting, we'll take advantage of drag and drop.
| | 00:10 | We'll start by looking at how you drag
and drop between two windows when you can
| | 00:14 | see both windows at the same time.
| | 00:17 | So I'm going to go up to the Window
menu, choose the Arrange command and
| | 00:21 | choose Float in Window.
| | 00:22 | And that way I have the White wall
image floating independently with my layered
| | 00:27 | composition in the background.
| | 00:28 | I'll go ahead and zoom out here a little
bit so that I can take in the entire image.
| | 00:33 | And now, once again switch to the Move tool.
| | 00:35 | And by the way, when I say the shortcut
for the Move tool is a V key, there are
| | 00:40 | no modifier keys involved.
| | 00:41 | You just press V by itself.
| | 00:43 | Now if you're working along with me,
you move your cursor into the Stucco image
| | 00:48 | and then drag the image into the other
piece of artwork and drop it into place.
| | 00:52 | The problem is notice that the
Stucco is not centered with respect to the
| | 00:57 | rest of the artwork.
| | 00:58 | Well you can center it using a special trick.
| | 01:02 | So I'll go ahead and undo the
modification by pressing Ctrl+Z or Command+Z on
| | 01:06 | the Mac, but it doesn't seem to work
and that's because the White wall image
| | 01:10 | over here is active.
| | 01:11 | Nothing has been done in that image.
| | 01:14 | The change happened over in the other file.
| | 01:17 | So I will click inside that
image window to make it active.
| | 01:20 | Then I can go up to the Edit menu and
choose the Undo command or as I say, press
| | 01:25 | Ctrl+Z on the PC or Command+Z on the Mac.
| | 01:28 | Now I'll show you how to
center the image on the drop.
| | 01:31 | It's a little tricky, but once you
understand how it works, it's a great trick.
| | 01:34 | I'll go ahead and click inside the White
wall.jpeg image, to make it active again.
| | 01:39 | Then I'll drag the artwork
over into the other image file.
| | 01:42 | And before I release, I
still have my mouse button down.
| | 01:45 | I'll press and hold the Shift key,
keep that key down and then release.
| | 01:50 | And notice that the White
wall is centered in its new home.
| | 01:53 | It's hard to see that it's centered
because the layer is actually larger than
| | 01:57 | the canvas, the canvas being the
physical perimeter of the image.
| | 02:01 | If I click inside the image to make it
active and then I zoom out a little bit,
| | 02:06 | I can find how big the artwork is by
going up to the Edit menu and choosing the
| | 02:10 | Free Transform command, or once again,
you can press Ctrl+T or Command+T on the Mac.
| | 02:16 | And notice, sure enough, this bounding
box shows me that the wall is centered.
| | 02:20 | So again, when you're dragging and
dropping, if you press the Shift key on the
| | 02:24 | drop, you center the layer into place.
| | 02:27 | Also worth noting, however, is the
fact that a layer or any one layer can be
| | 02:32 | larger than the image.
| | 02:33 | So you do have some wiggle room when
you're working inside of Photoshop.
| | 02:37 | All right, I'm just going to press
the Escape key to escape out of the Free
| | 02:40 | Transform mode because it just so
happens, I don't want to scale this layer.
| | 02:44 | Now, I'm going to get rid of this
floating window here by going up to the Window
| | 02:48 | menu, choosing the Arrange command
and choosing Consolidate All to Tabs.
| | 02:53 | And now I want you to notice, just for
the sake of confirmation, we have a new
| | 02:57 | layer here inside the Layers panel.
| | 02:59 | However, I want to show you one more way
to perform a drag and drop just so you know.
| | 03:05 | So I'm going to press the Backspace
key or the Delete key on the Mac, which
| | 03:09 | automatically gets rid of the active layer.
| | 03:11 | Now I'm going to switch back
to that White wall.jpg file.
| | 03:15 | Now press Ctrl+0 or Command+0 on a
Mac, to fit the image to the screen.
| | 03:21 | When you're working in a consolidated
view, in other words, you can't see the
| | 03:24 | other image, the drop image, you can
only see its tab, here is what you do.
| | 03:30 | You drag the image as before, you drag it
up to the tab and you hold for a second.
| | 03:36 | You have to hold on that tab
until the other image comes into view.
| | 03:41 | Then you move your cursor back into
the image window and you drop, and that
| | 03:46 | allows you to perform you a drag
and drop between tabbed windows.
| | 03:50 | What about if you want to go ahead
and center the image as you drop it?
| | 03:54 | Well then, I will press Ctrl+Z or
Command+Z on the Mac once again, and switch
| | 03:58 | back to the White wall image.
| | 04:00 | You do the same thing, that is, you drag
the image all the way up to the tab, wait
| | 04:05 | for it to switch to the other image,
move your cursor back into the image
| | 04:09 | window, keep that cursor down, press and
hold the Shift key and then release, and
| | 04:15 | you'll go ahead and center that wall into place.
| | 04:18 | And again, you can confirm the centering
by pressing Ctrl+T or Command+T on the Mac.
| | 04:23 | And sure enough, we have a centered bounding
box, so I can press the Escape key to
| | 04:27 | abandon the Free Transform mode.
| | 04:29 | And those are your various ways
to drag and drop images into a
| | 04:33 | layered composition.
| | Collapse this transcript |
| Stack, reveal, and rename| 00:00 | In this movie, I'll show you how to
quickly work your way through a few
| | 00:03 | organizational chores.
| | 00:05 | Specifically, we're going to send
this wall to the back of a stack here and
| | 00:09 | we're also going to rename our layers
and masks, something that has become much
| | 00:13 | easier to do inside Photoshop CS6.
| | 00:16 | So called, because the wall is
on the top of the image stack.
| | 00:20 | It shouldn't be there.
| | 00:21 | It should be at the bottom of
the stack, behind the artwork.
| | 00:25 | But if I try to drag layer two down
to the bottom, notice that I can't.
| | 00:30 | And that's because the
background is not actually a layer.
| | 00:34 | Notice this background item right there.
| | 00:37 | It's in italics indicating that
there's something special about it, it also
| | 00:41 | has a lock next to it.
| | 00:42 | And what that's telling you is
that this is not a floating layer.
| | 00:46 | This is essentially the
flat base of the composition.
| | 00:50 | If you want to turn it into a layer
so that you can drag it up and down the
| | 00:53 | stack and modify it independently like
other layers inside your file, then you
| | 00:58 | just double-click on its thumbnail and
that brings up the New Layer dialog box.
| | 01:03 | At this point, you have the
opportunity to name your layer.
| | 01:06 | Normally, I would name my
layer because it's a good idea.
| | 01:09 | However, in this case, I'm just
going to click OK to create a new layer.
| | 01:12 | And notice that I have now an
independent layer called Layer 0.
| | 01:17 | Now I can grab Layer 2, which is the wall,
and drag it underneath Layer 0, like so.
| | 01:22 | The problem is I can't see the
wall because my canvas is too small.
| | 01:28 | As you may recall, I was telling you
that the canvas, the physical perimeter of
| | 01:32 | the image may be smaller than any
of the layers in the composition.
| | 01:36 | If you want to reveal every bit of
those layers, then you go up to the Image
| | 01:40 | menu and you choose Reveal All, and that
will expand the canvas automatically to
| | 01:46 | the dimensions of the largest layer.
| | 01:48 | So now we have our layers on the proper order.
| | 01:51 | We can see all the layers.
| | 01:53 | However, they don't have particularly
meaningful layer names, which can get you
| | 01:56 | into trouble later on, when your
compositions become more complicated.
| | 02:01 | When you start amassing 20 and 30 and
even a hundred layers, if they all have
| | 02:05 | these meaningless names,
you're going to be in trouble.
| | 02:08 | In Photoshop CS6, you have a new option.
| | 02:11 | So we'll start things off, as always,
by double-clicking on a layer name, start
| | 02:15 | with the top layer in the stack, and
I'll go ahead and call this one Swirls.
| | 02:20 | And then, rather than pressing the
Enter key or the Return key on the Mac,
| | 02:23 | in order to accept that name, press the Tab
key in order to advance to the next layer name.
| | 02:29 | Then I'll go ahead and call it paper back.
| | 02:32 | And then I'll will press Tab once again
in order to select the next layer name
| | 02:36 | and I'll change it to wall.
| | 02:38 | Now that I am done naming all my layers,
I'll press the Enter key or the Return
| | 02:42 | key on the Mac to exit out.
| | 02:45 | And that's how you convert the
background to a floating layer, change the
| | 02:48 | stacking order, expand the canvas to
reveal the dimensions of all layers and
| | 02:54 | rename layers en masse here in Photoshop.
| | Collapse this transcript |
| Opacity, history, and blend mode| 00:00 | So far we've managed to establish a
composition with three independent layers,
| | 00:05 | but we don't have any
interaction between those layers.
| | 00:08 | Specifically, we have these black
swirls set against this white background.
| | 00:12 | We really want to drop that white
background away and blend the black swirls
| | 00:17 | with their surrounding environment.
| | 00:18 | Well Photoshop offers a
few different ways to blend.
| | 00:22 | I'm going to start by selecting
the swirls layer to make it active.
| | 00:25 | And then notice we have this Opacity
value near the top of the Layers panel.
| | 00:29 | There's a few different
ways you can use this option.
| | 00:32 | For one, you can click this down-
pointing arrow head and adjust this slider
| | 00:36 | control right here in order to
reduce the Opacity value, which makes the
| | 00:41 | layer progressively translucent,
as you can see, all the way down to
| | 00:45 | practically invisible.
| | 00:47 | You can also enter a
specific value, if you like.
| | 00:50 | For example, I could enter 57% and
press the Enter key or the Return key on the
| | 00:55 | Mac and you can scrub the value.
| | 00:58 | Notice when you hover your cursor over
the Opacity value, it becomes a little
| | 01:02 | scrub hand and so you can drag either to
the left in order to reduce the Opacity
| | 01:07 | or to the right to increase the Opacity.
| | 01:10 | And if you want to reduce and increase
the Opacity even faster, you can press
| | 01:14 | the Shift key and that will
change the value in 10% increments.
| | 01:20 | Few different ways to work.
| | 01:22 | However, possibly the most convenient
way to change the opacity of a layer is to
| | 01:27 | just press the Number key.
| | 01:29 | So when any of the tools in this top
section of the toolbox are selected, you
| | 01:34 | can just tap a Number Key and
that value will be reflected.
| | 01:37 | So for example, if I press the 7 Key,
I will change the Opacity to 70%.
| | 01:43 | If I press the 3 Key, I'll
change the Opacity value to 30%.
| | 01:47 | I can also dial two numbers in a row.
| | 01:49 | For example, if I press 5, 5,
I'll change the Opacity value to 55%.
| | 01:55 | You can enter 0, 1 for 1%
opacity, if you want to go that low.
| | 02:00 | You can even press 0, 0 for 0% opacity.
| | 02:04 | If you want to restore the
opacity to 100%, then press the 0 key.
| | 02:09 | Now while all this is very well and
good, it doesn't really get us the
| | 02:12 | results we are looking for.
| | 02:14 | I can press the 5 key to reduce the
opacity to 50% and that gets rid of some of
| | 02:19 | the white, but not all of it and it
gets rid of too much of the black.
| | 02:23 | So I'll go ahead and press 0 to
restore the opacity to a 100%.
| | 02:27 | What you might be tempted to do if you
have any knowledge of Photoshop, is grab
| | 02:31 | the Magic Wand tool.
| | 02:32 | And you can get the Magic Wand by
going to the Quick Selection tool, clicking
| | 02:36 | and holding and then choosing the
Magic Wand from the flyout menu.
| | 02:40 | Then you just click in the white area,
for example, to select all the whites
| | 02:45 | that are surrounding the swirls.
| | 02:46 | And then I press the Backspace key or
the Delete key on the Mac in order to get
| | 02:50 | rid of those selected pixels.
| | 02:52 | And I'll press Ctrl+D or Command+D
on the Mac to deselect the image.
| | 02:55 | Well, that didn't quite do it.
| | 02:57 | We still have a lot of white all over the place.
| | 02:59 | So what I need to do is go up here
to the Options Bar and turn off this
| | 03:03 | contiguous check box so that we can
select all the whites throughout this layer.
| | 03:09 | Then I'll click again on a white area
inside the image, press the Backspace key
| | 03:14 | again in order to delete those selected
Pixels and press Ctrl+D or Command+D again.
| | 03:20 | The problem is that was a
massively destructive modification.
| | 03:24 | We just got rid of a ton of pixels and
we didn't really do ourselves any good.
| | 03:29 | If I press Ctrl+1 to zoom in and then
zoom in even a little farther, you can see
| | 03:34 | that I've missed a lot of light pixels,
I have all sorts of halos, there are
| | 03:38 | some jagged edges around my artwork.
| | 03:40 | That's the problem with the Magic Wand tool.
| | 03:42 | We'll explore that tool in more detail
when we look at Selections in a later chapter.
| | 03:47 | But this was not the right approach.
| | 03:49 | So I'm going to zoom back out.
| | 03:52 | Now we have to undo what we've done.
| | 03:54 | And if you go to the Edit menu,
you'll see that we have an Undo command,
| | 03:58 | but it's Undo Deselect.
| | 03:59 | All right, so I'll choose that command
or press Ctrl+Z or Command+Z on the Mac
| | 04:03 | to undo that change.
| | 04:05 | Now I'll go back up to the Edit menu
and I would hope to see another Undo
| | 04:08 | command, instead I see Redo Deselect.
| | 04:12 | And if I choose that, then I'll just
go ahead and deselect the pixels again.
| | 04:15 | So the question is, do I not have multiple
undos inside the software? Well, yes, you do,
| | 04:21 | but they're located in a different place.
| | 04:23 | You go to the Window menu and you choose
the History command and then you'll see
| | 04:27 | a list of all of your
modifications here inside the History panel.
| | 04:31 | And there's the second time I
clicked with the Magic Wand.
| | 04:34 | There is the first time.
| | 04:35 | If I click on this state before I
clicked with the Magic Wand tool, then I go
| | 04:40 | ahead and restore all of those white pixels.
| | 04:43 | Now I'll hide the History panel.
| | 04:44 | And I'm going to switch back
to my rectangular Marquee tool.
| | 04:47 | So now, selecting the pixels and
deleting them isn't the solution, what is?
| | 04:52 | Well what you want to do is
apply a blend mode instead.
| | 04:55 | Notice the word Normal near the top
left corner of the Layers panel, that
| | 04:59 | indicates that currently
the blend mode is turn off.
| | 05:02 | If you click on the word Normal, you'll
see a perhaps overwhelming list of blend
| | 05:07 | modes that you can choose from.
| | 05:09 | We're going to be looking at this blend
modes in detail in another course, but
| | 05:13 | for now, I'll tell you that the blend
mode we want is Multiply, because Multiply
| | 05:18 | is going to keep the dark stuff, it's
going to drop away the light stuff and
| | 05:22 | it's going to do so without harming a
single pixel inside the image and we end
| | 05:28 | up getting this effect here
which is exactly what I want.
| | 05:31 | If I press Ctrl+1 or Command+1 again,
and then zoom in some more, you can see
| | 05:36 | that we have these nice smooth transitions.
| | 05:39 | Meanwhile, if you take a look at the
thumbnail here inside the Layers panel,
| | 05:43 | you'll see that the white pixels still survive.
| | 05:45 | So I'm going to finish things off by
pressing the 8 key to reduce the opacity of
| | 05:51 | this layer to 80%, so the black
swirls are just slightly translucent.
| | 05:55 | And there you have it, that's how you
get better results with a lot less work
| | 06:00 | and without harming a single
pixel by blending layers in Photoshop.
| | Collapse this transcript |
| Duplicating a selected portion of a layer| 00:00 | In this movie, I'll show you how to
select a portion of a layer and duplicate it
| | 00:05 | to a new layer to create a picture frame effect.
| | 00:08 | We're going to base the
frame on the paperback layer.
| | 00:10 | So I'll go ahead and select it.
| | 00:12 | And now we need to load the exact
perimeter of this layer as the selection outline.
| | 00:17 | And you can do that in one of two ways.
| | 00:19 | The first way is to go the Select menu
and choose the Load Selection command.
| | 00:24 | And then you can pretty much ignore
everything inside this dialog box because
| | 00:28 | it's already set correctly by default.
| | 00:30 | The document is our current document.
| | 00:32 | The channel, which means the thing upon
which we want to base the selection is
| | 00:37 | set to our current layer paperback
and its so called transparency mask.
| | 00:43 | Now you don't need to worry about that
too much, but the transparency mask is
| | 00:46 | what distinguishes the transparent
areas of the layer from the opaque portions
| | 00:51 | of the layer, so the outside of the
layer from the inside, if you will.
| | 00:55 | But if you don't want to really pay
attention to the settings, you can just
| | 00:58 | click OK and you'll get exactly
the selection you're looking for.
| | 01:02 | So that's one way to work.
| | 01:04 | There's an even easier way if you're
willing to memorize a keyboard trick.
| | 01:08 | Let me show you what that looks like.
| | 01:09 | I'll press Ctrl+D or Command+D
on the Mac to deselect the image.
| | 01:13 | Notice if I hover my cursor over the
Layer thumbnail, it looks like a little
| | 01:17 | hand with the pointing finger.
| | 01:19 | If I press and hold the Ctrl key or the
Command key on the Mac, then I get this
| | 01:23 | little marquee next to the cursor.
| | 01:25 | And that shows me that I'm about
to load the layer as a Selection.
| | 01:29 | So you just Ctrl+Click here on a PC,
or Command+Click on that layer thumbnail
| | 01:34 | and you get the selection outline, like so.
| | 01:37 | Now we're going to base the frame on
this selection, but we've got to scoot the
| | 01:40 | selection outline inward.
| | 01:42 | And you do that by going up to the
Select menu, choosing Modify and then
| | 01:47 | choosing the Contract Command.
| | 01:48 | But I'm going to enter a really big
Contract value of 200 pixels and then click OK.
| | 01:55 | And that goes ahead and scoots the
selection outline in as you see here.
| | 02:00 | So far I've selected the
area inside this marquee.
| | 02:04 | I really want to select the area
outside because that's the part of the layer I
| | 02:08 | can use to create the frame.
| | 02:10 | So in other words I need to reverse
the selection and you do that by going up
| | 02:14 | to the Select menu and
choosing the Inverse command.
| | 02:18 | And now this area toward the center of
the image is deselected, and the area
| | 02:21 | out here is selected.
| | 02:23 | Now we need to duplicate the
selected portion of the layer.
| | 02:27 | If you go up to the Layer menu
you'll notice that there's this command
| | 02:30 | called Duplicate Layer.
| | 02:32 | But if you choose it, it will duplicate the
entire layer not just the selected region.
| | 02:36 | Instead, what we need to do is to
choose New, and then drag down to this
| | 02:40 | strangely worded command, Layer Via
Copy, which has a keyboard shortcut of
| | 02:45 | Ctrl+J or Command+J on a Mac.
| | 02:48 | I recommend that you memorize that
command because it's going to save you a lot
| | 02:52 | of effort instead of having to go the submenu.
| | 02:55 | And you can think of Ctrl+J
as standing for jump.
| | 02:58 | Anyways, as long as I'm here I'm
just going to choose the command.
| | 03:01 | And notice that did go ahead and
jump the selection to a new layer.
| | 03:05 | You can actually see the
frame there in a layer thumbnail.
| | 03:08 | However, the layer is called Layer 1.
| | 03:11 | What if you want to jump the layer
and give it a name at the same time?
| | 03:14 | Well I'll go ahead and press Ctrl+Z or
Command+Z on the Mac to undo that jump.
| | 03:19 | You add the Alt or Option
key to the keyboard shortcut.
| | 03:23 | So you press Ctrl+Alt+J or Cmd+Option+J
on the Mac, that not only evokes the
| | 03:29 | jump, but it also brings
up the New Layer dialog box.
| | 03:32 | And I'll go ahead and call
this New Layer frame and click OK.
| | 03:36 | Now that we have the frame, I'll
drag it above the swirls layer.
| | 03:39 | The problem is we can't really see
the frame because it matches the layer
| | 03:43 | behind it, but we can offset the frame
and give it a little bit of dimension
| | 03:47 | using layer effects.
| | 03:49 | So I'm going to drop down to this FX
icon at the bottom of the Layers panel and
| | 03:54 | click on it and then choose the
bottom-most command, Drop Shadow.
| | 03:58 | And that goes ahead and turns on a
slight drop shadow as you can see.
| | 04:02 | So in other words, there is a
shadow directly behind the frame.
| | 04:05 | I also want a little bit of bevel and
mmboss, so I'll turn on this Bevel &
| | 04:09 | Emboss check box and we get a little
bit of a highlight along the inside edge
| | 04:14 | of the frame as well.
| | 04:15 | Now these effects are too subtle, so
fortunately, I can customize the settings.
| | 04:20 | I'm going to start by clicking on
Drop Shadow in the left-hand list and I'm
| | 04:24 | going to increase the Opacity value to
100%, I'll tab to that Angle value and
| | 04:29 | change it to 115 degrees.
| | 04:32 | I'll increase the Distance value to
25 pixels which I'm doing by pressing
| | 04:36 | Shift+Up arrow twice in a row.
| | 04:38 | Then I'll press Tab twice to advance
to the Size value, press Shift+up arrow
| | 04:43 | three times to take that value to 35 pixels.
| | 04:47 | Now for the Bevel & Emboss effect,
I'll click on the Bevel & Emboss on the
| | 04:50 | left-hand list, then I'll
change the Size value to 10 pixels.
| | 04:55 | I'll increase the Opacity of the
Highlight to 100%, then I'll tab down to the
| | 05:00 | Shadow Opacity value and take it down to 50%.
| | 05:04 | And finally, I'll change the Technique
from Smooth to Chisel Hard, in order to
| | 05:09 | create the effect you see here.
| | 05:12 | Then I'll go ahead and click OK to
close the Layer Style dialog box.
| | 05:17 | Now of course, have faith, I will be
devoting an entire chapter to layer effects
| | 05:21 | in a future course.
| | 05:23 | But for now, you have a sense for how
you can jump a selected portion of a layer
| | 05:27 | and build an entire effect on
it to create a picture frame.
| | Collapse this transcript |
| Applying a clipping mask| 00:00 | In this movie, we're going to add a
wood grain texture to our picture frame.
| | 00:04 | And we'll do so by taking advantage
of what's known as a clipping mask.
| | 00:08 | I'm going start things off by showing you,
yet another way to move an image into
| | 00:12 | a layered composition.
| | 00:13 | You have seen drag and drop,
here's my favorite technique of all.
| | 00:18 | Make sure that one of your selection
tools is active so either one of the
| | 00:22 | Marquee tools, one of the Lasso
tools, the Quick Selection tool.
| | 00:26 | And then, right-click inside the image
window and choose the Duplicate Layer command.
| | 00:31 | You can also choose this
command from the Layers menu.
| | 00:35 | Then inside the Duplicate Layer dialog
box, change the Document Setting to the
| | 00:40 | Layered Composition, Initial picture
frame.psd in our case, and then click OK.
| | 00:45 | Now you won't see anything happen
inside the image we are working on.
| | 00:50 | You'll have to switch back to the
composition and there's your new layer.
| | 00:54 | Obviously, we've got a problem;
| | 00:56 | the layer came in vertically instead of
horizontally, so we need to rotate it.
| | 01:00 | And you can rotate a layer by going up
to the Edit menu, and because we need to
| | 01:04 | perform a 90 degree rotation, the
simplest way to approach it is to choose
| | 01:09 | Transform and then choose, in our case,
Rotate 90 degrees CW for Clockwise.
| | 01:15 | And that orients that
image exactly the way I want.
| | 01:17 | All right, now I'm going to rename the
layer by double-clicking on its existing
| | 01:21 | name and changing it to wood grain.
| | 01:24 | Now what I want to have happen is I want
the wood grain to exist entirely inside
| | 01:30 | the frame in the background.
| | 01:32 | So I'll go ahead and turn wood grain back on.
| | 01:34 | Now what I want to do is I want to take
the wood grain layer and effectively put
| | 01:38 | it inside the frame layer, so we only
see the wood grain inside of the frame and
| | 01:44 | you can achieve that
effect using a clipping mask.
| | 01:47 | So here's how it works.
| | 01:48 | I will go ahead and turn
the wood grain layer back on.
| | 01:51 | With that layer selected, you go up
to the Layer menu and you choose Create
| | 01:55 | clipping mask and that goes ahead and
clips the wood grain layer inside the
| | 02:00 | frame layer as you see here.
| | 02:02 | And not only do you see what the effect
looks like inside the image window, but
| | 02:05 | Photoshop also indents the clip
layer and gives you a little arrow symbol to
| | 02:10 | indicate that it's clipped.
| | 02:11 | Now I'm going to zoom in a bit.
| | 02:13 | At this point, I want to give my frame a
complimentary color to the artwork inside it.
| | 02:18 | So I'm going to go back to the frame
layer and I'm going to add another layer
| | 02:22 | effect by dropping down to the FX
icon and choosing Color Overlay.
| | 02:27 | Now at first, Color Overlay just goes
ahead and recolors the entire layer red,
| | 02:32 | which obviously, is not what we want.
| | 02:34 | I'm going to click on the Color swatch
in order to bring up the Color Picker
| | 02:38 | dialog box, and I'm going to change the
H, S, and B values which stand for Hue,
| | 02:44 | Saturation and Brightness.
| | 02:46 | We'll be seeing a lot of them.
| | 02:48 | But Hue is the base color mapped on
to a circle, so it's as if you took a
| | 02:52 | rainbow and wrapped it around the circle.
| | 02:55 | And so a Hue Value of 0, as you can see is red.
| | 02:58 | It turns out the Hue value I'm
looking for is 210 which is a shade of blue.
| | 03:03 | Saturation value is the intensity of the color.
| | 03:06 | I'm going to take that intensity down
by reducing the Saturation value to 25%
| | 03:11 | then I'll tab to the Brightness value
which goes all the way to a 100% for
| | 03:15 | bright color, down to 0% for black, and
I'm going to reduce that value to 15%.
| | 03:21 | So it looks like we almost have black,
but it's a very dark shade of blue.
| | 03:25 | Now I'll click OK and I'm going change
the Blend Mode from Normal to Color, so
| | 03:31 | we're only changing the color of the
artwork and we end up this effect here.
| | 03:36 | Again, I want to emphasize, we'll be
talking about colors and blend modes and
| | 03:41 | everything else that seems to be going too
quickly in a lot more detail in later chapters.
| | 03:47 | All right, now I'll click OK to
accept that effect and the result is wood
| | 03:51 | grain mapped inside our picture frame,
thanks to the power of clipping masks
| | 03:56 | here inside Photoshop.
| | Collapse this transcript |
| Blending inside a clipping mask| 00:00 | In this movie, I'll show you
how to blend clipped layers.
| | 00:03 | Specifically, we'll be blending the
wood grain with the frame that encloses it.
| | 00:08 | I'm going to click on the wood grain
layer to make it active and then I'm going
| | 00:12 | to change its mode from Normal, once
again to Multiply, so that we use the wood
| | 00:17 | grain to darken the contents of the frame layer.
| | 00:20 | And you can see that we get this interesting
interaction between the grain and the artwork.
| | 00:25 | That's a little bit too much, so I'd
like to see the grain not only in the light
| | 00:29 | portions of the artwork,
but in the dark areas as well.
| | 00:32 | So I'm going to make a copy of this wood
grain layer and adjust its blending settings.
| | 00:37 | Now if would just press Ctrl+J or
Command+J on the Mac to jump that layer,
| | 00:43 | then Photoshop automatically takes it
out of the clipping mask, as you can see.
| | 00:47 | So it's no longer clipped to the
frame and it's interacting with the
| | 00:50 | entire composition.
| | 00:52 | That's not what I want.
| | 00:53 | So I'll press Ctrl+Z or Command+Z
on the Mac, and instead, I'll press
| | 00:57 | Ctrl+Alt+J or Cmd+Opt+J on the Mac in order to
force the display of the New Layer dialog box.
| | 01:04 | The name wood grain is fine as is.
| | 01:07 | You can have two layers with
the same name, if you like.
| | 01:09 | But I'm going to turn on this check box
right here that says Use Previous Layer
| | 01:13 | to Create Clipping Mask.
| | 01:15 | That way we'll keep this new layer
inside the frame and I'll click OK.
| | 01:20 | And you can see over here in the
Layers panel, it continues to be clipped, so
| | 01:24 | both layers are now
clipped inside the frame layer.
| | 01:27 | However, because the layer is set to
multiply, we're darkening the frame even more.
| | 01:31 | So I'm going to go back to
the Blend Mode pop-up menu,
| | 01:34 | and I'm going to switch it back to Normal;
| | 01:36 | which ends up all together
restoring the wood grain.
| | 01:39 | Obviously, that's not what I want
because we have no interaction now between the
| | 01:43 | wood grain and the artwork.
| | 01:45 | What I want to do is
reduce the Opacity value to 50%.
| | 01:48 | If you're working on a Mac, you can
just tap the 5 key, but here on the PC,
| | 01:52 | you can't because the blend mode option is
still active, as indicated by this blue highlight.
| | 01:57 | To deactivate the option,
you press the Escape key.
| | 02:01 | Notice that that blue highlight disappears.
| | 02:04 | And then, you press the 5 key in
order to reduce the Opacity of that layer.
| | 02:09 | And now we get this wonderful
interaction of wood grain and artwork
| | 02:12 | throughout the frame.
| | 02:14 | There's just a couple of
more things I want to do here.
| | 02:17 | First, if you look at these swirls, they're
not really visually centered inside the frame.
| | 02:22 | They are centered where the artwork
is concerned, so going back to the
| | 02:25 | alignment options won't help.
| | 02:27 | What I need to do is just slightly nudge
those swirls, which I can do from the keyboard.
| | 02:31 | So I'll start by clicking on the
swirls layer to make it active.
| | 02:35 | And then because I want to move that
layer, I'll switch to the Move tool up
| | 02:39 | here at the top of the tool box, and then
I'll just press the arrow keys on the keyboard.
| | 02:43 | So here I am zoomed out to 33%.
| | 02:45 | If I press the right arrow key, then I'll
nudge the swirls to the right one screen pixel.
| | 02:51 | In all I'm going to press that right
arrow key five times and that will get the
| | 02:56 | swirls centered horizontally.
| | 02:58 | Now the reason I mentioned my zoom ratio, 33%,
is because I'm nudging in screen pixels.
| | 03:03 | So if you zoom farther in, you'll
nudge your artwork that much more.
| | 03:08 | Now I'm going to press the up arrow key
three times in order to nudge the layer
| | 03:12 | slightly upward, as well.
| | 03:13 | The last thing I want to do in this
movie is to color the wall on the background.
| | 03:18 | So I will go ahead and scroll to the
bottom of the list and click on the wall
| | 03:21 | layer to make it active.
| | 03:23 | And then I'll click on the FX icon down
here at the bottom of the Layers panel
| | 03:26 | and choose Color Overlay once again.
| | 03:29 | Again, Photoshop goes ahead and
recolors the entire layer red.
| | 03:32 | I'm going to click on that red color
swatch to bring up the Color Picker dialog box.
| | 03:37 | I'm looking for a dark shade of green.
| | 03:39 | So I'll change the Hue value to 75
degrees, I'll reduce the Saturation value to
| | 03:44 | 35%, and I'll take the Brightness
value down to 50%, then I'll click OK.
| | 03:50 | And now to use that color to darken
the wall, I'll change the Blend Mode
| | 03:53 | from Normal to Multiply.
| | 03:56 | And then I'll click OK.
| | 03:57 | And we end up with our final dark green wall.
| | 04:01 | So that's our composition so far.
| | 04:03 | In the next movie, we'll finish off
the artwork inside the frame by adding a
| | 04:07 | couple of additional blended layers.
| | Collapse this transcript |
| Finishing off your artwork| 00:00 | In this movie, I'll finish off the
artwork, almost as if I was adding a coat of
| | 00:04 | varnish, by blending in a
couple of photographic images.
| | 00:08 | Whenever you're introducing a new layer,
it's going to appear directly in front
| | 00:12 | of the active layer.
| | 00:14 | I want the new layer to appear in
front of paper back, so I'll go ahead and
| | 00:18 | select that layer first, then I'll
switch to the grunge stucco image.
| | 00:22 | And notice that I've switched back to
the Rectangular Marquee tool, which you
| | 00:26 | can get it anytime by pressing the M key.
| | 00:28 | And now, I'll right-click inside
the image and choose Duplicate Layer.
| | 00:32 | Inside the dialog box, I'll change
the document to Dark green wall.psd and
| | 00:37 | then I'll click OK.
| | 00:39 | Now let's switch back to the composition.
| | 00:41 | And you can see that the
stucco layer has been added.
| | 00:45 | I'll go ahead and rename that layer grunge.
| | 00:48 | But the problem is that it
covers up the entire composition.
| | 00:51 | I want it to appear exclusively
inside the paper back layer so I once again
| | 00:55 | need to create a clipping mask, but this time
I'll show you how to do it in a different way.
| | 01:00 | Instead of choosing the command, you
can press the Alt key or the Option key on
| | 01:04 | the Mac and click on the horizontal
line between grunge and paper back and that
| | 01:09 | automatically converts
that layer to a clipping mask.
| | 01:13 | If you want to unclip the layer, you
just Alt click or Option click on that
| | 01:17 | horizontal line again.
| | 01:19 | Anyway, I want the clipping mask so
I'll Alt click or Option click it the
| | 01:22 | third time in this case.
| | 01:25 | Now I want to create an interaction
between the layers, so I will once again
| | 01:28 | apply that same darkening blend mode, Multiply.
| | 01:32 | And we end up with this effect which
doesn't look nearly so graphic as before.
| | 01:36 | So you can see without that layer if I turn
it off, the artwork looks fairly cartoony.
| | 01:41 | Now if I turn the layer back on, it
looks more integrated into the scene.
| | 01:46 | Now I want the next layer to appear
in front of swirls so I'll go ahead and
| | 01:50 | click on that swirls layer to make it active.
| | 01:52 | Then I'll switch over to the Yosemite
fog image, right-click inside of it,
| | 01:56 | choose Duplicate layer.
| | 01:58 | Same thing, I'm going to change the
document to Dark green wall and then click OK.
| | 02:03 | And now I'll switch back to my
composition and you can see that we've got a
| | 02:07 | photographic image inside of a frame.
| | 02:10 | And so the great thing about this is
we have a layered composition that is
| | 02:14 | flexible enough to accommodate
any change we might want to make.
| | 02:18 | So I could if I want to, just leave
this photograph set inside the frame as you
| | 02:22 | it here or I could integrate it into the scene.
| | 02:25 | So I'll start by renaming the layer.
| | 02:27 | I'll call it yosemite, and then I'm
going to change its Blend mode to one we
| | 02:32 | haven't seen so far.
| | 02:33 | I'll click on Normal and choose the second
mode in the Contrast group which is Soft Light.
| | 02:39 | And we end up almost losing the
layer entirely, but let me show you
| | 02:43 | the difference here.
| | 02:44 | If I turn this layer off, then we
don't have any of those highlights,
| | 02:47 | and if I turn the layer on, it's
almost as if we have a series of random
| | 02:51 | reflective highlights on
the surface on the artwork.
| | 02:55 | All right, now I'm going to manually
dial in the Zoom value of 40%, which works
| | 02:59 | well for this screen, and press the F
key a couple of times in order to switch
| | 03:03 | to the Full Screen mode.
| | 03:05 | And that is our final composition,
the result of eight independent layers
| | 03:09 | working together here inside Photoshop.
| | Collapse this transcript |
| Creating a new layer and background| 00:00 | In this movie, I'll show you the various
ways to create a blank new layer as well
| | 00:05 | as how to create a new background.
| | 00:08 | For example, here I am looking at the
final version of my artwork, but let's say
| | 00:11 | I want to output the image, and instead
of the frame appearing against the screen
| | 00:15 | wall, I want the background to be page white.
| | 00:18 | Now if I scroll down my list of layers
here and turn off the rear most layer
| | 00:23 | which is the wall layer, then I end
up seeing this checkerboard and that's
| | 00:27 | Photoshop's way of showing you transparency.
| | 00:29 | In other words, there's nothing there.
| | 00:32 | Now if I were to print the image at
this point, it would appear against
| | 00:35 | the white background.
| | 00:36 | In other words the checkers
don't render to the printer.
| | 00:39 | However, it's impossible to gauge any of
the effects that go out into the transparency.
| | 00:44 | For example, this drop shadow behind
the frame, looks awfully darn light when in
| | 00:49 | fact it's a very dark shadow.
| | 00:52 | But we're not going to be able to
gauge it properly until we add a white
| | 00:55 | background to our composition.
| | 00:57 | So the first thing we need to do is
create a new layer. There is a couple
| | 01:00 | of ways to do that.
| | 01:02 | One is you can drop down to this little
page icon at the bottom of the Layers panel.
| | 01:06 | Notice it says Create a new layer,
just go ahead and click on it and you'll
| | 01:10 | create a blank new layer in front of
the active layer, so right above wall.
| | 01:15 | All right, now I'm going to press Ctrl+
Z or Command+Z on the Mac to undo that.
| | 01:19 | What if we want to put the new layer
below the wall layer? Then you press the
| | 01:23 | Ctrl key or the Command key on
the Mac and click on the page icon.
| | 01:27 | There is two more keyboard tricks you
might want to know about, so I'll press
| | 01:31 | Ctrl+Z Command+Z on the Mac to undo that Layer.
| | 01:34 | If you want to name the layer as you
create it then you press the Alt key or the
| | 01:38 | Option key on the Mac and click on the
little page icon, then you call the layer
| | 01:43 | anything you want and click OK.
| | 01:46 | Notice the new layer appears above wall.
| | 01:48 | What if you want to create and name a new
layer and put it behind the active layer?
| | 01:53 | I'll go ahead and undo the new layer again.
| | 01:55 | You press the Ctrl and Alt keys on the PC
or the Command and Option keys on the Mac.
| | 01:59 | Click on the little page icon, name the
layer as you like and click OK, and it
| | 02:05 | appears in the background.
| | 02:06 | All right, I'm going to undo that because
I want to show you one more way to work.
| | 02:12 | And that is you can go to the Layers
panel flyout menu icon up here in the
| | 02:15 | upper right corner of the panel, and you
can choose the New Layer command or you
| | 02:20 | can take advantage of that keyboard shortcut
Ctrl+Shift+N or Command+Shift+N on the Mac.
| | 02:26 | And for my part that's where I find
myself doing most of the time, it's just
| | 02:29 | using that shortcut, because that
brings up the dialog box that allows you
| | 02:33 | to name the new layer.
| | 02:35 | All right I'll name it, click OK.
| | 02:36 | Notice it does in this case
appear above the wall layer.
| | 02:41 | And we really haven't solved our
problem so far because the layer is itself
| | 02:45 | transparent as indicated by
this checkerboard thumbnail.
| | 02:48 | Well now that we have a new layer,
we can convert it into a background.
| | 02:53 | And you do that by going to the Layer
menu, choosing New and choosing Background
| | 02:57 | from Layer, and that ends
up doing a couple of things.
| | 03:00 | First of all, it sends the layer to
the back of the stack, it makes it a flat
| | 03:04 | image element so it's no
longer a floating layer.
| | 03:07 | It renames the item Background and
it goes ahead and fills it with the
| | 03:10 | background color which by default is white.
| | 03:14 | And you can see the foreground color
and the background color down here at the
| | 03:17 | bottom of the toolbox.
| | 03:19 | And now notice when we see the drop
shadow rendered against the white background
| | 03:23 | that is quite dark indeed.
| | 03:24 | So if I turn that background off for a
moment, that's what the shadow looked
| | 03:28 | like before, very light against
the transparent checkerboard pattern.
| | 03:32 | And then if I turn the background
back on, we have a much darker shadow.
| | 03:37 | And so I might actually edit that
shadow, I'll go ahead and expand my layer
| | 03:41 | effects by clicking on that little
down arrow icon, I'll double-click on the
| | 03:45 | Drop Shadow effect and I'm going to
take that Opacity value down to 50% so we
| | 03:51 | have a more subtle shadow.
| | 03:53 | And then I'll tab my way to the Distance
value and press Shift+Up arrow a couple
| | 03:57 | of times in a row to take that value
up to 45 pixels and then tab to the size
| | 04:01 | value and take it up to 45
pixels as well, and then click OK.
| | 04:05 | So we now have a larger
but more translucent shadow.
| | 04:08 | And again if I were to turn off the
background layer, the shadow almost disappears.
| | 04:13 | But with that background layer on, I can see
what's actually happening inside my composition.
| | 04:18 | And that's how you create new
layers as well as the new background here
| | 04:22 | inside Photoshop.
| | Collapse this transcript |
| Layering tips and tricks| 00:00 | In this final movie of the chapter,
I'll share with you a grab bag of tips and
| | 00:04 | tricks for working with layers.
| | 00:07 | For starters I'm going to scroll down the
list of layers and turn off the background.
| | 00:11 | This bright checkerboard pattern
provides a lot of contrast when you're
| | 00:15 | working with dark layers.
| | 00:17 | However if I Alt+Click or Option+Click
on the eye in front of the swirls layer,
| | 00:22 | you can see it doesn't fair so well when
working with bright layers, which is why
| | 00:26 | I prefer a pattern that's
darker and a bit more muted as well.
| | 00:30 | To change the checkerboard pattern
press Ctrl+K or Command+K on a Mac to bring
| | 00:34 | up the Preferences dialog box and
then click on Transparency & Gamut.
| | 00:39 | Here is what I do, I change the Grid
Colors from Light to Medium and then well
| | 00:44 | that's better, the checks are just too busy.
| | 00:47 | So I click on this darker gray box and
then I change the Brightness value to 54%
| | 00:53 | and click OK and then Click OK again,
and you get this more neutral, less busy
| | 00:58 | checkerboard background.
| | 00:59 | All right, now let's talk
about controlling visibility.
| | 01:03 | Notice this grunge layer that's clipped
inside the paper back layer, if I turn
| | 01:07 | the grunge layer on that also turns on
the paper back layer and the reason is
| | 01:12 | that you can't see a clipped layer
without seeing its clipping mask.
| | 01:15 | The same goes if I turn off the
visibility of the paper back layer, the grunge
| | 01:20 | layer again disappears.
| | 01:22 | Now let's say I want to make all my
layers visible again, what I'd like to do is
| | 01:26 | Alt+Click or Option+Click on the
eye in front of the swirls layer.
| | 01:30 | But if I do, I just hide that dimmed
eye in front of grunge and that's it.
| | 01:34 | If I Alt+Click or Option+Click
again, I bring back the dimmed eye.
| | 01:38 | And that's because when you Alt+Click or
Option+Click on an eye, you switch back
| | 01:42 | and forth between two visibility states.
| | 01:45 | If you want to make all layers visible,
you have to choose a secret command twice.
| | 01:50 | Here is what you do, right-click on
the eye in front swirls and then choose
| | 01:54 | Show/Hide all other layers.
| | 01:56 | That will hide all of the other layers
so you're just seeing the swirls layer,
| | 02:00 | so in other words the dimmed
eye in front of grunge disappears.
| | 02:03 | Then again right-click on that eye and
then choose Show/Hide all other layers,
| | 02:08 | and all of the layers will become
visible, including that wall layer that we
| | 02:12 | have formerly turned off.
| | 02:13 | Let's say I not only want to turn off
the wall layer, but I also want to get rid
| | 02:17 | of it and all other hidden
layers inside of my composition.
| | 02:21 | Well go ahead and turn off those layers
that you want to delete and then go up
| | 02:25 | to the Layers panel flyout menu
and choose Delete Hidden Layers.
| | 02:29 | Photoshop will ask you if you really want to go
through with it, if so click on the Yes button.
| | 02:33 | All right, now let's take a look at a
few tricks that work with the Move tool.
| | 02:37 | I'll go and switch to the tool either
by clicking on it or pressing the V key.
| | 02:41 | You can switch between layers using this
tool by right-clicking inside the image.
| | 02:46 | Photoshop brings up a pop-up menu
that lists every layer that exists at the
| | 02:50 | point on which you clicked, which is
by the way, one of the reasons it's so
| | 02:54 | imperative to get in the
habit of naming your layers.
| | 02:57 | I'll go ahead and switch to paper
back and notice that that goes ahead and
| | 03:01 | selects the paper back layer
here inside the Layers panel.
| | 03:05 | Another way to work is to go directly
to the top most layer, at a click point,
| | 03:10 | and you do that by Alt+Right-clicking
here on the PC, or Option+Right-clicking on
| | 03:15 | the Mac, and you can see in this case
that took me to the yosemite layer because
| | 03:19 | that's the top layer at this point.
| | 03:21 | If I were to Alt+Right-click or Option+
Right-click on the frame that would take
| | 03:25 | me to the top wood layer, which is
the top most layer inside the image.
| | 03:30 | I can also Alt+Right-click or Option+
Right-click in the white background and
| | 03:34 | that will take me to the
background at the bottom of the stack.
| | 03:37 | You may notice when you press and
hold the Alt key or the Option key on the
| | 03:40 | Mac, you get this double arrowhead cursor,
which is telling you that you can clone a layer.
| | 03:46 | I'm going to start by releasing the key
and right-clicking there on the swirls
| | 03:50 | and then choosing the swirls layer.
| | 03:52 | Then I'll press the Alt key or the
Option key on the Mac and drag by pressing
| | 03:56 | the standard left mouse button.
| | 03:59 | And notice that I create a copy of
this layer on the fly and you can see that
| | 04:03 | layer here inside the Layers panel.
| | 04:05 | I'm going to press the Backspace key or the
Delete key on the Mac in order to get rid of it.
| | 04:10 | Here's another way to create a copy of
a layer, press the Alt key or the Option
| | 04:14 | key on the Mac once again and drag
the layer inside the Layers panel.
| | 04:18 | Notice you get that same double
arrowhead cursor and as soon as you release, you
| | 04:22 | create a copy of the layer.
| | 04:23 | All right, again I don't want that so
I'm just going to press the Backspace key
| | 04:27 | or the Delete key on the Mac to get rid of it.
| | 04:29 | Moving right along, Photoshop
allows you select multiple layers.
| | 04:33 | One way to do that here inside the
Layers panel is to click on one layer and
| | 04:37 | then Shift+Click on another, in which
case you select a range of layers like so.
| | 04:43 | If you want to select multiple non-
adjacent layers, you click on one layer and
| | 04:47 | then you press the Ctrl key or the
Command key on a Mac and click in an empty
| | 04:51 | portion of another layer, don't click on
the thumbnail, because that will select
| | 04:55 | the layer, rather you Ctrl+Click or
Command+Click on an empty area like so.
| | 05:00 | And then you can drag these layers
up and down inside the panel to change
| | 05:03 | your stacking order.
| | 05:04 | You can move them together inside
the image window or what have you.
| | 05:07 | All right, I'll press Ctrl+Z,
Command+Z on a Mac to undo that move.
| | 05:11 | Here's yet another way to work.
| | 05:14 | I can right-click inside the image
with the Move tool and click on a layer to
| | 05:18 | select it, and then if I Shift+Right-
click inside the image window with the
| | 05:23 | Move tool and select another layer,
whether it's adjacent or non-adjacent,
| | 05:28 | I'll select it as well.
| | 05:30 | Finally, let's say I want to take
this swirls layer and I want to pop it to
| | 05:34 | the top of the stack.
| | 05:35 | Well I'll go ahead and
click on it to make it active.
| | 05:37 | I could just drag it up the stack if I
want to, but there's another way to work
| | 05:42 | that comes in handy when you have an
awful lot of layers inside of a file.
| | 05:45 | Go to the Layer menu and choose the
Arrange command and then notice that you
| | 05:50 | have all these stacking
options including Reverse.
| | 05:53 | If I had two layers selected,
I can reverse their order.
| | 05:56 | But along with these commands, which
aren't really that easy to access, you have
| | 06:00 | these keyboard shortcuts,
if you care to remember them.
| | 06:03 | So you've got Ctrl or Command along
with the right bracket key to move a
| | 06:08 | layer up the stack.
| | 06:09 | Ctrl or Command along with the left
bracket key to move a layer down the stack.
| | 06:14 | If you want to move the layer all
the way up, you press Ctrl+Shift+Right
| | 06:18 | bracket, if you want to move
it all the way down you press
| | 06:21 | Ctrl+Shift+Left bracket.
| | 06:23 | Let me show you what that looks
like just by pressing the keys.
| | 06:26 | If I press Ctrl+Shift+Left bracket here
on the PC or Command+Shift+Left bracket
| | 06:30 | on a Mac, I will move that
swirls layer as far down as it can go.
| | 06:35 | Notice it has to stay on top of the
background because the background is the
| | 06:39 | flat image always at the back of the stack.
| | 06:43 | Then if I press Ctrl+Shift+Right
bracket or Command+Shift+Right bracket on a
| | 06:47 | Mac, I pop the layer all the way to the
top of the stack and it appears that the
| | 06:51 | front of the composition here
inside the image window as well.
| | 06:55 | And that friends, is my exhaustive
list of tips and tricks for working with
| | 06:59 | layers in Photoshop.
| | Collapse this transcript |
|
|
5. Saving Your ProgressThe art of saving| 00:00 | Saving your work may seem a simple
matter of choosing the Save command, you know,
| | 00:05 | like it is in other programs.
| | 00:07 | But if you haven't guessed yet,
Photoshop is not other programs.
| | 00:11 | In fact, one of Photoshop's
longstanding claims to fame is it's support for
| | 00:16 | every image file format ever invented.
| | 00:20 | You don't need to know about all of
them, but you do want to know the ins and
| | 00:23 | outs of four key file formats that are
the standards of the print, interactive
| | 00:29 | and online industries.
| | 00:32 | These are .tif, .png, .jpg and
Photoshop's native format .psd, the last of which
| | 00:40 | is how you save layers.
| | 00:42 | Plus Photoshop CS6 includes an Autosave
feature that will recover your work in
| | 00:48 | the event of a crash.
| | 00:50 | Watch the following five
movies and you'll know everything.
| | Collapse this transcript |
| Four things to know about saving| 00:00 | In this movie, I'll introduce you to the
four things you should know about saving
| | 00:04 | an image in Photoshop.
| | 00:06 | One of them is just an FYI, the other
three rank among the best failsafes
| | 00:10 | against losing your work
found in any computer application.
| | 00:13 | And this is a big panorama that I
captured and stitched together, and it contains
| | 00:18 | over 45 million pixels.
| | 00:20 | I'm going start off here by dialing
in a custom zoom value down here in the
| | 00:24 | lower left corner of the screen.
| | 00:26 | Now I'll press Shift+Tab in order to
bring up my right side panels so I can
| | 00:31 | show what I've got here.
| | 00:32 | There are three layers in all.
| | 00:33 | At the bottom we have a cropped image
layer and then we have two Adjustment layers.
| | 00:38 | The first of which is warming up
the bottom of the image and the second
| | 00:42 | is darkening the sky.
| | 00:43 | And I'll tell you about cropping and
Adjustment layers in upcoming chapters.
| | 00:48 | But for now let's say I decide to
click on one of the Adjustment layers,
| | 00:51 | Shift+Click on the other so that
they're both selected and then press the
| | 00:55 | Backspace key here on the PC, or the
Delete key on a Mac, to get rid of them.
| | 00:59 | Now I notice up here in the Title tab,
this is the FYI part of the movie;
| | 01:03 | we've got a couple of asterisks going on.
| | 01:06 | The one inside the parenthesis,
that one is a little bit confusing.
| | 01:10 | What that tells you is the image is
using a color profile that's different than
| | 01:14 | the one that Photoshop is currently set to.
| | 01:17 | That actually doesn't matter because
Photoshop automatically switches to the
| | 01:20 | color profile employed by the image.
| | 01:23 | So for now you can safely
ignore that first asterisk.
| | 01:26 | We'll be discussing what's going on with color
profiles and color settings in a future course.
| | 01:31 | That other asterisk however,
the one outside the parenthesis,
| | 01:35 | that one tells you that you have
unsaved changes, and of course that means you
| | 01:39 | could potentially lose your work.
| | 01:41 | If you want to save your changes,
you'd go up to the File menu and choose the
| | 01:45 | Save command, or go ahead and press that
common keyboard shortcut Ctrl+S on a PC
| | 01:50 | or Command+S on a Mac.
| | 01:52 | And then you'll that the image
saves and that asterisk outside the
| | 01:56 | parenthesis goes away.
| | 01:58 | The problem of course is I didn't
want to save over my original image.
| | 02:02 | I didn't want to lose those Adjustment layers.
| | 02:05 | And this is the kind of thing that can
happen every so often, you accidentally
| | 02:08 | save when you don't mean to,
especially if you use the keyboard shortcut,
| | 02:12 | because right next toward of the S key
are the A and D keys, which you use all
| | 02:17 | the time in Photoshop to either
select everything or deselect everything.
| | 02:21 | So it's easy to hit that wrong key.
| | 02:24 | If you do, don't panic, because you
can always go back in time, here's how.
| | 02:30 | Go up to the Window menu and choose the
History command and then you'll notice
| | 02:34 | here in the History panel that I have a
state that's called Delete layer, but I
| | 02:37 | also have another state called Open.
| | 02:39 | And if I click on that Open
state, I get my layers back.
| | 02:43 | I'll go ahead and now close the History panel.
| | 02:45 | I have unsaved changes of course, so
I'll go up the File menu and choose the
| | 02:50 | Save command in order to update the
image and bring back those layers.
| | 02:55 | This works when you revert an image as well.
| | 02:57 | I'll bring back up my History panel
and click on Delete Layer in order to go
| | 03:02 | ahead and re-delete those layers, and
then I'll go back to the File menu and
| | 03:06 | choose the Save command in
order to overwrite the image.
| | 03:09 | Now I'll click on Open once again in
order to go back to the Open state which
| | 03:13 | contains the Adjustment layers.
| | 03:15 | And if I go to the File menu, you can
see that I have a Revert command which
| | 03:19 | allows me to load the
saved version of the image.
| | 03:23 | Inside any other program, when you
choose Revert you're going to get an alert
| | 03:27 | message that says, really, do you want
to actually want to revert the image and
| | 03:30 | lose all of the changes you've made?
| | 03:32 | In Photoshop, you don't
get any message whatsoever.
| | 03:36 | It just goes ahead and reverts to
the saved version of the image, because
| | 03:39 | reversion is tracked by history.
| | 03:42 | So notice here in the History panel, I
not only have a History state, but I've
| | 03:45 | got all the other states
before, in my case just Open.
| | 03:49 | So I'll Click on Open to bring back
the Adjustment layers, I'll go ahead and
| | 03:53 | close the History panel, then I'll go
up to the File menu and choose the Save
| | 03:57 | command so I keep those adjustments.
| | 03:59 | So in other words, as long as you keep
the image open and as long as you have
| | 04:03 | access to those historical
states, then you're safe.
| | 04:07 | The only time you're not
safe is if you do this number.
| | 04:10 | Let's say I decide to grab those
Adjustment layers again and throw them away
| | 04:15 | and then I go up to Close box and click
on it and Photoshop asks me, hey do you
| | 04:19 | want to save your changes? If I click
on the Yes button or the Save button on
| | 04:23 | a Mac, I'm in trouble.
| | 04:25 | Then I do lose everything, because
History is not saved along with the file.
| | 04:30 | So what I'm going to
recommend to you, don't do that.
| | 04:33 | I'll go ahead and Cancel out of there
and then I'll make the deliberate decision
| | 04:37 | whether to save my work or not.
| | 04:40 | One more thing you should know, in
Photoshop CS6 you've got another degree of
| | 04:45 | protection in the form of auto-saving.
| | 04:48 | I'll go ahead and press Ctrl+K or
Command+K on a Mac in order to bring up the
| | 04:52 | Preferences dialog box and then I'm
going to switch over to File Handling on
| | 04:56 | the left-hand side and notice this
check box Automatically Save Recovery
| | 05:00 | Information Every so often.
| | 05:02 | What I recommend you do is switch it
from 10 Minutes to 5 Minutes so you
| | 05:06 | have more protection.
| | 05:08 | And then if you find that Photoshop is
dragging performance-wise, then you can
| | 05:12 | always up the number later.
| | 05:14 | But I'd rather be protected than not.
| | 05:16 | And I have been a program for a while
now and have retrieved several files,
| | 05:21 | things that would have otherwise in
the old days just absolutely been lost.
| | 05:25 | It's totally great, it protects you
from crashing and the idea is if the
| | 05:30 | program does go down, the next time
you launch it, you will see a recovered
| | 05:34 | file open automatically.
| | 05:37 | Now I'm going to go ahead and click
OK in order to accept that change.
| | 05:41 | So to recap, if you see an asterisk outside
the parenthesis, that means unsaved changes.
| | 05:46 | If you accidentally save a file, you
may be able to still retrieve the original
| | 05:50 | image from the History panel.
| | 05:52 | Reverting an image is undoable in
Photoshop and finally you have auto-save and
| | 05:57 | auto-recover in the event you crash.
| | Collapse this transcript |
| Saving layers to PSD| 00:00 | Let's talk about the primary file
formats that you'll be using to save your
| | 00:04 | images, starting with the native
PSD or Photoshop Document format.
| | 00:10 | And it features a pencil sketch I
created years ago inside this over rot frame.
| | 00:15 | And altogether we have a total of
10 layers inside of this document.
| | 00:19 | Also worth noting is the file size,
if you take a look at this doc
| | 00:23 | information in the lower left corner
of the window, you'll see two values
| | 00:27 | divided by a slash.
| | 00:28 | The first value shows you how big the
image would be in RAM if it were a flat
| | 00:33 | image file with no layers whatsoever.
| | 00:36 | The second much larger value shows you how big
the image is in RAM including all of its layers.
| | 00:42 | This image consumes more than 430MB of
RAM, making it our biggest image so far.
| | 00:48 | When you're creating layered
compositions, whether they are big or not, you
| | 00:52 | want to make sure to save at least one
version of that file to the native PSD
| | 00:57 | document, and of course preferably back up
that file to a different hard drive as well.
| | 01:03 | This file is already been saved to the
PSD format, but let's imagine we want
| | 01:08 | to make a few changes.
| | 01:09 | For example, I'm going to click on
that top text layer and Shift+Click on the
| | 01:13 | next layer down, and notice by the way,
that its name is truncated currently, but
| | 01:19 | if I hover that dot, dot, dot, I can
see the name of the layer is plate.
| | 01:23 | And by the way, those little hints
are a new feature in Photoshop CS6.
| | 01:27 | But let's say I don't want that name
plate, so I'll just go ahead and press the
| | 01:31 | Backspace key or the Delete key on a
Mac in order to get rid of those layers.
| | 01:35 | Then with sepia selected, I'll move
down the list until I'm hovering over this
| | 01:40 | layer called back and I'll Shift+
Click on it, so in all we have five layers
| | 01:45 | selected here at the top and that
represents this group of layers right there
| | 01:50 | including the frame and the pencil sketch.
| | 01:53 | And now I'll press Ctrl+Zero
or Command+Zero to zoom out.
| | 01:56 | And let's say I want to center this
group of layers inside the canvas, so I'll
| | 02:00 | press Ctrl+A or Command+A on a
Mac to select the entire image.
| | 02:04 | I'll switch to the Move tool
here at the top of the toolbox.
| | 02:07 | And then I'll go up to my Alignment
options and click on the second icon in
| | 02:11 | Align vertical centers in
order to produce that effect.
| | 02:15 | And then finally, I'll
zoom back in a little bit.
| | 02:18 | And notice this layer right
there called royal violet;
| | 02:20 | I'll turn it on in order to convert
the background from green to purple.
| | 02:26 | Now let's go ahead and save our changes.
| | 02:28 | Now I could go to the File menu and
choose the Save command, but then were I to
| | 02:32 | close the file of course, I
would end up loosing that name plate.
| | 02:36 | So what I tend to do instead, if I'm
ever even the least bit curious and I might
| | 02:41 | want to come back to an effect I've
created in the past, I'll go ahead and
| | 02:44 | choose Save As to save an
alternate version of the file.
| | 02:47 | It consumes additional disk space
of course, but it can really end up
| | 02:50 | saving your neck later.
| | 02:51 | You have a keyboard shortcut for
this command which is Ctrl+Shift+S or
| | 02:55 | Command+Shift+S on a Mac.
| | 02:56 | And it brings up this Save As dialog box.
| | 03:00 | Make sure that format is set to
Photoshop, that is .PSD, if not go ahead and
| | 03:05 | select it from the list.
| | 03:06 | And then I'm going to rename my file
Violet variation, I've already created that
| | 03:10 | file in advance, so I'll just
Click on it to lift that name.
| | 03:14 | And then I want to make sure that
all of the check boxes except for As a
| | 03:18 | Copy are turned on.
| | 03:20 | So what can happen sometimes in
Photoshop is you've got an alpha channel, that
| | 03:24 | is a saved selection or
mask, we'll see those later.
| | 03:27 | But when you got to save the file for some
reason the Alpha Channels check box is turned off.
| | 03:32 | If that happens and you see this little
alert message then As a Copy would go on.
| | 03:36 | It's not what you want.
| | 03:37 | We'll see how As a Copy works in the next movie.
| | 03:40 | But when saving the PSD file you want
all check boxes on so that you're saving
| | 03:45 | every single thing that you can.
| | 03:47 | Then go ahead and click the Save button.
| | 03:49 | In my case Photoshop will ask me if I
want to overwrite the existing file, I'm
| | 03:53 | going to say OK because it's the
exact same file I'm saving right now.
| | 03:57 | Then very likely you'll get this
alert message that asks you if you want to
| | 04:01 | Maximize Compatibility and a
check box is turned on by default.
| | 04:05 | Here's what's going on, if you leave the
check box on, then Photoshop goes ahead
| | 04:09 | and saves a flat version of the image
along with all the layers, which makes the
| | 04:14 | file more compatible with
programs other than Photoshop.
| | 04:18 | It has nothing to do with Photoshop whatsoever.
| | 04:20 | What it does have to do with is
Lightroom and Premiere and some
| | 04:24 | non-Adobe applications.
| | 04:26 | If you're working the Lightroom for
example and you want to be able to preview
| | 04:30 | your PSD files, then you
have to leave this check box on.
| | 04:34 | But if you don't use Lightroom or Premiere;
| | 04:36 | for example, you use Illustrator, or
InDesign, or Bridge, or any of the other
| | 04:40 | Creative Suite applications, or you're
exclusively interested in being able to
| | 04:45 | open up your layered files inside
Photoshop, then turn this check box off and
| | 04:50 | your files will be much smaller.
| | 04:52 | For example, where this file is
concerned with the check box off, it takes up
| | 04:56 | 329 megs of room on disk, and that's
down from 395 right now in memory, the
| | 05:05 | reason being that Photoshop
automatically applies some lossless compression,
| | 05:08 | nothing to worry about.
| | 05:10 | However if I turn this check box on,
the file size grows to 434 megabytes,
| | 05:16 | that's more than 100 megs
and that's a 32% increase.
| | 05:20 | It can be as much as a 50% increase.
| | 05:22 | So you can lose space on your hard drive
very quickly if you leave this check box
| | 05:27 | on when you don't need it.
| | 05:29 | I'm going to go ahead and turn
it off and then I'll click OK.
| | 05:32 | And you may have to wait a
moment for the save to initiate.
| | 05:35 | Notice this saving message down here
on the lower left corner of the screen,
| | 05:38 | right now it's saying Saving 0%, now it's going.
| | 05:43 | One more note, let's say you don't want
to maximize compatibility in the future,
| | 05:48 | and you don't want to see that
alert message every time either.
| | 05:51 | Then press Ctrl+K or Command+K on a Mac
to bring up the Preferences dialog box.
| | 05:56 | Switch to File Handling over here on the
left-hand side of the screen, drop down
| | 06:00 | to this Option, Maximize PSD
and PSB File Compatibility.
| | 06:05 | Right now it's set to Ask,
that's why we saw the alert message.
| | 06:08 | If you want it to always save
because you're working with Lightroom, then
| | 06:11 | change it to Always.
| | 06:12 | If you want it to Never Save, which
is my preference then set it to Never.
| | 06:17 | And by the way, every PSD file that I'm
providing to you and every PSD file that
| | 06:21 | I have ever provided in my history of
training people has been saved with Never,
| | 06:26 | so that I get smaller file sizes.
| | 06:29 | And now I'll go ahead and
Click OK to make that change.
| | 06:32 | And that's how you save a layered
document to the native PSD file format here
| | 06:36 | in Photoshop.
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| Saving print images to TIFF| 00:00 | Now let's talk about the file formats
that are designed to work with flat image
| | 00:04 | files starting with TIFF.
| | 00:06 | Now TIFF, which stands for Tag Image
File Format is the most popular image
| | 00:11 | format in print design.
| | 00:13 | And the reason is that it's
widely compatible and it features
| | 00:16 | lossless compression.
| | 00:17 | Now technically, TIFF does support layers.
| | 00:21 | So you can save a layered document to
the TIFF format without losing anything.
| | 00:26 | But there are two problems:
| | 00:27 | one is, TIFF always goes ahead and
saves a flat version of the image along with
| | 00:32 | the layers so you get bigger files
than you do with PSD when Maximize
| | 00:36 | Compatibility is turned off.
| | 00:38 | And the other issue is a matter of tradition.
| | 00:40 | Most folks that work with TIFF don't
anticipate that the file might contain layers.
| | 00:45 | The one exception might be if you want
to preserve transparency in an image.
| | 00:49 | For example, I'm going to select the
background and then Shift+Click on royal
| | 00:53 | violet to select all four of these items
in the Layers panel and then I'll press
| | 00:57 | the Backspace key or the Delete
key on the Mac to get rid of them.
| | 01:01 | And now let's say this is exactly what I want.
| | 01:03 | I want this transparency along with
this drop shadow and so forth to be
| | 01:07 | preserved when I take this image into
InDesign or Illustrator, or what have you.
| | 01:13 | Well I don't need the differentiation
between the other layers, so I'd go ahead
| | 01:17 | and Shift+Click on sepia, so all
five remaining layers are selected.
| | 01:21 | And then I'd go up to the Layer menu
and choose Merge Layers, in order to fuse
| | 01:26 | all those layers together.
| | 01:29 | Now presumably I don't want
this layer to be called sepia.
| | 01:31 | I'll call it artwork instead.
| | 01:34 | And then I'd go up to the File menu and
of course choose the Save As command so
| | 01:38 | I don't end up overwriting my existing file.
| | 01:41 | And then I could switch to file Format
from PSD to TIFF and give the image a
| | 01:46 | name, make sure that Layers is
turned on and click the Save button.
| | 01:50 | But here's the thing, even though you
can work that way and you maybe called
| | 01:54 | upon to work that way as well
depending on your client, we're actually better
| | 01:58 | off saving to the PSD format instead,
because InDesign and Illustrator and
| | 02:03 | all those programs that support TIFF with
transparency also support PSD with transparency.
| | 02:09 | All right, I'm going to go ahead and
cancel out of the dialog box here and
| | 02:13 | switch over to my photographic panorama.
| | 02:16 | And let's say this image is bound for some
sort of print publication or even an eBook.
| | 02:21 | And so I'm going to save a flat
version of the image as a TIFF file.
| | 02:24 | Well one thing I could do is go up to
the Layer menu and choose the Flatten
| | 02:28 | Image command to fuse all the layers
together, and then go ahead and save the
| | 02:32 | image to the TIFF format.
| | 02:34 | Or I can just save a copy of the file.
| | 02:36 | Let me show you what that looks like.
| | 02:38 | I'll go up to the File menu
and choose the Save As command.
| | 02:42 | And I'm going to switch the format from
Photoshop to TIFF down here at the bottom.
| | 02:48 | And I'm going to rename this file
Antique theater, and I'm going to turn off
| | 02:53 | my Layers check box.
| | 02:54 | And as soon as I turn Layers off, I
get a little warning here, that's fine,
| | 02:59 | and As a Copy automatically turns on.
| | 03:02 | What that means by the way is there
will no longer be a link between the
| | 03:06 | active image, the one that's open
here in Photoshop, and this image that
| | 03:10 | you're saving to disk.
| | 03:12 | So in other words, I will
not rename this file.
| | 03:15 | It'll still be called Theatre Antique
d'Orange.psd, which is when you think
| | 03:19 | about, just as it should be.
| | 03:21 | Now I'll go ahead and click the
Save button in order to bring up the
| | 03:25 | TIFF Options dialog box.
| | 03:27 | Now by default, Image Compression is set to
None, which you may figure is a good thing.
| | 03:31 | A lot of folks have it in their mind
that compression, where image file is
| | 03:35 | concerned, is always bad.
| | 03:37 | It's actually not true.
| | 03:39 | LCW is an entirely lossless compression.
| | 03:42 | It works in much the same way as ZIP
and other compression algorithms work.
| | 03:46 | In other words, nothing is lost in
the translation, and it delivers much
| | 03:51 | smaller image files.
| | 03:52 | So I recommend you turn it on
for every TIFF image you save.
| | 03:56 | Pixel Order should be left alone,
Interleaved is what you want.
| | 03:59 | Byte Order actually doesn't matter. You
can select PC when you're working on a
| | 04:03 | PC or Mac if you're working on a Mac.
| | 04:06 | But just about every application that
supports TIFF supports both variations on
| | 04:10 | the file format and certainly
all the Adobe applications do.
| | 04:14 | Save Image Pyramid, leave that turned
off and then down here at the bottom you
| | 04:18 | may see the Layer Compression options,
if so it should be set to Discard Layers.
| | 04:22 | Then go ahead and click OK in
order to save off that image file.
| | 04:27 | You may get a progress bar down in the
lower left corner of the image and once
| | 04:31 | the file is saved, note that the
layers are still intact even though we just
| | 04:34 | threw them away, and there's no link
between this open image and the TIFF file
| | 04:38 | is saved to disk, because
once again, it's a copy.
| | 04:41 | And that's how you go about saving a
TIFF version of your image file here
| | 04:45 | inside Photoshop.
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| Saving an interactive image to PNG| 00:00 | Our next file format PNG is very
popular in the world of interactive design.
| | 00:05 | Like TIFF, it allows you to save full
color graphics with lossless compression.
| | 00:10 | However unlike TIFF, it does not support layers.
| | 00:13 | However it does support transparency.
| | 00:16 | Now let's say I want to save this image
complete with transparency to the PNG format.
| | 00:20 | I'd go up to the File menu and choose
the Save As command and then I'll switch
| | 00:25 | my format from PSD to PNG, which is PNG.
| | 00:29 | And notice that I've already created
this file in advance just so I can lift its
| | 00:33 | name, so I'll click on it to select it.
| | 00:35 | Also notice down here that Photoshop
not only automatically deselects the
| | 00:39 | Layers check box, but it also dims the
check box so I can't turn it back on and
| | 00:44 | As a Copy is checked.
| | 00:46 | So what that means is Photoshop is
breaking the link between the file that I'm
| | 00:49 | saving and the file I have opened
and there is no way I can change that.
| | 00:54 | I'll go ahead and click on the Save
button and because I do want to overwrite
| | 00:58 | the file I'll click OK, and I get
the PNG Options dialog box here.
| | 01:03 | You have two Compression options
either None, which is a very fast save, or
| | 01:08 | Smallest which is slower.
| | 01:09 | However the Smallest option is the
only one that applies the lossless
| | 01:13 | compression, and you get much smaller
files as a result, so definitely turn it on.
| | 01:18 | You also want to set Interlacing to none,
these days there's no reason to save
| | 01:22 | Interlace PNG graphics, and then
click OK in order to save off that file.
| | 01:27 | Now it is taking a moment or two for
me to save the image, but now it's done.
| | 01:31 | Notice that my file is still called
Art with transparency.psd, so this is
| | 01:35 | not the PNG graphic.
| | 01:36 | Also notice over here in the
Layers panel that I have a single layer,
| | 01:40 | it's called Artwork;
| | 01:41 | I want you to note that.
| | 01:43 | Now let's open the PNG image we just created.
| | 01:45 | So I'd go up to the File menu and
choose the Open command, and then I'll locate
| | 01:50 | that file I just created, Transparent
artwork.png and click the Open button and
| | 01:56 | I'll zoom in and it looks for all
the world like exactly the same image.
| | 02:00 | And if I check out the
Layers panel I do have a layer.
| | 02:03 | It's not a flat background image;
| | 02:05 | it's an independent floating layer.
| | 02:06 | It just doesn't happen to have a name;
| | 02:07 | it's called Layer 0 instead of artwork.
| | 02:10 | But otherwise it is a single
layer image where Photoshop and other
| | 02:15 | applications are concerned.
| | 02:17 | Now let's take a look at saving a big
whopping huge image to the PNG format.
| | 02:22 | I'm going to switch over to my 45
million pixel panorama and then I'll go over
| | 02:26 | to the File menu and I'll
choose the Save As command.
| | 02:30 | And just so I can lift a file name
here on the PC, I'm going to switch the
| | 02:33 | format to TIFF for a moment and
then click on Antique theatre.
| | 02:37 | Now I'll switch back to the PNG format
and this way I can create a file called
| | 02:41 | Antique theatre.png, and notice that the
Layers check box gets turned off and As
| | 02:46 | a Copy gets turned on.
| | 02:48 | Now I'll click the Save button
in order to create that file.
| | 02:51 | I'm going to turn on Smallest/Slow,
set Interlacing to None and click OK.
| | 02:55 | And notice how it's taking
a while to save this file.
| | 02:58 | However, I can go and zoom in and even
use tools inside the file while it's saving.
| | 03:05 | This is background saving inside of
Photoshop CS6, and it's amazing because you
| | 03:10 | can do all kinds of work while it saves
as we're seeing down here in the lower
| | 03:14 | left corner of the screen is still in progress.
| | 03:18 | So in other words, the fact that the
lossless compression where the PNG file
| | 03:21 | format is concerned does
slow down the saving progress.
| | 03:25 | It doesn't slow you down one wit.
| | 03:27 | You can even switch to a different
document window if you want to, and do
| | 03:31 | work inside that file.
| | 03:33 | And that's the beauty, not only of the
PNG format, but of background saving here
| | 03:38 | inside Photoshop CS6.
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| Saving a flat photo to JPEG| 00:01 | Our final format is JPEG, which is
great for archiving continuous tone
| | 00:05 | digital photographs.
| | 00:07 | Now it does have its limitations.
| | 00:09 | Under no circumstances can you save
layers or transparency, and JPEG always
| | 00:15 | applies lossy compression, meaning
that it rewrites the colors of the pixels
| | 00:20 | as it saves the file.
| | 00:22 | In return it delivers much smaller images.
| | 00:25 | So for example, the layered version
of this 45 million pixel panorama, saved
| | 00:31 | to the native PSD format with
maximized compatibility turned off, consumes 180
| | 00:37 | megabytes on disk.
| | 00:39 | That's pretty good given that as we can
see down here in the lower left corner
| | 00:43 | of the window, the image
consumes 237 megabytes in RAM.
| | 00:48 | When I save the flat version of the
image to the TIFF and PNG formats using their
| | 00:52 | lossless compression schemes, the
image consumes about 70 megabytes on disk,
| | 00:57 | which is less than half the
size of the layered image.
| | 01:00 | Using JPEG, we can get this file down
to at most about 30 megabytes, which is
| | 01:05 | half again the file size, and if we ramp
up the compression like crazy we can get
| | 01:10 | it down to 1 megabyte.
| | 01:12 | Let me show you what that looks like.
| | 01:15 | I'll go up to the File menu and I'll
choose the Save As command and then I'll go
| | 01:19 | ahead and switch over to TIFF again for
a moment so I can lift the file name by
| | 01:23 | clicking on the existing TIFF file,
then I'll switch from TIFF to JPEG.
| | 01:28 | Notice that Photoshop turns off and dims
the Layers check box and turns on As a Copy.
| | 01:33 | I'll go ahead and click the Save
button in order to bring up the JPEG
| | 01:37 | Options dialog box.
| | 01:39 | And I want you to understand how JPEG
works so I'm going to go ahead and zoom in
| | 01:44 | on the statue of Augustus Caesar
right here in the center of the image.
| | 01:48 | And notice that right now for me the
quality is set to the Maximum, which is 12,
| | 01:53 | but I'm going to crank it down all
the way to 0 so that we can see the JPEG
| | 01:58 | compression do its thing.
| | 01:59 | So the Preview check box is on, notice
that we get to see what the file size
| | 02:03 | will be which is about 1.3 megabytes.
| | 02:07 | So this guy is going to be way smaller as
a result, but of course it looks terrible.
| | 02:11 | What's happening is that Photoshop is
boiling down the image into 8x8 pixel squares.
| | 02:17 | It tries to maintain the color of the
top left square and then it bases all the
| | 02:22 | other colors on that square.
| | 02:25 | So it looks rotten when zoomed in but
check this out, as we zoom away from the
| | 02:29 | file those squares end up
reconciling and they don't look all that bad.
| | 02:34 | Now you would never use a quality
setting of 0, that's just too low.
| | 02:38 | But I do want to give you a sense of
how JPEG functions, and I want you to
| | 02:43 | understand that that compression really
does serve a purpose, and it very keenly
| | 02:48 | exploits the way that our eyes read images.
| | 02:51 | Problem is of course we would never be
able to edit this file in the future.
| | 02:54 | It would be dead to us.
| | 02:56 | It would just be a backup that we could
send out to somebody else, what have you.
| | 03:00 | What I tend to do with JPEG when I'm
archiving images as opposed to creating web
| | 03:04 | graphics, which we'll
examine in a future chapter.
| | 03:07 | I go ahead and crank the
quality setting all the way up to 12.
| | 03:10 | I never use anything but 12 these days.
| | 03:14 | And you'll see that that still gives me
a 27 megabyte image a little larger than
| | 03:19 | a-third of the size of the TIFF and PNG files.
| | 03:22 | Next you want to set your Format
Options to Baseline Optimized, that just goes
| | 03:27 | ahead and applies a little bit of
additional lossless compression, and then click
| | 03:32 | on the OK button in
order to save off that image.
| | 03:34 | And now, just so that we can see it,
we'll go ahead and press Ctrl+O or
| | 03:39 | Command+O on the Mac to
bring up the Open dialog box.
| | 03:42 | I'll find that Antique theatre.jpg
file and I'll click on the Open button in
| | 03:47 | order to bring it up in Photoshop.
| | 03:49 | And then I'll zoom in by pressing Ctrl+1
or Command+1 on the Mac, and I'll zoom
| | 03:53 | in even further here, and you can see
even when we're zoomed very far in, those
| | 03:58 | squares that I was showing you before
at the low quality setting are invisible
| | 04:02 | here at the high quality setting, even
though the file opens from 27 megabytes
| | 04:07 | on disk to 130 megabytes in RAM.
| | 04:12 | And that is the power of archiving
flat versions of your digital photographs
| | 04:16 | to JPEG.
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|
|
6. Crop and StraightenHoning in on your image| 00:00 | There's a school of thought that says
you should shoot your photos at a lower
| | 00:04 | resolution and lower quality setting
than your digital camera can muster.
| | 00:09 | The idea is this way you'll create
smaller image files so you can shoot more
| | 00:14 | images to a single memory card.
| | 00:17 | This school of thought is so
pervasive that many consumer cameras are
| | 00:21 | factory-set to shoot lower quality
images than the hardware actually supports.
| | 00:27 | This is a very bad school of thought.
| | 00:30 | You should always, without exception, shoot the
highest quality images possible. Two reasons:
| | 00:37 | first, your image may come out crooked,
which means that you need to rotate
| | 00:42 | it so that it's plumb.
| | 00:44 | But pixels are always upright
squares, meaning, they can't tilt.
| | 00:49 | So when you straighten an image,
Photoshop has to recalculate every single pixel.
| | 00:56 | If you watched my previous movies, you
know that rewriting pixels is a so-called
| | 01:01 | destructive modification.
| | 01:03 | I don't mean that you destroy the image.
| | 01:05 | I mean you rewrite the image,
and so garbage in garbage out;
| | 01:10 | high quality in, high quality out.
| | 01:14 | You may also want to crop the image,
which is to say reduce its size to hone in
| | 01:19 | on a particular detail.
| | 01:21 | If you have a lot of pixels in the
first place and you stand a chance of having
| | 01:26 | a lot of pixels when the crop is done.
| | 01:29 | What I'm about to show you is not just
the better school, it's a new school with
| | 01:34 | a completely redesigned Crop tool.
| | 01:37 | Here's how to crop and
straighten images in Photoshop CS6.
| | Collapse this transcript |
| The new and improved Crop tool| 00:00 | In this movie, I'll introduce you to
the new and improved Crop tool, which by
| | 00:04 | default results in an independent
layer and reduces the size of the canvas
| | 00:08 | without clipping away pixels.
| | 00:11 | I'm working inside a file
called Precarious workspace.jpg.
| | 00:14 | It's found inside the 06_crop folder.
| | 00:17 | The Crop tool is located five tools
down in the upper section of the toolbox.
| | 00:21 | You can also get to it by pressing the C key.
| | 00:24 | And notice that there is a couple
of different ways to use this tool.
| | 00:27 | We start with a default crop boundary
that surrounds the entire canvas, and you
| | 00:32 | can drag any of the corners or the
sides in order to change the size of the
| | 00:36 | boundary or, another way to work,
I'll go ahead and press the escape key in
| | 00:41 | order to leave the Crop mode for a moment.
| | 00:43 | You can also start things off by
dragging with the tool just as you did inside
| | 00:47 | Photoshop CS5 and earlier.
| | 00:50 | Now this image has a couple of problems.
| | 00:52 | Not only is it perhaps a little bit too
wide but it's quite crooked, so I need
| | 00:57 | to rotate the crop boundary, and I
can do that by moving cursor outside the
| | 01:01 | boundary and dragging.
| | 01:03 | But notice instead of rotating the
boundary, as was the previous behavior, you
| | 01:07 | now rotate the image inside the
boundary so you can get a better sense of
| | 01:11 | exactly when the image is straight.
| | 01:14 | Now by default you see some guidelines
inside the crop boundary that represent
| | 01:18 | the classic Rule of Thirds, which
states that the subject of the photograph
| | 01:22 | should be located at the
intersection of one of these guidelines like so.
| | 01:26 | Of course that's just a rule of thumb,
you can choose to follow it or not.
| | 01:30 | However, if you're more interested in
making sure that horizon line is exactly
| | 01:34 | perpendicular, you can switch the view
from Rule of Thirds to Grid, and that's
| | 01:39 | what I'm going to do, by
choosing Grid from the Options Bar.
| | 01:42 | And then I'm going to go ahead and zoom
in by pressing Ctrl++ a couple of times
| | 01:47 | and I'm going to move that image until
the horizon lines with one of the grid
| | 01:51 | lines, and that actually
looks pretty good to me.
| | 01:54 | All right, now we'll go ahead and zoom back out.
| | 01:57 | However, you can work back and
forth as much as you like to get that
| | 02:01 | crop absolutely perfect.
| | 02:03 | And notice up here in the Options Bar there
is a check box called Delete Cropped Pixels.
| | 02:07 | It's turned off by default and I
recommend that you leave it turned off so that
| | 02:12 | you don't clip any pixels away.
| | 02:14 | But I do urge you to get that image
straight in the first place because if you
| | 02:19 | keep going back and forth
straightening the image, you are going to end up
| | 02:23 | rotating that layer each and every
time, which is ultimately a destructive
| | 02:27 | modification because
Photoshop has to rewrite those pixels.
| | 02:31 | All right, anyway I'm going to drag
out this edge, drag up here as well.
| | 02:36 | The crop boundary, by the way, as
opposed to the rotation of the image, you
| | 02:40 | can take that for granted because you can
always revisit that canvas size non-destructively.
| | 02:46 | Once you get the crop the way you want it,
there's a few ways to apply the crop.
| | 02:50 | One is to click this check
mark up here in the Options Bar.
| | 02:54 | The other is to press the Enter key or
the Return key on the Mac, or you can just
| | 02:58 | double-click inside the crop boundary to apply.
| | 03:02 | Then, if you no longer want to see the
crop boundary around the perimeter of
| | 03:05 | the image, go ahead and switch back to a
different tool such as a rectangular marquee.
| | 03:11 | Notice I now have an independent
layer here inside the Layers panel so this
| | 03:15 | is no longer a flat image, meaning that I'll
have to save the image in the native PSD format.
| | 03:20 | The advantage however, is that I can
go to the Move tool and I can drag the
| | 03:24 | image around in order to change
its orientation inside the canvas.
| | 03:30 | And that's how you work with the
new and improved Crop tool here
| | 03:33 | inside Photoshop CS6.
| | Collapse this transcript |
| Editing your last crop| 00:00 | One of my frustrations with the old
Crop tool was that if you didn't get
| | 00:03 | everything exactly right, then you have
to press Ctrl+Z or Command+Z on the Mac
| | 00:08 | and effectively start from scratch.
| | 00:11 | That's not the case anymore.
| | 00:12 | If your first attempt at cropping isn't
everything you hoped it would be, then
| | 00:15 | there is no need to undo and start again.
| | 00:19 | You just start from where you left off.
| | 00:20 | I've saved my progress as Semi-
destructivecrop.psd, so-called because even
| | 00:26 | though I didn't clip away any pixels,
Photoshop had to rotate the layer and
| | 00:30 | rewrite the colors of all the pixels.
| | 00:33 | Let's say though that, even though the
image is now straight, I'm not entirely
| | 00:37 | satisfied with the framing.
| | 00:38 | Rather than undoing I would just
switch back to the Crop tool most easily
| | 00:43 | by pressing the C key.
| | 00:45 | There's my crop boundary.
| | 00:46 | Now at this point it looks
like the image has been clipped.
| | 00:49 | But as soon as I start dragging one of
the corner or side handles, I once again
| | 00:53 | see the entire rotated image.
| | 00:55 | I also have the option of
maintaining the original aspect ratio.
| | 00:59 | If I right-click anywhere inside the
image window, you can see that I have the
| | 01:03 | option of using the Front Image Aspect Ratio.
| | 01:06 | Now if I choose that command I'm going to see
the aspect ratio up here in the Options Bar.
| | 01:11 | It's quite arbitrary, because a Crop
tool is going from the last crop applied as
| | 01:16 | opposed to the original image.
| | 01:18 | Another option that's available to you by the
way is to Use the Front Image Size & Resolution.
| | 01:23 | Take care on that one however,
because that is going to end up re-sampling
| | 01:27 | the image because you're changing the
image size which is a destructive modification.
| | 01:32 | Now I just happened to know that the
aspect ratio of this image is 2x3, better
| | 01:37 | known in the business is 4x6.
| | 01:38 | And so, I'll go ahead and call up
that one and the ratio automatically
| | 01:43 | changes as you can see.
| | 01:45 | And now even if I drag a side handle,
or either the top or bottom handle, I'm
| | 01:49 | going to change both the height
and width of my crop boundary.
| | 01:53 | That looks pretty darn good, we'll go
ahead and press the Enter key or the
| | 01:56 | Return key on the Mac in
order to apply that crop.
| | 01:59 | And again, if I don't like anything
about it, I can just sit in dragging
| | 02:03 | the crop boundary again and I'll re-enter
the Crop mode and I'll see the entire image.
| | 02:09 | And notice, you can also drag the image
directly inside the crop boundary much
| | 02:13 | as if you were dragging the image
inside the canvas using the Move tool.
| | 02:17 | My only warning at this point is once
you straightened the image, don't drag
| | 02:20 | outside the crop boundary again in
order to further rotate the image.
| | 02:25 | I stress that each and every pixel
is always an upright square, so if the
| | 02:29 | orientation of the image changes each
and every pixel has to be re-written.
| | 02:34 | Fortunately, I have one level of undo
when I'm working inside the Crop mode so I
| | 02:38 | can press Ctrl+Z or Command+Z on
the Mac to undo that last rotation.
| | 02:43 | And once again, press the Enter key or
the Return key on the Mac in order to
| | 02:47 | accept that new canvas size.
| | 02:49 | And then I'll press the M key to switch
back to the Rectangular Marquee tool and
| | 02:53 | hide the crop boundary.
| | 02:55 | And that's how you edit an existing
crop using the Crop tool in Photoshop CS6.
| | Collapse this transcript |
| Straightening a crooked image| 00:00 | The Crop tool also includes a
Straighten tool that's available from the Options
| | 00:04 | Bar which allows you to drag along the
horizon to straighten a crooked image.
| | 00:09 | I have opened a file called Protector of
Pisa.jpg, found inside the 06_Crop folder.
| | 00:15 | Now it appears to me whoever last
edited this photo had problems choosing
| | 00:19 | between the horizon line and the Tower
of Pisa because neither of them are plumb.
| | 00:23 | Of course, we want the horizon to be
perpendicular and the tower to lean.
| | 00:27 | So I'm going to switch over to the Crop tool.
| | 00:29 | And notice dead center in the
Options Bar, we have the Straighten tool.
| | 00:33 | And you use it by
dragging along the horizon line.
| | 00:37 | Now you get one shot when using this
tool because as soon you release the Crop
| | 00:42 | tool goes ahead and rotates the
image and automatically crops it as well.
| | 00:47 | In my case, it looks like I've done a pretty
good job of straightening that horizon line.
| | 00:51 | But I don't want to cut away the model's feet.
| | 00:54 | If you don't want this Auto Cropping
function, then just go ahead and press
| | 00:57 | the Escape key in order to abandon the crop,
and work with the old school ruler instead.
| | 01:03 | You get to the Ruler by clicking and
holding on the Eyedropper tool and then
| | 01:07 | choosing the Ruler tool from the flyout menu.
| | 01:10 | Now drag with the Ruler tool in
order to create a line along the horizon.
| | 01:14 | The advantage to working with this
tool is you can edit that line before
| | 01:18 | straightening the image.
| | 01:19 | So you have the opportunity
to get that line exactly right.
| | 01:23 | And then once you do, you go up to Options
Bar and click on the Straighten Layer button.
| | 01:29 | The difference here is that while the
Ruler tool goes ahead and generates an
| | 01:32 | independent layer, so we're not
clipping away any pixels, Photoshop makes no
| | 01:37 | attempt to crop the image.
| | 01:38 | It just rotates the layer
inside the existing canvas.
| | 01:41 | You then have to return to the Crop tool.
| | 01:44 | At which point you can decide exactly
what the crop boundary is going to look like.
| | 01:48 | Now, in my case I still have
the 2x3 constrain active.
| | 01:51 | So I'll go up here to this popup menu
on the far left side of the Options Bar
| | 01:55 | and switch it back to Unconstrained.
| | 01:58 | And now I can drag these
crop handles as desired.
| | 02:00 | And I'm going to move this left side
handle until it snaps to the edge of the image.
| | 02:05 | And I'm going to drag this bottom
handle all the way down so that would
| | 02:08 | reveal the model's foot.
| | 02:10 | And this looks pretty darn good.
| | 02:12 | Double-click inside the crop
boundary in order to apply the crop.
| | 02:16 | Now I'll switch back to
the Rectangular Marquee tool.
| | 02:18 | Now I still have some wedges showing with
that transparency checker board in the background.
| | 02:23 | So this is an imperfect crop, and I'll
show you how to fill in those missing
| | 02:26 | details in the next movie.
| | Collapse this transcript |
| Filling in missing details| 00:00 | In this movie, I'm going to show you a
couple of tricks for rebuilding details in
| | 00:04 | a straightened photo.
| | 00:06 | I've saved the results of the previous
movie, it's Perpendicular horizon.psd
| | 00:11 | found inside the 06_Crop folder.
| | 00:13 | We have three wedges in all.
| | 00:15 | In the upper left-hand corner we're
missing some sky, that's pretty easy to fix.
| | 00:19 | Down left we're missing some grass, a
little bit of shadow, this curb and then
| | 00:24 | the toes, the toes are the tough part.
| | 00:27 | And then in the down right corner,
we're missing some of the heel and ankle.
| | 00:31 | That's going to take a
little bit of work as well.
| | 00:33 | So here's how we'll start.
| | 00:35 | Go to the Lasso tool, click and hold
on it and choose the Polygonal Lasso
| | 00:39 | from the flyout menu.
| | 00:41 | Then let's go ahead and zoom in here so
that we can see where this wedge starts
| | 00:45 | because it's very narrow at the beginning.
| | 00:47 | The Polygonal Lasso tool allows
you to create a selection outline by
| | 00:51 | clicking the side corners.
| | 00:53 | And so I'm going to start right about
here out in the pasteboard in order to set
| | 00:57 | my first point and then I'll click there.
| | 01:00 | I don't want to go too far over, I don't
want to go out into the good part of the sky.
| | 01:03 | I want to stay fairly tight to this
wedge, and notice that I have a little bit
| | 01:07 | of true sky border going on.
| | 01:09 | And then I'll move upward and Photoshop
will go ahead and auto-scroll the image
| | 01:13 | until I get to the top here.
| | 01:14 | I'll click about here in the pasteboard.
| | 01:17 | And then over here in the pasteboard
past the upper left corner, go ahead and
| | 01:21 | move the cursor back down again, and I
can either move my cursor over the very
| | 01:26 | first point and click in order to
complete the selection outline or I can
| | 01:30 | double-click out here.
| | 01:32 | Either way it is going to work out just fine.
| | 01:33 | All right, now I'll press Ctrl+0 or
Command+0 on the Mac, to go ahead and fit the
| | 01:38 | image to the screen.
| | 01:40 | And I'll go out to the Edit
menu and choose the Fill command.
| | 01:43 | And that will bring up the Fill dialog box.
| | 01:46 | Now by default, your Use option right
here should be set to Content-Aware.
| | 01:51 | And what that does is it invokes the
Content-Aware Fill feature inside Photoshop,
| | 01:56 | which causes Photoshop to look for
pixels outside the selection that it can use
| | 02:01 | to fill in the selected area.
| | 02:03 | So if Use isn't set to Content-Aware, go
ahead and choose it from the popup menu.
| | 02:08 | Your other option should be set to
their defaults as you see on screen here.
| | 02:11 | Then click OK in order to apply that change.
| | 02:15 | And with any luck Photoshop is going to
do a brilliant job of filling in that sky.
| | 02:20 | If you want to check your work, go
ahead and zoom on in, and then you can hide
| | 02:24 | that selection outline temporarily by
pressing Ctrl+H or Command+H on a Mac,
| | 02:29 | and that looks great.
| | 02:30 | And you can see that this was no easy
chore even though the sky looks fairly
| | 02:34 | uniform, it's actually a gradient
going from dark blue down to light blue.
| | 02:39 | All right, now I'm going to press
Ctrl+D or Command+D on the Mac in order
| | 02:43 | to deselect the image.
| | 02:44 | Let's try the same thing down
here near the bottom of the image.
| | 02:48 | I'm going to click right about here below
the image, then up into the image like so.
| | 02:54 | And then I'll move along, click
right about there, click out inside the
| | 02:58 | pasteboard again, come back, double-
click at some point in order to complete
| | 03:02 | that selection outline.
| | 03:03 | All right, now, I'm going to press Ctrl+H
or Command+H upfront to hide that selection.
| | 03:09 | That area though is still selected,
so I have not deselected the image.
| | 03:13 | Now let's go back to the Edit menu
and choose the Fill command again.
| | 03:17 | In order to bring up the Fill dialog box
the same option should still be in place.
| | 03:22 | So go ahead and click OK in
order to apply Content-Aware Fill.
| | 03:26 | And I have to say it looks pretty
darn good, the grass is in good shape,
| | 03:30 | the shadow is okay.
| | 03:32 | We can see some obvious repetition
here in the curb, I could deal with
| | 03:35 | that later if I want to.
| | 03:37 | The toes, not so good.
| | 03:39 | Photoshop is not capable of
inventing anatomical details out of thin air.
| | 03:43 | So we're just going to
have to suffer with that.
| | 03:45 | All right, now, I'll press Ctrl+D or
Command+D on the Mac to deselect the image.
| | 03:50 | We could try the same thing behind
the heel, but we don't stand a chance
| | 03:53 | in making that work.
| | 03:55 | So let's try another approach.
| | 03:56 | I'll press Ctrl+0 again, Command+0 on the Mac.
| | 03:59 | I'm going to press the M key to
switch back to my Rectangular Marquee tool.
| | 04:03 | That's just a habit I get in because
then I see a cross shape cursor which is
| | 04:07 | less distracting than say a Jagged Lasso.
| | 04:10 | All right, now, I'll go up to the Edit
menu, choose the Transform command and
| | 04:15 | then choose Distort.
| | 04:17 | And that allows me to apply what's
known as a 4-point distortion, so that I can
| | 04:21 | move the corner handles away from each other.
| | 04:23 | I'm going to drag this bottom
right-handle like so, just outward.
| | 04:27 | And I'll press the Shift key as I
do to constrain the angle of my drag
| | 04:30 | to exactly horizontal.
| | 04:32 | And once I get it to about 1.3 degrees,
that looks pretty good, and you can see
| | 04:36 | that heads up display just up
into the right of my cursor.
| | 04:39 | I'll go ahead and release the Mouse
button and the Shift key, and then to apply
| | 04:44 | the distortion, I'll press the
Enter key or the Return key on a Mac.
| | 04:48 | Just a little more work to be done here.
| | 04:50 | We've got that bad toe action.
| | 04:52 | So let's go ahead and zoom in on it.
| | 04:55 | And I'll switch back to my Crop tool.
| | 04:57 | And I'll go ahead and drag upward
like so just a little bit until I crop
| | 05:02 | away those bad toes.
| | 05:03 | And I'll drag this corner handle out
a little bit because, and I now have a
| | 05:07 | little extra heel to work with here.
| | 05:09 | If you have problems with the handles
snapping into place then you can go up to
| | 05:13 | the View menu and turn off the Snap command.
| | 05:17 | But everything seems to
be working out fine for me.
| | 05:19 | A couple or more tricks you
might want to be aware of.
| | 05:22 | If the crop boundary is interfering
with your view of the image, you can press
| | 05:26 | Ctrl+H or Command+H on
the Mac in order to hide it.
| | 05:29 | But you still have the option of
dragging the crop boundary up and down, so you
| | 05:34 | can still modify it to your heart's
content even though you can't see it.
| | 05:38 | Here is another option that's available to you.
| | 05:41 | If you want to hide the cropped portion
of the image, you just press the H key,
| | 05:46 | and notice how that
little bit of image disappears.
| | 05:49 | To bring it back, press the H key again,
and obviously to re-display the crop
| | 05:53 | boundary you press Ctrl+H
or Command+H on the Mac.
| | 05:57 | All right, this is looking great to me,
so I'll press the Enter key or the
| | 06:00 | Return key on the Mac in order to apply
that crop, and then I'll press the M key
| | 06:05 | in order to switch back to
the Rectangular Marquee tool.
| | 06:08 | And I'll press Ctrl+0 or Command+0
on the Mac to zoom out from the image.
| | 06:12 | So just to give you a sense of what we
were able to accomplish, I'll go up to
| | 06:16 | the File menu and choose the Revert
command or I can press the F12 key, which is
| | 06:21 | a keyboard shortcut, and that
will take me back to my old wedges.
| | 06:25 | So this is the straightened version
of the image with the missing details.
| | 06:28 | And then, because I can undo the
revert here in Photoshop, I'll press Ctrl+Z,
| | 06:33 | Command+Z on the Mac to reinstate the
filled-in details that I created using
| | 06:38 | Content-Aware Fill and the Transform
Distort function here inside Photoshop.
| | Collapse this transcript |
| Using the Perspective Crop tool| 00:00 | In this movie, I'll show the
Perspective Crop tool, which allows you to isolate
| | 00:04 | an image element that was shot in perspective.
| | 00:07 | For example, we're looking at a
snapshot that I captured with my iPhone at a CU
| | 00:11 | basketball game, University
of Colorado here in Boulder.
| | 00:14 | And I was intrigued by this
photographic composition on the side of this
| | 00:18 | rolling counter display.
| | 00:20 | In order to really appreciate this
artwork, I need to be able to extract it out
| | 00:23 | from the rest of the scene, so that
it looks like it was shot head on.
| | 00:28 | And I can do exactly that
with the Perspective Crop tool.
| | 00:31 | To get to the tool, go to the Crop tool,
click and hold on it and then choose
| | 00:35 | Perspective Crop tool from the flyout menu.
| | 00:38 | And something to note about this tool
unlike the Crop tool, it does clip away pixels.
| | 00:43 | So it delivers a flat image
everytime, meaning that it is classified as
| | 00:48 | a Destructive tool.
| | 00:50 | However, the behavior is reasonable given
that it has to distort the heck out of the image.
| | 00:55 | Start things off by dragging from one
corner of the artwork to the other like
| | 00:58 | so, just in order to
establish a base crop boundary.
| | 01:02 | And then you drag these corner
handles and rather than scaling the crop
| | 01:06 | boundary, you end up distorting it like so.
| | 01:08 | So I'm going to move this upper right
point so it aligns to the upper right
| | 01:12 | corner of the artwork.
| | 01:13 | And then I'll drag that lower left
point so it aligns to the lower left
| | 01:17 | corner of the artwork.
| | 01:18 | And notice that we have a little bit
of a shadow that's being cast by the
| | 01:22 | countertop above, I'm going to go
ahead and drag this top point down until we
| | 01:27 | get that shadow out of the picture.
| | 01:28 | We also have a little bit of a shadow
as I recall over here on the left-hand
| | 01:32 | side, so I'm going to cheat that left side in.
| | 01:34 | And you might want to
cheat the other sides in well.
| | 01:36 | I'm going to go ahead and take this
guy up a little bit like so and I'll take
| | 01:42 | this right point in as well to about there.
| | 01:45 | Once you think you've matched the shot,
then you press the Enter key or the
| | 01:49 | Return key on the Mac in
order to complete that crop.
| | 01:53 | And you can see that it
actually does a remarkable job.
| | 01:57 | And just in case you're wondering, is
Boulder Colorado really this beautiful?
| | 02:01 | The answer is, heck yeah!
| | Collapse this transcript |
|
|
7. Adjusting LuminanceFirst, there is brightness| 00:00 | Luminance, also known as tone
is the brightness of a pixel.
| | 00:05 | Luminance is measured in steps known as levels.
| | 00:09 | In an everyday average RGB image, which
is far in a way the most common kind of
| | 00:14 | image you'll encounter, a level of 0
is black and a level of 255 is white.
| | 00:21 | The other levels 1 through 224
are shades of gray in between.
| | 00:27 | So where does color come in?
| | 00:29 | Again, assuming an RGB image, you
have three luminance-only versions of the
| | 00:34 | image called channels.
| | 00:37 | The three channels are respectively
colorized red, green and blue, hence RBG,
| | 00:43 | and then blended together to
produce the full color composite.
| | 00:48 | In other words, color is
a function of luminance.
| | 00:52 | Meanwhile, luminance and color sometimes
react with each other in surprising ways.
| | 00:58 | Look at a strip of gray values and
you see a steady progression of neutral
| | 01:02 | levels just as you would expect.
| | 01:05 | Throw in a cool color like blue, and the
blues go from light to dark again as expected.
| | 01:12 | But add a warm color like red and we
go from these pinks at the top to a
| | 01:17 | surprisingly intense scarlet near the bottom.
| | 01:21 | Then as we progress into the oranges, notice
how the most vivid colors move up the list.
| | 01:27 | We eventually arrive at yellow,
which darkens into a muddy, somewhat
| | 01:32 | unappetizing green.
| | 01:34 | In other words, changing the
brightness of a photo can be tricky.
| | 01:38 | The purpose of this chapter is to show
you how to adjust luminance in ways that
| | 01:42 | make your images look
always better and never worse.
| | 01:47 | I'll start by explaining channels so you
can see how luminance and color work together.
| | 01:52 | Next, I'll show you Photoshop's
Automatic Luminance Correction functions, and
| | 01:57 | then we'll take a look at two
commands that put you in control, Brightness
| | 02:01 | Contrast and Shadows Highlights.
| | 02:04 | In the end, I think you'll be amazed at
the degree to which you can rescue even
| | 02:08 | the most washed-out or gloomy looking image.
| | Collapse this transcript |
| How luminance works| 00:00 | In this movie, I'll introduce you
to a few terms and ideas so that you
| | 00:04 | understand how luminance
works inside of a digital image.
| | 00:08 | And these ideas will not only help
you understand how to correct luminance
| | 00:11 | throughout this chapter, but also when
you're working on your own images in the future.
| | 00:16 | I'm working inside a file called
luminance demo.psd, it's found inside the
| | 00:20 | 07_luminance folder.
| | 00:22 | Now even though we think of an
image as being full-color, it's really a
| | 00:27 | combination of grayscale
images working together.
| | 00:30 | And I'll show you what that means in
just a moment, but in the meantime know
| | 00:34 | that every pixel has a luminance level,
from black at the darkest to white at the
| | 00:39 | brightest, and these ranges of
luminance have general names.
| | 00:44 | The darkest luminance levels are known
as the shadows, the brightest luminance
| | 00:48 | levels are known as the highlights
and then the luminance levels in between
| | 00:53 | are known as midtones.
| | 00:54 | Now there's no specific place at
which highlights end and midtones begin, or
| | 00:59 | midtones end and shadows begin.
| | 01:01 | These are just general ranges of luminance.
| | 01:05 | Now as I was saying, what we see as a
full-color image is actually multiple
| | 01:10 | grayscale images working
in concert with each other.
| | 01:13 | These grayscale images are known as
channels. This image, like all digital
| | 01:18 | photographs contains, three channels,
we have a red channel, we have a green
| | 01:22 | channel and we have a blue channel.
| | 01:25 | Where the bright colors in the red and
green channels intersect you get yellow.
| | 01:30 | Where the bright colors in the green
and blue channels intersect, you get
| | 01:34 | cyan, and where the highlights in the red
and blue channels intersect, you get magenta.
| | 01:39 | Just to give you a sense of how these
channels mix to form the full-color image.
| | 01:45 | If you have highlights in all three
channels you get white, if you have shadow
| | 01:50 | in all three channels you get black.
| | 01:53 | Now let me show you what the channels look
like where this specific image is concerned.
| | 01:57 | I'm going to go up to the Window
menu and choose the Channels command in
| | 02:02 | order to bring up the Channels panel which by
default lives next door to the Layers panel.
| | 02:08 | And notice that we're seeing what's
known as the RGB Composite; that is red,
| | 02:12 | green and blue working together and
that the red, green and blue channels are
| | 02:17 | all selected because they're all turned on.
| | 02:19 | However I can click on any one of
these channels to view it independently.
| | 02:24 | So for example, I'll click on the red channel
and as you can see, it is a grayscale image.
| | 02:30 | This is what Photoshop sees as it
evaluates a full-color image, because Photoshop
| | 02:35 | sees and addresses the
image one channel at a time.
| | 02:39 | And as you can see, where this image
is concerned, we have tons of highlights
| | 02:43 | inside the red channel.
| | 02:45 | We have a few midtones here and there,
but we really don't have anything along
| | 02:49 | the line of shadows.
| | 02:50 | And just for reference, I'm going to
turn that gradient back on, and you can see
| | 02:55 | that the darkest luminance level
inside this channel is somewhere around here
| | 02:59 | inside the gradient.
| | 03:00 | So it's by no means black, which is why we
have such a washed out image in the first place.
| | 03:07 | Now let's take a look at the green
channel, and you can see that things darken
| | 03:10 | up but still not enough, and then here's the
blue channel, darker still, but also very bright.
| | 03:16 | All right now, I'll go ahead and switch
back to the RGB image and I'll go up to
| | 03:21 | the Image menu and I'll choose
a command called Auto Contrast.
| | 03:25 | And this is one method for correcting
the luminance levels inside of an image.
| | 03:29 | And notice that Photoshop darkens up the
image considerably and again it does so
| | 03:35 | on a channel-by-channel basis.
| | 03:37 | So every one of these channels is darker.
| | 03:39 | And in fact what Photoshop has done is
it's taken the darkest pixels inside the
| | 03:44 | image, which were quite light, and turn
them black and then stretch the other
| | 03:49 | luminance levels across the gradient spectrum.
| | 03:52 | And so if I take a look at the red
channel now, you can see we've got some
| | 03:56 | very dark shadows inside the pupil, in the
eyelashes, and around the iris, and so forth.
| | 04:02 | The same goes for the green channel,
which is darker still, have some very rich
| | 04:07 | shadows going on, and then in the blue
channel the same is true except we have
| | 04:11 | more shadow detail than ever.
| | 04:14 | And that friends is how
luminance works here inside Photoshop.
| | Collapse this transcript |
| The three Auto commands| 00:00 | In this movie, I'll introduce
you to the three Auto commands.
| | 00:03 | They're all under the Image menu and they
include Auto Tone, Auto Contrast and Auto Color.
| | 00:09 | Each one of them automatically adjusts
the luminance levels inside of an image
| | 00:13 | on a channel by channel basis.
| | 00:15 | You just choose a command and it does its thing.
| | 00:18 | If you like the result,
you keep it, if you don't;
| | 00:21 | you press Ctrl+Z or Command+Z on
the Mac and try something else.
| | 00:25 | Now the reason I'm showing these commands
is not because they're terribly powerful.
| | 00:29 | Hopefully, you won't be using them that often.
| | 00:31 | However, Adobe's Click Data--Adobe
collects the information from Photoshop users
| | 00:37 | who buy into the program.
| | 00:38 | Adobe's Click Data suggests that these
three commands rank among the top 10 used
| | 00:44 | features inside the software.
| | 00:45 | So I'd like you to at least
understand how they work.
| | 00:49 | So I've set up this demo
that includes a dollar bill.
| | 00:53 | So I've set up a total of four money
details, separated on independent layers.
| | 00:57 | The first layer control, which is the guy
over here on left, that is the Control layer.
| | 01:03 | We're not going to change the
luminance of that layer at all.
| | 01:05 | So I'll start things off by selecting
the Auto Tone layer, which is the image in
| | 01:10 | the middle of the screen here, and then
I'll go up to the Image menu and choose
| | 01:14 | the Auto Tone command.
| | 01:15 | Now here's what's going on. Photoshop
evaluates each channel independently and
| | 01:21 | makes the darkest pixels in that
channel black and the brightest pixels white,
| | 01:25 | and stretches the other
luminance levels across the spectrum.
| | 01:28 | And it does so, on a channel by channel basis.
| | 01:31 | So each channel is treated independently.
| | 01:34 | What that means is you end up
changing the color cast of the image.
| | 01:38 | So in our case, we've lost the natural
green cast of the image and it's been
| | 01:41 | replaced by a kind of
reddish cast in the shadows.
| | 01:45 | So you may find Auto Tone to be useful
if an image contains a color cast that
| | 01:50 | you want to get rid of.
| | 01:51 | It's not really the case
for this dollar bill however.
| | 01:55 | All right, I'm going to scoot things
over, so that I can see the next layer,
| | 01:58 | which is Auto Contrast.
| | 02:00 | I'll go and select that layer in the
Layers panel, then I'll go up to the Image
| | 02:04 | menu and choose the Auto Contrast command.
| | 02:07 | This time Photoshop is making the
darkest pixels black and the brightest pixels
| | 02:12 | white on a composite basis.
| | 02:14 | So in other words, all three channels
are affected in exactly the same way.
| | 02:20 | That means we get darker shadows and
brighter highlights, but the natural color
| | 02:24 | cast of the image is not affected.
| | 02:27 | And then finally over here on the left-
hand side, we have the Auto Color image.
| | 02:31 | I'll go and select the Auto Color Layer
then go up to the image menu and choose
| | 02:35 | the Auto Color command.
| | 02:37 | Now what Photoshop is doing is making
the darkest pixels black and the brightest
| | 02:42 | pixels white, once again on a channel
by channel basis, just as with the Auto
| | 02:47 | Tone command, but it's also
neutralizing the midtones.
| | 02:51 | So this is the only Auto Function
that changes the midtones inside the
| | 02:55 | image, and what that means is the
authentically colorful items, such as the
| | 03:00 | serial number and seal remain in color,
but everything else about the dollar bill
| | 03:06 | essentially goes grayscale.
| | 03:08 | All right I'm going to go and press
the F Key a couple of times in order to
| | 03:11 | switch to the Full Screen mode and
then I'll press Ctrl+0 or Command+0 on the
| | 03:16 | Mac in order to zoom out and that's
what you should expect from the three Auto
| | 03:20 | Commands, Auto Tone, Auto Contrast
and Auto Color, found in the Image menu.
| | Collapse this transcript |
| Automatic brightness and contrast| 00:00 | In this movie, I'll show you how the
Auto Commands affect our washed out
| | 00:04 | portrait and then I'll introduce you
to a hidden Auto Feature that's new to
| | 00:08 | Photoshop CS6 and I think
you'll like a lot better.
| | 00:12 | I'm working inside a file called
portraitcomparison.psd found inside the
| | 00:16 | O7_Luminance Folder and this time I have
all my layers stacked on top on each other.
| | 00:22 | So I'm going to turn off the Control
layer which we are not going to change, and
| | 00:26 | I'll Click on Auto Tone to make it active.
| | 00:28 | And you may recall this is the one
that makes the darkest pixels black and
| | 00:33 | the brightest pixels white on a
channel by channel basis, affecting each
| | 00:37 | channel independently.
| | 00:38 | So I'll go up to the Image menu and
choose Auto Tone and where once we had,
| | 00:44 | really not much of a Color Cast going on,
we now have a pretty pronounced Color Cast.
| | 00:49 | She's turned fairly ghoulish and greenish on us.
| | 00:52 | So obviously Auto Tone is not
successful where this image is concerned.
| | 00:56 | I'll go and turned that layer off and
click on Auto Contrast, then I'll go up to
| | 01:00 | the Image menu and choose
the Auto Contrast command.
| | 01:04 | This is a command that affects the
image on a composite basis and it fairs much
| | 01:08 | better, because it's not
introducing a Color Cast.
| | 01:12 | So this is Auto Tone, bad, where this
image is concerned, and this is Auto Contrast.
| | 01:17 | All right now, I'll turn Auto
Contrast off and click on Auto Color.
| | 01:21 | This is a command that adjusts the
midtones in order to neutralize them.
| | 01:25 | Every so often, you may find that it
does a good job, but in the case of
| | 01:29 | this image not so much.
| | 01:31 | I'm going to choose Auto Color and
you'll see that we introduced yet a
| | 01:35 | different Color Cast.
| | 01:36 | This time kind of a bluish one by
comparison to the greener cast that we
| | 01:41 | saw with Auto Tone.
| | 01:42 | All right, I'll go ahead and turn the
Auto Tone Layer off and the Auto Color
| | 01:46 | Layer off and now I'll click on the
final layer down here at the bottom,
| | 01:50 | it's called Auto B/C.
| | 01:53 | This is Automatic Brightness Contrast
and to get to it, you go up to the Image
| | 01:58 | menu choose the Adjustments command and
choose the Brightness Contrast command.
| | 02:03 | This command brings up a dialog box with
the Brightness slider and a Contrast slider.
| | 02:08 | They're pretty easy controls to use
and I dare say, they do a great job these
| | 02:13 | days, especially if all you're
interested in doing is correcting brightness and
| | 02:17 | contrast on a composite basis.
| | 02:20 | Now in CS6, we have an Auto button that
does something totally unlike what we've
| | 02:25 | seen before, and if I click on it, you
can see it takes a few seconds to apply,
| | 02:30 | because it's evaluating not only the
shadows and the highlights, as with the Auto
| | 02:35 | Tone and Auto Contrast commands, but
it's also evaluating the midtones, the way
| | 02:40 | the Auto Color command does.
| | 02:42 | However, the big difference is, it's
doing so on a composite basis, so there's
| | 02:47 | no chance that will
introduce any kind of Color Cast.
| | 02:50 | And as a result, we end up getting
some nicely balanced luminance levels.
| | 02:55 | I'll go and Click OK in order to
accept the result and just for the sake of
| | 02:59 | comparison, because it is the only Auto
command that actually does compare, I'll
| | 03:03 | turn on Auto Contrast, so you can see
Auto Contrast ended up making the shadows
| | 03:08 | darker and it pulled the midtones down
along with, whereas, the Auto button in
| | 03:14 | the Brightness Contrast dialog box
applied a more nuanced correction.
| | Collapse this transcript |
| The Brightness/Contrast command| 00:00 | In this movie, I'll show you how to
apply the Brightness/Contrast command as a
| | 00:04 | static adjustment and then in the
next movie we'll apply the exact same
| | 00:08 | function, Brightness/Contrast
as a dynamic Adjustment Layer.
| | 00:13 | And I'll demonstrate these two
different approaches using a couple of butterfly
| | 00:17 | photographs that I captured on the same day.
| | 00:19 | So we've got this overly dark butterfly,
and we have this overly light butterfly.
| | 00:24 | Both images look terrible right now, but
they're altogether correctable as we'll see.
| | 00:30 | All right let's start
off on Dark butterfly.jpg.
| | 00:34 | I'll go up to the Image menu and choose
the Adjustments command and then choose
| | 00:38 | Brightness/Contrast.
| | 00:40 | Let's start things off by clicking
on the Auto Button just to see what
| | 00:43 | Photoshop comes up with.
| | 00:45 | And after a moment, it
does a halfway decent job.
| | 00:49 | I'm thinking we can do better however.
| | 00:51 | So the great thing is after trying that
Auto Button, instead of having to just
| | 00:55 | Undo, if you don't like it, as with
the Auto commands, you can tweak the
| | 00:59 | results using sliders.
| | 01:01 | So I'm going to crank the Brightness
value up to something like 100, and then
| | 01:05 | I'll take the Contrast value
down to let's say around 50.
| | 01:10 | And there's no reason you have to use
round numbers like these, I'm just trying to
| | 01:13 | come up with some values
that are easy to replicate.
| | 01:16 | Now one of the great things about
Brightness/Contrast, it's incapable of
| | 01:20 | clipping luminance levels.
| | 01:22 | Now by clipping, I mean it can't take
big shadow regions and make them black or
| | 01:28 | big highlight regions and make them white.
| | 01:31 | And I want to demonstrate
what I'm talking about here.
| | 01:33 | So, I'll turn on the Use Legacy check box,
this is not a check box you ever want
| | 01:38 | to turn on when correcting continuous
tone photographs, but it is helpful for
| | 01:43 | purposes of demonstration.
| | 01:45 | I'm going to go ahead and crank up the
Brightness value and then I'll take the
| | 01:48 | Contrast, rather through the roof, and
you can see that we have these large
| | 01:52 | swaths of highlights that are now clipped to
white, which is of course nothing that we need.
| | 01:58 | And if I reduce the Brightness value,
then we have huge areas of shadows that
| | 02:03 | are now clipped to black.
| | 02:05 | Now as you might expect, Use Legacy
implies that this is exactly how the
| | 02:09 | Brightness/Contrast command used to
work, which is why a lot of people still
| | 02:13 | avoid it like the plague.
| | 02:15 | However, if you turn Use Legacy off,
then you end up getting fantastic results
| | 02:20 | out of this command.
| | 02:22 | All right, so I'll go ahead and dial
in 100 for Brightness, 50 for Contrast,
| | 02:25 | once again, Click OK in
order to accept that effect.
| | 02:29 | And just for the sake of comparison
here, I'll press Ctrl+Z so we can see the
| | 02:33 | original murky, dark version of the
image and then I'll press Ctrl or Command+Z
| | 02:38 | again so that we can see the corrected version.
| | 02:41 | Thanks to a static application of
the simple, but deceptively powerful
| | 02:45 | Brightness/Contrast.
| | Collapse this transcript |
| The dynamic adjustment layer| 00:00 | In this movie, I'll show you how
to apply Brightness/Contrast as a
| | 00:03 | dynamic Adjustment Layer.
| | 00:05 | And I'm going to recommend that you
use Adjustment Layers for all your
| | 00:08 | luminance adjustments, because you can always
go back and modify the settings anytime you like.
| | 00:15 | I'm working inside Light butterfly.jpg
and you have a couple of different
| | 00:19 | options for creating Adjustment Layers.
| | 00:22 | One is to drop down to this little
black white icon at the bottom of the Layers
| | 00:25 | panel and click on it.
| | 00:27 | The Adjustment Layers start with
Brightness/Contrast and end with Selective
| | 00:31 | Color, and they represent most of the
static adjustments you can apply inside
| | 00:36 | Photoshop. There are a few commands we saw on the
Adjust submenu that don't work as Adjustment Layers.
| | 00:42 | Up at top here are three commands
that allow you to apply Fill layers.
| | 00:47 | They have nothing to do with
luminance or color adjustment.
| | 00:51 | The other way to work is to go up
to the Window menu and choose the
| | 00:55 | Adjustments command.
| | 00:56 | And that brings up the Adjustments panel,
which in Photoshop CS6 merely allows
| | 01:01 | you to create adjustments.
| | 01:02 | You don't edit adjustments here.
| | 01:05 | And notice that each of the Adjustment
Layers is now represented by an icon.
| | 01:09 | You just hover over the icon to
see the name of the adjustment.
| | 01:13 | I'm going to go ahead and click
in that first icon to create a
| | 01:16 | Brightness/Contrast layer.
| | 01:18 | Notice Photoshop creates a new
layer in the Layers panel called
| | 01:20 | Brightness/Contrast 1.
| | 01:22 | Plus, it automatically brings up the
New Properties panel, which is where I
| | 01:27 | can edit my settings.
| | 01:29 | And by the way, if the panel is getting
in your way of seeing the image, you can
| | 01:32 | make it smaller if you like.
| | 01:34 | If you've got all the screen real
estate in the world, you can make the panel
| | 01:38 | much larger and that's going to give
you more fine tune control with the
| | 01:41 | sliders are concerned.
| | 01:43 | Anyway, I'm short on space, so
I'm going to keep the panel small.
| | 01:46 | I'll start things off by clicking on
the Auto button in order to see what
| | 01:51 | Photoshop comes up with.
| | 01:52 | So you still have an Auto button here
inside the Properties panel and that
| | 01:56 | is better I suppose, but it's a little
heavy-handed where the contrast is concerned.
| | 02:01 | What I'm going to do is dial down the
Brightness to about -45 should work, and
| | 02:06 | then I'm going to take the Contrast
down as well to about 70, in order to
| | 02:12 | achieve this result here.
| | 02:14 | Again, you want to leave
the Use Legacy check box off.
| | 02:17 | When you're done, you can just
click the double arrow icon to hide
| | 02:21 | the Properties panel.
| | 02:22 | Now happily, this is an independent
layer of luminance correction, and I can turn
| | 02:27 | it on or off as I like.
| | 02:30 | So if I want to see the before version
of the image, I'll turn off the layer.
| | 02:34 | If I want to see the after
version, I turn on the layer.
| | 02:37 | And meanwhile, the original
image is altogether unharmed.
| | 02:41 | Whereas, if I take a look at what it
did to the dark butterfly, which still
| | 02:46 | looks very good, those
pixels are permanently modified.
| | 02:50 | So in other words, when you apply a
static adjustment that's tantamount to a
| | 02:54 | destructive edit inside Photoshop.
| | 02:57 | I don't mean I've destroyed my image,
I mean, I've permanently modified it,
| | 03:01 | whereas, with an Adjustment Layer,
it's not only editable, but it's also
| | 03:05 | dynamic and nondestructive.
| | 03:08 | Now of course, the advantage to the
static modification is I can go ahead and
| | 03:13 | save my changes over the original image
to the JPEG file format, because after
| | 03:18 | all this is a flat image and
JPEG doesn't support layers.
| | 03:21 | It's also a disadvantage, because it
means you can easily save over your
| | 03:26 | original, which is not
something you necessarily want to do.
| | 03:28 | The potential disadvantage with Light
butterfly with the Adjustment Layer is I
| | 03:34 | have to save this as a native PSD
document, because it contains layers.
| | 03:38 | But check out the size of the layered image.
| | 03:41 | Down here in the lower left corner,
you can see that the flat version of the
| | 03:44 | image is 15.1 megabytes, and after
the slash, you can see that the layered
| | 03:48 | version of the image is also 15.1
megabytes, because Adjustment Layers consume
| | 03:54 | just a few bytes of information.
| | 03:56 | They are extremely small, they are
extremely efficient, and they are highly
| | 04:01 | desirable ways to correct images in Photoshop.
| | Collapse this transcript |
| Editing adjustment layers| 00:00 | In this movie, I'll show you a few tips and
tricks for working with Adjustment layers.
| | 00:05 | I've save the corrected version of the
light butterfly as Adjustment_layer.psd
| | 00:10 | found inside the 07_luminance folder.
| | 00:12 | Now I'm not all that happy with the
name of this adjustment, because after
| | 00:15 | all, it's my only brightness contrast
layer and it really doesn't state what
| | 00:20 | the layer is doing.
| | 00:21 | So I'm going to double-click on
the layer name and call it Darken.
| | 00:25 | All right, now let's switch back to
the dark butterfly image and let's say I
| | 00:29 | want to re-express the
adjustment as an Adjustment layer.
| | 00:32 | But first, I need to undo the static adjustment.
| | 00:35 | So I'll go up to the Edit menu, the
Undo command is dimmed, because the Undo
| | 00:39 | command only undoes the last operation
in the image I performed the operation
| | 00:44 | in, which wasn't this one.
| | 00:46 | So what I need to do instead is either
back step in the History panel or I can
| | 00:51 | choose a step backward command, which
has a keyboard shortcut of Ctrl+Alt+Z or
| | 00:56 | Command+Option+Z on the Mac.
| | 00:58 | And that goes ahead and undoes
the adjustment as you can see.
| | 01:01 | All right, now let's say I want to
create a Brightness/Contrast adjustment
| | 01:05 | layer, but I want to name it as I create it.
| | 01:07 | Well in that case, you press and hold
the Alt key or Option key on the Mac,
| | 01:11 | click the black/white icon at the
bottom of the Layers panel and choose the
| | 01:15 | Brightness/Contrast command.
| | 01:16 | And I'll go ahead and call this
layer Brighten and then click OK.
| | 01:21 | And I'll bring up the
Properties panel just as I did before.
| | 01:25 | Now notice that neither of the
values are active at this point.
| | 01:28 | You can activate the first numerical
value from the keyboard by pressing
| | 01:32 | Shift+Enter or Shift+Return on the Mac.
| | 01:35 | And then I'll dial in a Brightness value
of 100, press the Tab key and dial in a
| | 01:40 | contrast value of 50, which were
the same values I applied before.
| | 01:44 | All right, now let's say I want to get
these butterflies matching each other.
| | 01:48 | We'll go ahead and hide the
Properties panel, then I'll go up to the Window
| | 01:51 | menu, choose Arrange and choose 2-up
Vertically so that I can see the
| | 01:56 | butterfles side by side.
| | 01:57 | I'll go ahead and scroll them
independently here so that we can see the
| | 02:01 | bodies of the butterflies.
| | 02:03 | And it looks to me like the one on the left
could stand to be brightened up a little more.
| | 02:07 | And then the one on the right
has a little bit too much contrast.
| | 02:10 | So I'm going to start by editing the
active image, which for me is dark butterfly.
| | 02:16 | To edit in the Adjustment layer, you
double-click on this thumbnail in the
| | 02:19 | Layers panel and that
brings up the Properties panel.
| | 02:22 | Now I showed you how you can select the first
value by pressing Shift+Enter or Shift+Return.
| | 02:27 | You can also select either value,
Brightness or Contrast, by just clicking
| | 02:31 | on its name like so.
| | 02:33 | You have the option of scrubbing a
value by dragging directly on the word
| | 02:38 | Brightness or Contrast.
| | 02:40 | If you want to change the value more
quickly, you can press the Shift key in
| | 02:44 | order to change the value in increments of 10.
| | 02:48 | You can also press the up arrow key
to raise the value, the down arrow key
| | 02:52 | lowers the value, Shift+Up arrow and
Shift+Down arrow raise and lower the values
| | 02:57 | in increments of 10.
| | 02:59 | All right now I'm going to Tab to the
Contrast value and take it down to 30.
| | 03:04 | So I have a Brightness of 110, a
Contrast of 30 inside the dark butterfly.
| | 03:09 | Now I'll switch over to the
formerly light butterfly, double-click on
| | 03:12 | its Adjustment layer.
| | 03:14 | The Contrast value is still
active from the previous image.
| | 03:17 | I'm feeling like the body is a little
bit too dark here so I'm going to press
| | 03:21 | Shift+Up arrow to raise that Brightness
value to -35 then I'm going to press the
| | 03:25 | Tab key and take the Contrast
value down to something around 50.
| | 03:30 | And we end up getting a pretty darn good match.
| | 03:32 | So I'll go ahead and hide the Properties panel.
| | 03:35 | Now they're never going to be
absolutely identical, because of course, they
| | 03:39 | are different butterflies and they were
captured in different conditions in the first place.
| | 03:43 | But the fact of the matter is, because
we're working with editable Adjustment
| | 03:47 | layers, we can modify our settings
any time, and as much as we want.
| | Collapse this transcript |
| Isolating an adjustment with a layer mask| 00:00 | Another advantage to working with
Adjustment layers is that you can isolate the
| | 00:04 | adjustment to specific regions
of an image using a layer mask.
| | 00:09 | Now we're going to be exploring a few
tools that I haven't showed you so far,
| | 00:12 | but it's pretty
straightforward stuff as you'll see.
| | 00:15 | So I'm looking at both the corrected
dark bug and the corrected light bug.
| | 00:20 | And the corrected light bug's body
is so much darker, what I'd like to do
| | 00:24 | is select the formerly dark bug's body and
mask that portion of the adjustment away.
| | 00:29 | I'm going to use one of the simpler
selection tools inside Photoshop, which is
| | 00:34 | the Quick Selection tool.
| | 00:35 | If you're seeing the Magic Wand instead,
then you can choose the Quick Selection
| | 00:39 | tool from the flyout menu.
| | 00:41 | And by default its brush
size is set to 30.
| | 00:44 | And I'm just going to brush down the
animal's body, like so, taking care not to
| | 00:49 | brush into the wings.
| | 00:51 | Now that selects some of the shadow
details inside the image but not all that much.
| | 00:55 | So to select the others, I'll go out to the
Select menu and choose the Similar command.
| | 01:01 | And now I'll go ahead and expand the selected
region to include an awful lot of the shadows.
| | 01:06 | Now in creating a layer mask, you want
to select a portion of the image that you
| | 01:10 | want to keep, not the area
that you want to mask away.
| | 01:13 | So I need to reverse this selection by
going up to the Select menu and choosing
| | 01:18 | the Inverse command.
| | 01:19 | Now I'll convert the selection to a
layer mask by making sure that my Brighten
| | 01:23 | layer is selected here inside the Layers
panel, then dropping down to this icon,
| | 01:28 | right next toward to the adjustment icon.
| | 01:30 | Notice it says Add layer
mask when I hover over it.
| | 01:33 | I'll just go ahead and click,
and I've got myself a layer mask.
| | 01:36 | Now the important thing is, by the
way--I'll go ahead and undo that for a
| | 01:39 | moment, if you're working along with
me and you already have a layer mask
| | 01:44 | associated with your Adjustment
layer, here's what you need to do.
| | 01:48 | You need to bring up your Adjustments
panel and click on the flyout menu icon
| | 01:52 | and turn off Add Mask by Default.
| | 01:54 | I'm going to go ahead and Escape out of
that menu, hide the Adjustments panel.
| | 01:59 | With the Adjustment layer selected, no
layer mask in place, drop down to the add
| | 02:04 | layer mask icon and click on it.
| | 02:06 | Notice we get some pretty, darn,
rough edges and that's because the Quick
| | 02:11 | Selection tool, you know, it's pretty
easy to use--delivers some rough results.
| | 02:16 | So I'm going to soften that mask, make
sure it's selected here inside the Layers
| | 02:20 | panel and then go up to the Filter menu,
choose Blur and choose Gaussian Blur,
| | 02:26 | which is one of the best
blur functions in the software.
| | 02:29 | And I'm going to crank that radius
value up to 10 pixels and then click OK.
| | 02:35 | We made the body way too dark, so
I'm going to back off what's known as the
| | 02:39 | density of the mask by double-
clicking on the layer mask thumbnail.
| | 02:43 | That brings up the Properties panel
where I can see my mask options and I'm
| | 02:48 | going to take the Density value down to
20% and that backs off of the mask and
| | 02:52 | makes it brighter as you can
see here inside the Layers panel.
| | 02:55 | All right, I'm going to
hide the Properties panel now.
| | 02:58 | And just so you have a sense of what
kind of difference we made here, you can
| | 03:02 | turn on and off a layer
mask by Shift+Clicking on it.
| | 03:05 | So I'll Shift+Click once in order
to turn it off, you can see the body
| | 03:09 | brightens up quite a bit.
| | 03:11 | And then I'll press the Shift key and
turn the mask back on and the body darkens.
| | 03:16 | Now we'll be seeing lots more of the
selection tools and layer masks in the
| | 03:20 | future chapters, but for now, know that
you can isolate the area affected by
| | 03:24 | an Adjustment layer with a high
degree of control by assigning a layer mask
| | 03:29 | here inside Photoshop.
| | Collapse this transcript |
| Introducing the histogram| 00:00 | In this movie, I'll introduce you to
another way to gauge the luminance levels
| | 00:04 | inside your image and it's called a histogram.
| | 00:07 | Now at first it might seem quite
technical, but once you come to terms with the
| | 00:11 | histogram, luminance levels
make that much more sense.
| | 00:14 | Now to see the histogram, you go
onto the Window menu and you choose the
| | 00:18 | Histogram command which
brings up the Histogram panel.
| | 00:22 | Now what this is, it's a bar graph of the
various luminance levels inside the image.
| | 00:26 | You may see it in color.
| | 00:27 | You may see it in white.
| | 00:29 | To make things a little less confusing,
what I'd like you to do is click on the
| | 00:33 | flyout menu icon and choose Expanded
View in order to increase the size of the
| | 00:37 | graph, and then go ahead and switch the
Channel from Colors to Luminosity, so we
| | 00:43 | can see the core
luminance levels inside the image.
| | 00:46 | Now at first glance you may look at
this thing and think how in the world is
| | 00:50 | this going to benefit me?
| | 00:51 | Well I've created a diagram of a
histogram for you and I'll walk you through it
| | 00:56 | so that it makes more sense.
| | 00:58 | I'm going to hide the Histogram panel for now.
| | 01:00 | We'll come back to it in the next
movie when I show you a practical
| | 01:04 | application of the function.
| | 01:05 | And I'm going to switch to this image
called histogram.psd again, found inside
| | 01:10 | the 07_luminance folder, and I'm going
to press Shift+F. By the way, you can
| | 01:15 | back up through the Full Screen modes by
pressing the Shift Key along with F and
| | 01:20 | that'll take me directly to
full screen as you see here.
| | 01:22 | And this is a big diagram of a histogram.
| | 01:27 | Here's how it works.
| | 01:29 | This is a bar graph of the luminance
levels inside of your image, starting with
| | 01:34 | black over here in the far left-hand
side, and going all the way over to white
| | 01:39 | on the far right-hand side.
| | 01:41 | And so it's ultimately a
kind of popularity contest;
| | 01:45 | the taller the line the more of
that specific luminance level you have.
| | 01:50 | To get even more technical, your standard
digital image is an 8-bit per channel image.
| | 01:56 | What that means is you have up to 256
different luminance levels, including
| | 02:02 | black and white, and all the other
luminance levels in between, per channel.
| | 02:08 | Some images have more than
that but that's the standard.
| | 02:11 | And so if you were to take a careful
look at the histogram and count up all of
| | 02:15 | these bars here, you'd find that
there are a total of 256 bars in all.
| | 02:22 | Each one of these luminance
levels has a specific numerical value
| | 02:26 | associated with it.
| | 02:27 | Black is 0 and White is 255.
| | 02:33 | Now that may not make sense.
| | 02:34 | After all, I just told you there are 256
luminance levels in all. How is it that
| | 02:39 | white at 255, plus black at 0, adds up to 256?
| | 02:45 | Well it's because black is yet another
luminance level that's just sitting there at 0.
| | 02:50 | So you've got 1 through 255, plus black
at zero. That gives you 256 in all.
| | 02:57 | Now when you're reading the histogram,
this area over here is going to be
| | 03:01 | the shadows, as I've labeled, so the left-
hand side, that's where the shadows are at;
| | 03:07 | the highlights are going to appear
over here on the right-hand side;
| | 03:10 | and then the midtones are going to
appear in the middle of the graph.
| | 03:14 | And again, these are just rough
general definitions of those regions
| | 03:18 | of luminance level.
| | 03:20 | What you want to see is that the graph
pretty much starts right at the beginning
| | 03:25 | here and slopes up, and then we have
a healthy amount of shadow detail.
| | 03:30 | You also want to see over here in the
right-hand side that the graph amps up at
| | 03:35 | white and that we have a healthy
number of highlights going on, and then
| | 03:39 | finally, you want to see a lot
of bouncing inside the midtones.
| | 03:44 | What you don't want is to see a big
spike right there at black or a big spike
| | 03:49 | right there at white with relatively
little action going on in the middle of
| | 03:53 | the graph, because what that tells
you is that you have a lot of clipped
| | 03:57 | shadows and you have a lot of clipped
highlights, and when you run into an
| | 04:01 | image like that you can make it look a
little better, but you're never going to
| | 04:05 | make it look great.
| | 04:06 | It's pretty much a failed image from the
get-go, and you certainly don't want to
| | 04:10 | take an image that has a histogram like
this one, a nice healthy histogram that
| | 04:14 | is, and turn it into one where the
middle of the graph is very low and then you
| | 04:19 | have spikes at either side.
| | 04:21 | And of course as with any bar graphs,
small bars mean you have few luminance
| | 04:25 | levels at that location and big bars
mean you have lots of luminance levels.
| | 04:30 | Now by lots I don't mean any specific
value, because Photoshop goes ahead and
| | 04:34 | scales the histogram according to
how many luminance levels it finds
| | 04:39 | throughout the entire image.
| | 04:41 | And so that's how the histogram works.
| | 04:43 | You'll find it inside the Histogram panel.
| | 04:45 | You find it elsewhere
inside the software, as well.
| | 04:48 | And once you get a sense for how it
works, it's an extremely helpful tool.
| | 04:52 | And I'll show you how to use the
histogram to gauge the quality of your
| | 04:55 | correction in the next movie.
| | Collapse this transcript |
| Measuring an adjustment| 00:00 | In this movie, we'll use the
histogram to gauge the quality of our
| | 00:04 | Brightness/Contrast correction so
far and to make further adjustments.
| | 00:08 | I've saved my progress inside the dark
butterfly image as Masked adjustment.psd.
| | 00:14 | And I'm going to bring up my
Histogram panel by clicking on that little
| | 00:17 | histogram icon right there in the icon column.
| | 00:21 | And notice here inside this Luminosity
histogram, I can see that I've got lots of midtones.
| | 00:26 | However, my shadows are pretty weak
actually and I don't have a lot going in the
| | 00:31 | way of highlights either.
| | 00:33 | Now if you see this little warning, this
little caution icon, that's telling you
| | 00:37 | that the histogram isn't fully cached,
which means that it's not quite accurate.
| | 00:42 | And what you do to increase the
accuracy of the histogram, is you just click on
| | 00:46 | the caution icon or on that
little update icon directly above it.
| | 00:50 | Either one will address the problem.
| | 00:52 | And in most cases, it's not
going to change very much.
| | 00:55 | Now as soon as I edit this
Adjustment layer, that's going to bring up the
| | 00:58 | Properties panel and hide the Histogram
panel, so I want to move the histogram
| | 01:03 | to a new location by dragging inside
this empty area here, that'll move all the
| | 01:08 | panels in a group, and I'm going to
drag it over until I see a horizontal blue
| | 01:12 | line directly above the
Layers panel and I'll drop it.
| | 01:15 | And that way the histogram will stay on screen.
| | 01:17 | Now I'm going to drop down to the Layers
panel and double-click on the thumbnail
| | 01:21 | for my Adjustment layer to
bring up the Properties panel.
| | 01:25 | Now what's going to happen here is if
I increase the brightness of the image,
| | 01:29 | the histogram is going to shift over
to the right, because the entire image
| | 01:33 | is growing brighter.
| | 01:34 | If I reduce the Brightness value, then
histogram is going to shift all the way
| | 01:38 | over to the left, because
we're darkening the image.
| | 01:42 | I'm going to go ahead and
return that brightness value to 110.
| | 01:45 | Meanwhile, if you reduce the Contrast
value, you'll bunch up the histogram
| | 01:50 | toward the center and you'll
lose shadows and highlights.
| | 01:54 | Whereas, if you increase the Contrast
value, then you're going to spread the
| | 01:58 | histogram outward and you're going to
fill in those shadows and highlights.
| | 02:02 | And in fact, I can go ahead and take
this Contrast value all the way up to 100
| | 02:07 | and I'm not getting any clipping.
| | 02:09 | Once again the big thing you're
looking for is to make sure that you're not
| | 02:13 | clipping any shadow or
highlight details inside the image.
| | 02:17 | If you were clipping shadows, you'd see a
big spike over here on the left-hand side.
| | 02:21 | If you were clipping highlights, you'd see a
spike over on the right-hand side. But we're okay.
| | 02:26 | And if you want to confirm that
you've got the accurate histogram, go ahead
| | 02:30 | and click on that caution icon again, and
you can see that everything is looking good.
| | 02:35 | Just so that you can see how far we've
come with this image, I'm going to click
| | 02:39 | on the background layer to make it active.
| | 02:41 | Now you might think that Photoshop
would naturally pick up the histogram from
| | 02:45 | the active layer, but instead it's
sourcing the entire composite image, meaning,
| | 02:50 | both the original
photograph and the Adjustment layer.
| | 02:53 | To look at the selected layer by itself,
go ahead and switch to Selected Layer
| | 02:58 | and now you can see what an
unmitigated disaster this original image was.
| | 03:03 | We had a bunch of shadow detail going
on here and nothing in the way of upper
| | 03:08 | midtowns and highlights.
| | 03:10 | But now that I have applied that
Adjustment layer, the effects of which I can
| | 03:14 | see by switching back to entire image
and updating the histogram, you can see
| | 03:19 | that we have a much more balanced
range of luminance levels inside the final
| | 03:24 | version of our correction.
| | 03:26 | And that's how you use a histogram to
gauge the quality of your adjustments and
| | 03:31 | see just how far you can go.
| | Collapse this transcript |
| Using the Shadows/Highlights command| 00:00 | In this movie I'll show you how to
correct an image that suffers from far too
| | 00:04 | much contrast using the
Shadows/Highlights command.
| | 00:08 | I have opened an image called High-
contrast pachyderm.jpg, and it's fairly
| | 00:13 | low-quality image as you can see
here, but it's not beyond hope.
| | 00:18 | I've got the Histogram panel open again.
| | 00:21 | When you're in this Colors display,
you're seeing overlapping histograms for
| | 00:25 | each of the channels;
| | 00:26 | red, green, and blue, which for our purposes
right now I consider to be a little confusing.
| | 00:32 | So I'm going to once again switch
to Luminosity so we can just focus on
| | 00:36 | the luminance info.
| | 00:37 | And I'll go ahead and update the graph.
| | 00:40 | Now we do have an awful lot of
shadow detail and an incredible amount of
| | 00:45 | highlight detail going on here
and some very sunken midtones.
| | 00:49 | However, the image is not beyond hope,
because we have no spike at the outset
| | 00:53 | of the graph on the far left side and the
graph settles down on the far right-hand side.
| | 00:58 | So we have very little in
the way of clipped highlights.
| | 01:01 | That means we can
ultimately recover some luminance.
| | 01:04 | Now you might start by
trying out Brightness/Contrast.
| | 01:08 | I'll go ahead and click on the black
white icon at the bottom of the panel and
| | 01:12 | choose the Brightness/Contrast command.
| | 01:13 | Well I'll just go ahead and start
things off by reducing the Contrast value to
| | 01:18 | its absolute minimum of -50.
| | 01:21 | And that does help.
| | 01:22 | I'll go and update the graph once again.
| | 01:25 | We are pulling some of that information
away from the edges toward the center of
| | 01:29 | the graph, but it's not doing nearly enough.
| | 01:33 | The fact of the matter is Brightness/
Contrast can only take you so far where an
| | 01:37 | image like this is concerned.
| | 01:39 | So I'm going to hide the
Properties panel and I'm going to press the
| | 01:42 | Backspace key or the Delete key
on the Mac in order to delete that
| | 01:46 | Brightness/Contrast layer.
| | 01:48 | And then if you're working along with
me, go up to the Image menu, choose
| | 01:51 | Adjustments, and choose Shadows/Highlights.
| | 01:54 | Now you might reasonably ask, well, I
thought Adjustment layers were so much
| | 01:58 | better, why are we going to apply
a static version of this command?
| | 02:01 | And the reason is Shadows/
Highlights is not one of the functions that's
| | 02:05 | available as an Adjustment layer.
| | 02:07 | So we have to apply it as a static command.
| | 02:10 | So I'm going to go ahead and choose
the command and you can see just by way
| | 02:14 | of the default settings, which are to
raise the Shadows by 35% and leave the
| | 02:20 | Highlights unchanged, that we're already
breathing a lot of life into that shadow detail.
| | 02:25 | So the purpose of these sliders is, in
the case of Shadows, to brighten the
| | 02:30 | shadows and in the case of the
Highlights, to dim down the highlights which
| | 02:35 | ultimately take some of the heat out
of highlights, breathes life into the
| | 02:38 | shadow, contributes more to the midtones
of the image, and reduces the contrast.
| | 02:44 | I'm going to click inside this
Highlights value and press Shift+Up arrow a few
| | 02:48 | times in order to darken up those highlights.
| | 02:51 | I'm ultimately going to
take that value up to 60%.
| | 02:55 | Then I'm going to press Shift+Tab to go
back to the Shadows value and I'll press
| | 02:59 | Shift+Up arrow a few times
to take that value up to 65%.
| | 03:03 | This looks pretty darn good with the
exception of the fact that we have some
| | 03:09 | meandering colors that are showing up here.
| | 03:12 | We can take care of that
problem in a separate step.
| | 03:15 | So this looks about as good as it's going
to get where Shadows/Highlights is concerned.
| | 03:19 | The thing you have to watch for is
that this command can end up creating this
| | 03:22 | kind of glowing halos inside
the highlight and shadow regions.
| | 03:27 | If that happens, you've got some more
controls that you can get access to by
| | 03:31 | turning on the Show More Options check
box and we'll explore these options in
| | 03:35 | detail in a future course.
| | 03:37 | But for now, go ahead and turn off the check
box and we'll just work with these values here.
| | 03:42 | Now click OK in order to apply that change.
| | 03:46 | Now whenever you apply a static
adjustment, you can go back and modify how that
| | 03:52 | adjustment blends with the original
image by going up to the Edit menu and
| | 03:56 | choosing the Fade command.
| | 03:58 | But you have to choose this command
immediately after applying the static adjustment.
| | 04:02 | So I'll go ahead and choose it now.
| | 04:04 | And the first thing I'm going to do to
get rid of those aberrant colors is I'm
| | 04:08 | going to switch the mode
from Normal to Luminosity.
| | 04:11 | That way we're modifying the luminance
levels inside the image, not the colors.
| | 04:16 | As soon as I choose that command you can
see that the colors settled down dramatically.
| | 04:21 | Then I'm going to back off the effect
by reducing the Opacity to let's say 70%
| | 04:26 | looks pretty good, and then click OK.
| | 04:30 | If you think better of what you just did,
you can revisit that command by going
| | 04:35 | up to the Edit menu and choosing the
Fade command again and it will display your
| | 04:39 | last applied settings.
| | 04:41 | So at this point I could to say, you
know, I think I want more like an opacity
| | 04:45 | of 75% or what have you,
and then click OK once again.
| | 04:50 | The thing you have to watch out for is
performing some other operation, like if
| | 04:54 | I so much as drag inside the image
with a Rectangular Marquee tool and then
| | 04:59 | press Ctrl+D or Command+D on the Mac in
order to deselect the image, now when I
| | 05:04 | go up to the Edit menu,
the Fade command is dimmed.
| | 05:07 | So again I stress, you have to apply that
command immediately after the static adjustment.
| | 05:13 | Now then take a look at this histogram.
| | 05:15 | It's in far better shape.
| | 05:16 | I'm going to click on the little warning
icon there in order to update the graph.
| | 05:20 | We have better distributed highlights,
we have better distributed shadows, and we
| | 05:25 | have all kinds of midtone detail in between.
| | 05:28 | And just to see what kind of
difference we made, I'll go to the File menu and
| | 05:32 | choose the Revert command
or you can press the F12 key.
| | 05:36 | That was the original version of
the image with these very dark shadows
| | 05:40 | underneath the animal's body, as well as this
complete and utter blackness beyond the door;
| | 05:45 | whereas, if I press Ctrl+Z or Command+Z
on the Mac to reapply the adjustment,
| | 05:50 | you can see that we've opened up the
shadows considerably and we can actually
| | 05:54 | see into the background.
| | 05:57 | And that's the power of the very
simple to use Shadows/Highlights command
| | 06:01 | here inside Photoshop.
| | Collapse this transcript |
|
|
8. Adjusting ColorsAnd second, there is color| 00:00 | This chapter's topic is color.
| | 00:03 | Now technically speaking, color is
a combination of two ingredients:
| | 00:08 | hue and saturation.
| | 00:10 | Hue is what you and I think of as color.
| | 00:12 | That is the colors of the rainbow;
| | 00:15 | red, orange, yellow, green, and so on.
| | 00:20 | Saturation is the intensity of that color,
from lustrously vibrant to stone-cold drab.
| | 00:28 | The various colors have specific hue and
saturation values and because Photoshop
| | 00:33 | provides a color-managed environment,
that means you stand a good chance of
| | 00:37 | achieving predictable results.
| | 00:39 | But our perceptions of
color are largely subjective.
| | 00:43 | Meaning that you can take an image
with an obvious colour cast and adjust it
| | 00:48 | in any number of ways.
| | 00:50 | To you, one treatment will look just right.
| | 00:52 | To someone else, another correction will
look better and perhaps later to you as well.
| | 00:58 | The way you perceive color is one way
at breakfast, another at lunch, and still
| | 01:04 | another before you go to bed.
| | 01:06 | It's just the way our eyes work, which
is why I advise you, go with your gut
| | 01:11 | where color is concerned.
| | 01:13 | The consumer of your image will see his or
her own colors, there's no avoiding that.
| | 01:18 | Observe what you think looks best in
any moment in time and stick with it.
| | 01:24 | With that vague, but hopefully
empowering advice in mind, here's how to adjust
| | 01:29 | colors in Photoshop.
| | Collapse this transcript |
| Identifying a color cast| 00:00 | By far the most common problem
that you'll encounter in your digital
| | 00:03 | photographs is color cast.
| | 00:06 | In other words, the colors in your
photograph are not quite representational
| | 00:10 | of the colors in the original scene, and they
are as a whole, leaning in a certain direction.
| | 00:17 | So there's a color bias to the image.
| | 00:20 | Now the first step in correcting for a
color cast is to gauge what that cast is.
| | 00:24 | In other words, what is the
prevailing color that shouldn't be there?
| | 00:28 | And the easiest way to find that
color is to locate a neutral image element
| | 00:33 | in the photograph, that is an object that
ought to be white or gray and then eye drop it.
| | 00:39 | Let me show you what that looks like.
| | 00:42 | I'm zoomed in quite a bit here, but
if I scroll down inside this image I'll
| | 00:47 | locate a neutral item
which is this white pillow.
| | 00:51 | It's not really white in the photograph,
because there's shadows and shading
| | 00:54 | going on, and there's even spots where
the pillow might be reflecting some of the
| | 00:58 | colors off the wall, but as a
rule, the pillow ought to be neutral.
| | 01:02 | That is, it shouldn't have any color bias at all.
| | 01:05 | But obviously there is some kind of bias.
| | 01:07 | And to gauge what that bias is I'm
going to switch to the Eyedropper tool which
| | 01:12 | allows me to lift colors inside Photoshop.
| | 01:14 | You can also get to that tool by
pressing the I key, and incidentally if the
| | 01:18 | last tool you used was a Ruler back
in Chapter 6, then you can go ahead and
| | 01:23 | select the Eyedropper from
the Ruler tool flyout menu.
| | 01:26 | Now by default, the Eyedropper lifts
the color of the pixel on which you click,
| | 01:30 | just that one pixel.
| | 01:32 | If you'd like to average more of a
generalized area, which is probably a good
| | 01:35 | idea, then you go up to the Sample
Size option up here in the Options bar and
| | 01:40 | switch to something like 5 by 5 Average.
| | 01:43 | So in other words, we're sampling
the average of 25 pixels at a time.
| | 01:47 | Then go over to your Color
panel, make sure it's up.
| | 01:50 | If not, choose the Color
command from the Window menu.
| | 01:53 | Click on the flyout menu icon and make
sure that you're looking at the HSB Sliders;
| | 01:57 | Hue, Saturation, and Brightness.
| | 02:00 | And then, drop down to the
pillow and click on it.
| | 02:04 | Notice as you click, and I'm clicking
and holding here, you'll get a ring that
| | 02:07 | showing you the old foreground color
down at the bottom, which is black by
| | 02:11 | default and a new foreground color up
at the top, and you can see that it's
| | 02:15 | some sort of beige.
| | 02:16 | I'm going to go ahead and release and
now I'm going to check out the hue value,
| | 02:20 | which is 32 degrees for me, it maybe
something slightly different for you, but
| | 02:24 | it should be something around that area
and what that tells me is that's orange.
| | 02:29 | This image has an orange color cast.
| | 02:32 | Now very likely you look at 32 degrees
and you don't think immediately orange,
| | 02:37 | because after all you probably don't
have every single one of the hues memorized,
| | 02:42 | and that's okay because I'm including a
document for you called Hue locator.psd.
| | 02:47 | And what it shows is all the hue values
mapped on a 360 degrees circle which is
| | 02:52 | one of the ways to express the visible
color spectrum. And notice that 0 degrees
| | 02:57 | starts over here on the right side of
the circle and then we proceed around the
| | 03:00 | 360 degrees circle in a
counter-clockwise direction.
| | 03:04 | I've marked off each of the 30
degree increments just to give you a sense
| | 03:08 | of what's going on.
| | 03:09 | I've also labeled the colors, although
that's not really all that important.
| | 03:13 | What matters is that you can see
the color at any given location.
| | 03:17 | So right there at 30 degrees.
| | 03:19 | Not only have I included a label of
orange, but you can see that the color is
| | 03:23 | orange as well right there in the circle.
| | 03:26 | And that's how you go about
identifying a color cast in Photoshop.
| | 03:30 | In the next movie, I'll show
you how to correct for color cast.
| | Collapse this transcript |
| Correcting a color cast automatically| 00:00 | Photoshop offers several different
methods for correcting color cast and I'll
| | 00:04 | walk you through a few of them over
the course of the next few movies.
| | 00:08 | Then I'll show you an even more reliable method
for correcting color cast inside Camera Raw.
| | 00:14 | I'm looking at an image called Color
cast demo.psd, in which I've repeated that
| | 00:18 | photograph of my sons on four different layers.
| | 00:22 | We'll start things off by taking a
look at the behavior of the Auto commands
| | 00:25 | here in the Image menu, and those are
the commands that I introduced you to in
| | 00:28 | the previous chapter.
| | 00:31 | As you may recall, Auto Tone and Auto
Color correct the image on a channel by
| | 00:35 | channel basis, and as a result, the
color cast can't help but be modified,
| | 00:40 | whereas Auto Contrast
affects the composite image.
| | 00:43 | So it's not going to do us any good.
| | 00:46 | As you can see here on the Layers panel,
the top Layer auto tone is selected,
| | 00:50 | and that's that image on the
left-hand side of my screen.
| | 00:52 | So I'll go up to the Image menu and
choose the Auto Tone command in order to
| | 00:57 | modify it, and that is
definitely a more neutral looking image.
| | 01:02 | Whether that's the best take on
the image however is yet to be seen.
| | 01:06 | Next, I'm going to select the auto
color layer here inside the Layers panel and
| | 01:11 | then I'll go up to the Image menu and
choose the Auto Color command, and we get
| | 01:15 | this take on the image.
| | 01:16 | As you can see, Photoshop has
cooled down the image dramatically.
| | 01:21 | Now what do I mean by that?
| | 01:22 | I'll press Ctrl+Z or Command+Z on
the Mac to bring back the warm image.
| | 01:27 | When you hear folks talk about warm
images, they mean images that are trending
| | 01:31 | toward warm tones, such as
reds, and oranges, and yellows,
| | 01:36 | whereas a cool image; think icy cool,
is going to be trending more toward blue.
| | 01:42 | Now let's get a sense of whether
we'ver made the image neutral or not.
| | 01:46 | I'll go ahead and grab the Eyedropper
here in the toolbox, but before I click on
| | 01:50 | the pillow, I want to try your attention
to those HSB values in the Color panel.
| | 01:54 | This is that color that I
sampled in the previous movie.
| | 01:57 | You now know a Hue of 32
degrees indicates orange.
| | 02:01 | The value I want to try your attention to
is this S value which stands for saturation.
| | 02:06 | The saturation of a color is its intensity.
| | 02:09 | Right now it's set to 27%. We'll
come back to that in a moment.
| | 02:13 | But I want to show you if you crank
that value down to 0 percent, you end up
| | 02:17 | getting an absolutely neutral
gray, regardless of the hue value.
| | 02:21 | If you take that value up all the way to
100%, you get the most vivid version of
| | 02:26 | that color possible.
| | 02:28 | In our case, a vivid orange.
| | 02:29 | I'm going to dial that back down to 27,
because that's what we had, which is
| | 02:34 | relatively low saturation value.
| | 02:37 | So as you can see in this foreground
color swatch, we have a grayish looking orange.
| | 02:42 | However, 27% is still a heck of a color cast.
| | 02:46 | Now let's see what happens if I
click and hold on that pillow.
| | 02:50 | The color at the bottom of the circle
is the old pillow color and the color at
| | 02:53 | the top of the circle is the new color.
| | 02:56 | And just eyeballing it, you can tell
that it's a much more neutral gray.
| | 03:00 | Now let's check out the HSB values.
| | 03:03 | That Hue value of 298 degrees, you can
check that out in the Hue locator, 209
| | 03:09 | isn't too far from 210,
which is a shade of blue.
| | 03:13 | Let's switch back to the demo file.
| | 03:15 | The thing is, that Saturation value,
in my case, is down to 4% which is
| | 03:21 | quite neutral indeed.
| | 03:23 | Anything between 0% and 5% qualifies as neutral.
| | 03:27 | So in other words, the Auto
Color command has done a great job of
| | 03:31 | neutralizing this color cast.
| | 03:32 | The problem is, that's not
always going to be the case.
| | 03:36 | The behavior of the Auto Tone and Auto
Color commands varies like crazy from
| | 03:40 | one image to the next.
| | 03:43 | So there are times you'll get the
result you want, many other times you won't.
| | 03:47 | In the event you don't get the
results you want, that's when you apply a
| | 03:50 | manual correction using the Color
Balance command and I'll show you how that
| | 03:55 | works in the next movie.
| | Collapse this transcript |
| Changing the color balance| 00:00 | In this movie, I'll introduce you to the
Color Balance command, which allows you
| | 00:04 | to control the exact nature of your
color correction, at the same time of course,
| | 00:09 | it requires more work than
choosing an Auto Command.
| | 00:12 | I've saved my progress as Auto cast
correction.psd and I'm now looking at the
| | 00:17 | third image in, and that's the third layer down.
| | 00:21 | Now Color Balance is
available as an adjustment layer.
| | 00:24 | So you can access it either by clicking
on this black white icon at the bottom
| | 00:27 | of the Layers panel, and there you see
Color Balance about mid way down the list
| | 00:31 | or I can bring up the Adjustments
panel and click at that Color Balance icon
| | 00:35 | which looks like a scale, and that will
take me to the Properties panel and I can
| | 00:40 | see my Color Balance controls.
| | 00:42 | Now what I'm seeing is my primary
colors over here on the right-hand side;
| | 00:46 | red, green, and blue, and their
complimentary primary is over on the left-hand side;
| | 00:51 | cyan, magenta, and yellow.
| | 00:53 | So for purposes of using this
command, you can think of red and cyan as
| | 00:58 | being opposites, green and magenta are
opposites and then blue and yellow are opposites.
| | 01:04 | So you don't ever want to add a color,
you don't want to think, gee whiz, I
| | 01:07 | need more cyan in this image, rather
you want to think in terms of the color
| | 01:11 | you want to remove.
| | 01:12 | I want to remove red.
| | 01:14 | So I want to send the slider towards
cyan, and as opposed to dragging the
| | 01:18 | sliders which you can, I think the easier way
to use this command is to adjust the numbers.
| | 01:24 | So if I click inside that first field
and press Shift+Up arrow, you'll see that
| | 01:28 | I'm adding red to the image which is
exactly the opposite of what I want.
| | 01:33 | Instead I want to remove cyan, so I'm
pressing Shift+Down arrow, and I'll take
| | 01:38 | that value, for now, down to let's say -30.
| | 01:41 | And you should know it's very
difficult to gauge one value by itself.
| | 01:44 | So you sort to have click around these values.
| | 01:47 | Edit one, see how it works, edit
another, see how it compensates.
| | 01:52 | So my image is now looking too green.
| | 01:54 | So I'll click in the second field
and I'll press Shift+Down arrow to
| | 01:57 | remove some of the green.
| | 01:59 | Obviously, the image is too yellow as well.
| | 02:02 | So I'll tab to the next value, and
because I want to remove yellow from the
| | 02:05 | image, I want to increase this value
toward blue and so I'll press Shift+Up
| | 02:10 | arrow a total of four times in
order to increase that value to +40.
| | 02:15 | Now the image is looking too red again,
so I'll click in that top field and I'll
| | 02:19 | press Shift+Down arrow a couple of times
in order to take the value down to -50.
| | 02:24 | So, so far we've got a first value of -50,
a second of -10, and a third of +40.
| | 02:31 | Now, if you take a look at the Tone
option right here, you'll see that we're
| | 02:34 | modifying the midtones, that is the
middle range of colors inside the image.
| | 02:40 | Take a look at the TV in the background
and you'll see that what ought to be a
| | 02:43 | neutral black surface looks awfully darn blue.
| | 02:46 | So I'll switch the Tone from Midtones
to Shadows, and then I'll click in that
| | 02:51 | last field, because I want to remove blue.
| | 02:53 | I want to send this slider toward yellow.
| | 02:55 | So I'll press Shift+Down arrow once in
order to reduce that value to -10, and you
| | 03:00 | can see the black of the
TV surface is less blue.
| | 03:04 | Now all these reddish action that
we're seeing in the boys' skin, that's
| | 03:07 | happening in the highlight range.
| | 03:09 | So let's change the tone from Shadows
to Highlights and I'll remove some red by
| | 03:14 | pressing Shift+Down arrow in this first
field a couple of times in order to take
| | 03:18 | that value down to negative 20.
| | 03:20 | Now we want to remove some
more yellow from the scene.
| | 03:23 | So I'll click in the third field and
press Shift+Up arrow a couple of times in
| | 03:27 | order to send that slider toward blue.
| | 03:30 | So we have a first value of -20, a
second of 0, we didn't change that one
| | 03:34 | and the third of +20.
| | 03:36 | Now I'm going to return to Midtones and
I'm going to click in that first field
| | 03:40 | and take it back up a little.
| | 03:42 | So I'll press Shift+Up arrow to take
the value to -40, and that looks like a
| | 03:47 | pretty darn good adjustment. Let's test it out.
| | 03:49 | I'll close the Properties panel and
then switch to the Eyedropper tool once
| | 03:53 | again and then I'll click
and hold inside the pillow.
| | 03:57 | It looks like we had gray
before and now we have gray again.
| | 04:02 | But if you check out my values here
inside the Color panel, I happen to have
| | 04:06 | a Hue value of 269, you can check
that out in the hue locator file, but
| | 04:10 | that's violet by the way.
| | 04:12 | But notice my Saturation value, it's
declined to 1%, making that pillow at any
| | 04:18 | rate more neutral inside this
image than any of the others.
| | 04:22 | The problem however vis-a-vis the
previous correction, that is the correction
| | 04:26 | that was applied using the Auto Color
command, is that the colors over here in
| | 04:30 | the color balance image
are a little too saturated.
| | 04:33 | So for example, my boys end
up looking a little too pinkish.
| | 04:37 | On the positive side, if you take a
close look at this image on the left, we've
| | 04:42 | got some pretty bright highlights
around my eldest Max's nose for example, and
| | 04:46 | along his arm as well.
| | 04:48 | So we're starting to lose some of that
highlight detail whereas the highlights
| | 04:51 | are looking great in the Color Balance image.
| | 04:55 | One more thing that I want to note, I'm
going to scoot the image over so that we
| | 04:58 | can see that far right layer.
| | 05:00 | Notice that it's being
affected by the color balance layer.
| | 05:03 | So if I turn the color balance layer off,
both images go back to the bad color cast.
| | 05:08 | And if I turn it on, they're both
corrected, and that's because an adjustment
| | 05:12 | layer affects all layers below it.
| | 05:15 | If you wanted it affect just the
single layer, then you need to clip that
| | 05:19 | adjustment by pressing the Alt key
here in the PC or the Option key
| | 05:23 | on the Mac and clicking that
horizontal line between the two layers.
| | 05:27 | That way the color balance
photograph, that is that photograph on the left
| | 05:31 | here inside my Image window, is serving
as a clipping mask for the adjustment
| | 05:35 | layer and the photo filter layer, which is
this layer on the right, remains unaffected.
| | 05:41 | I'm going to make one more change.
| | 05:43 | To make sure that this Adjustment layer
is affecting just the colors inside the
| | 05:47 | photograph and not the luminance levels
I'm going to go up to the Blend mode pop
| | 05:52 | up menu and change it from Normal to
Color, and watch happens to the image over
| | 05:57 | here in the left-hand side.
| | 05:59 | The luminance level settled down a
little bit and we don't get quite the harsh
| | 06:02 | degree of contrast we had a moment ago.
| | 06:05 | That's how you use a Color
Balance command here inside Photoshop.
| | Collapse this transcript |
| Compensating with Photo Filter| 00:00 | In this movie, I'll show you an
unconventional approach to correcting color cast
| | 00:05 | that involves a command known as Photo
Filter, and I've gone ahead centered the
| | 00:09 | final image, which is this layer at
the bottom of the stack, photo filter.
| | 00:14 | So I'll go ahead select it.
| | 00:16 | Now the purpose of Photo Filter is to
simulate this old style lens filters that
| | 00:20 | used to be more popular back
in the days of film photography.
| | 00:24 | Now that we've gone digital, those filters
have been largely supplanted by post processing.
| | 00:29 | Now the first thing you want to do is
you want to grab the Eyedropper once
| | 00:32 | again, and you want to click on that
pillow, or other neutral image element, in
| | 00:37 | order to lift its color, and you can
see that we go from a gray color along the
| | 00:40 | bottom to that low saturation orange,
and then you want to note the values here
| | 00:46 | inside the Color panel.
| | 00:47 | Everytime you click with the Eyedropper
you are going to get different values,
| | 00:51 | just bear that in mind, but
I've got some very close values;
| | 00:54 | a hue of 32 and a saturation of 26.
| | 00:58 | So I'll just go and write those values down,
because they'll become important in a moment.
| | 01:03 | As with color balance you can apply
Photo Filters in Adjustment layers.
| | 01:07 | So I'll go ahead and bring up the
Adjustments panel and I'll click on this
| | 01:10 | little camera icon which
creates a Photo Filter layer.
| | 01:13 | Photoshop will switch you to the
Properties panel and you can see by default the
| | 01:18 | program wants to warm up the image.
| | 01:20 | Here's what you want to do, switch to
the Color option and then click on the
| | 01:24 | color swatch, in order to bring up the
Color Picker dialog box, and notice how it
| | 01:29 | starts off with the HSB values.
| | 01:31 | Go ahead and crank that brightness
value up to 100% and then change the
| | 01:36 | saturation to whatever the
saturation of the cast is.
| | 01:40 | In our case 26%, as we can actually
still see here inside the Color panel, then
| | 01:47 | you want to either add 180 degrees or
subtract a 180 degrees to the Hue value.
| | 01:53 | So you may be able to do that in your head,
| | 01:55 | if not, just use the
calculator in your celphone.
| | 01:58 | But in our case 32 plus 180 gives you
212 degrees, which is the shade of blue.
| | 02:05 | If your color cast value, the one you
lifted with the Eyedropper, has a Hue value
| | 02:10 | of more than 180 degrees, you
would substract the 180 instead.
| | 02:15 | These are the values that again work for us.
| | 02:17 | Now click OK in order to accept that color.
| | 02:20 | The next step is to crank the Density
value all the way up to 100% so we're
| | 02:26 | essentially compensating for the
undesirable color cast by applying its
| | 02:30 | complimentary color.
| | 02:32 | Now you want to make sure Preserve
Luminosity is checked, as it is by default, and
| | 02:36 | you'll end up with this effect here.
| | 02:38 | Now it's obviously better.
| | 02:39 | I'll turn the layer off.
| | 02:41 | We can see we've got a very warm color cast.
| | 02:44 | I'll turn the layer back on and the
color cast has been largely defeated.
| | 02:48 | The one problem is that we end up
depleting the Saturation values in the
| | 02:51 | image as well, and that's kind of
curious, because just as Photo Filter reduces
| | 02:57 | the Saturation values, you can see that
Color Balance increased the Saturation values.
| | 03:03 | So I'm going to show you how to adjust
saturation so that both of the images
| | 03:07 | look their best in the next movie.
| | Collapse this transcript |
| Adjusting color intensity with Vibrance| 00:00 | In this movie, we're going to increase
the saturation levels of the photo filter
| | 00:04 | image and reduce the saturation
levels of the color balance image using a
| | 00:09 | command called Vibrance, and notice
that my Photo Filter adjustment layer is
| | 00:14 | selected here in the Layers panel.
| | 00:16 | You can once again apply
Vibrance as an adjustment layer.
| | 00:20 | So I'll bring out my Adjustments
panel, and I'll click on this V icon for
| | 00:24 | Vibrance, and that switches me
once again to the Properties panel.
| | 00:28 | Now let me go ahead and scoot
the image over so we can see it.
| | 00:32 | You know how saturation works.
| | 00:34 | If you crank the Saturation value up,
you will get more garish colors.
| | 00:38 | And if you reduce the Saturation value
to its absolute minimum, you will end up
| | 00:43 | with a grayscale image.
| | 00:44 | I'm going to go ahead and
reset that value to 0 for now.
| | 00:48 | Vibrance is more selective.
| | 00:50 | It weights the low saturation colors
more than the high saturation colors.
| | 00:55 | So in other words, if you increase
the value, you're going to increase the
| | 00:59 | intensity of the low saturation colors
more than those of the high saturation colors.
| | 01:05 | If you reduce the Vibrance value, you
are going to take away vibrance from the
| | 01:10 | low saturation colors, and the only
colors that will remain are those that were
| | 01:15 | high saturation in the first place.
| | 01:17 | I'm going to go ahead and take that
value up to 50 and then I will tab to the
| | 01:22 | Saturation value and press Shift+Up
arrow a couple times to take it to 20.
| | 01:28 | So we end up with a much more vivid
colors, and I might be going a little bit too
| | 01:32 | far with this effect, but I
want the difference to be obvious.
| | 01:35 | So I'll hide the Properties panel for a moment.
| | 01:38 | This is the final image without the
saturation boost, and this is what it looks
| | 01:42 | like when we apply a
combination of vibrance and saturation.
| | 01:47 | Now let's scoot things over so we can
see the color balance image and I'll
| | 01:51 | click on the Color Balance adjustment
layer to make it active, and this time
| | 01:56 | around, I'll apply Vibrance using the
black white icon down here at the bottom
| | 02:00 | of the Layers panel.
| | 02:01 | But first press the Alt key or the
Option key on the Mac, and then click and hold
| | 02:05 | on that icon and choose the Vibrance
command, and this will force the display of
| | 02:10 | the New Layer dialog box.
| | 02:11 | I don't really care about the name.
| | 02:13 | However, you do want to turn on Use
Previous Layer to Create Clipping Mask.
| | 02:18 | That way the Vibrance adjustment will
affect the color balance image only.
| | 02:22 | Now I will click OK and this time I'm
going to take the Vibrance value down to
| | 02:27 | let's say -15 should do the trick.
| | 02:29 | We don't need to touch the Saturation value.
| | 02:33 | And now, I'll go ahead hide the
Properties panel and that ends up giving us some
| | 02:37 | more muted, natural colors.
| | 02:38 | Now let's compare all the images.
| | 02:41 | I'm going to press Shift+F to switch to
the Full Screen mode, and then Command+0
| | 02:45 | or Ctrl+0 to zoom out so that we
can take in all four of the images.
| | 02:50 | And where this image is concerned, the Auto
Tone and the Photo Filter adjustments end
| | 02:55 | up looking pretty similar to each other,
whereas the Auto Color and Color Balance
| | 02:59 | adjustments end up resembling
each other quite closely as well.
| | 03:03 | If I were to select any one of them, I
would probably go with the Color Balance
| | 03:07 | adjustment even though it was
the most difficult to pull off.
| | 03:11 | However, I stress every photograph is
different and your results are going to
| | 03:15 | vary depending on the character of
that photograph, which is why in the next
| | 03:19 | movie, we're going to leave Photoshop
for a moment and I will show you what is
| | 03:23 | possibly the most reliable method for
correcting color casts inside Camera Raw.
| | Collapse this transcript |
| Correcting color cast in Camera Raw| 00:01 | In this image, I'll show you how to
correct the color cast of an image with one
| | 00:05 | click inside Camera Raw.
| | 00:08 | But to do so, we'll need to switch to
that other application that ships along
| | 00:12 | with Photoshop, Bridge.
| | 00:14 | To make that happen, go up to the File
menu and choose Browse in Bridge, or press
| | 00:19 | Ctrl+Alt+O, Command+Option+O on the
Mac, and then navigate your way to the
| | 00:24 | 08_colors folder inside
the exercise_files folder.
| | 00:28 | You may see other images
than these in the folder.
| | 00:31 | That's because I'm
assembling the images as I go along.
| | 00:34 | Find the image called Tough boys.jpg,
right-click on it, and then choose Open
| | 00:40 | with Camera Raw, or if you prefer you
can press Ctrl+R or Command+R on the Mac,
| | 00:46 | and that will bring up the
image in the Camera Raw interface.
| | 00:49 | Notice at the top of the Basic panel we
have these White Balance controls which
| | 00:54 | allow us to control the
Temperature and Tint of the image.
| | 00:58 | So think about that circle of
colors I showed you earlier.
| | 01:01 | Temperature and Tint are straight lines
drawn through that color wheel and they
| | 01:05 | are perpendicular to each other.
| | 01:07 | So Temperature goes from cool blue to
warm, really orange actually, and then Tint it
| | 01:14 | goes from green to magenta.
| | 01:15 | Now on our case, we know the image
is too warm so we don't want to move
| | 01:20 | this control toward the yellow area, which
as you can see, is adding orange to the image.
| | 01:25 | Instead we want to remove the orange by
dragging the slider triangle toward the cool range.
| | 01:30 | We also have a little bit too much
magenta inside the image and so I could
| | 01:34 | extract some of that magenta by dragging
the slider triangle toward the green range.
| | 01:39 | So that's one way to work.
| | 01:40 | But here is the even better one-click solution.
| | 01:43 | If you go ahead and zoom in on your
image--if your image contains a neutral
| | 01:47 | element such as that pillow, I'll go
ahead and zoom in here and scroll up as well.
| | 01:53 | Then you can click on it
using the White Balance tool.
| | 01:56 | So select the third tool in, in the
upper left-hand corner of the window and
| | 02:00 | then click somewhere on the pillow to
automatically set the Temperature and Tint
| | 02:05 | values to what Photoshop
deems the best value as possible.
| | 02:09 | In my case, a single click gave me a
Temperature value of -36 degrees and a Tint value of -18.
| | 02:17 | I ended up tweaking those values a little.
| | 02:19 | I'm going to take the Temperature
value down to -40 and then I will take the
| | 02:24 | Tint value up to -15 like so.
| | 02:27 | So you can override the
settings as much as you like.
| | 02:30 | The point though is a single click
gets you in the right neighborhood.
| | 02:34 | Now it looks to me as if the
image is a little washed out.
| | 02:37 | So I'm going to click on this Whites
value, the fifth value down in the central
| | 02:41 | area, and I'm going to press Shift+Down
arrow, a total of five times in order to
| | 02:46 | reduce the Whites value to -50.
| | 02:48 | Then I want to bring back some of the
saturation so I'm going to increase the
| | 02:52 | Vibrance value to +20 like so
and we end up with this effect.
| | 02:57 | If you want to preview before and after,
you can turn on and off this Preview
| | 03:01 | check box or you can just press the P key.
| | 03:04 | So this is the original version of the
image and this is the modified version.
| | 03:09 | So you can see we have made a big
difference with very little effort.
| | 03:13 | Now I'm going to click on this Open
image button to open the image in Photoshop
| | 03:17 | and it appears in its own independent
window and I've set things up so that we
| | 03:22 | can compare this Camera Raw version of
the image to what I considered to be the
| | 03:26 | best modification that we
pulled off using color range.
| | 03:30 | So here is the Camera Raw image and
here is the Color Range image right there.
| | 03:35 | And for my part, I would say that the
Camera Raw version of the image is better.
| | 03:39 | Check out in particular the color of
Sam's hair which looks more of a dirty
| | 03:43 | blond, which is the way his hair
appears in real life as opposed to the color
| | 03:48 | balanced version of the image, which
is a little bit greenish by comparison.
| | 03:52 | So I'm going to say, at least where this
image is concerned, that Camera Raw wins the day.
| | 03:57 | Now there is one thing I want you to know
about images when you open them in Camera Raw.
| | 04:01 | I'll go up to the File menu and
choose Browse in Bridge again to return to
| | 04:05 | the Bridge and I'm going to increase
the size of that thumbnail so it takes
| | 04:09 | up the entire screen.
| | 04:11 | Notice not only this image is corrected,
but it has this little settings icon in
| | 04:15 | the upper right-hand corner.
| | 04:17 | Camera Raw always applies non
-destructive modifications.
| | 04:21 | So the actual pixels inside of
the image have not been harmed.
| | 04:24 | We've just applied a few
numerical settings on the fly.
| | 04:27 | However, were I to double-click on
Tough boys.jpg now, it's not going to open
| | 04:32 | up inside Photoshop.
| | 04:33 | It's going to open up inside Camera Raw instead.
| | 04:36 | That may or may not be the
way you want things to happen.
| | 04:39 | If not, go ahead and cancel out by clicking
the Cancel button in the lower left corner.
| | 04:45 | Let's return to the Bridge once again
and to get rid of the settings as well as
| | 04:50 | make the image open in Photoshop in
the future, right-click inside the
| | 04:54 | thumbnail, choose Develop Settings,
and then choose Clear Settings, and that
| | 04:59 | will go ahead and get rid of those
settings as well as get rid of that icon.
| | 05:03 | Now from now on, when you double-click in
the image, it will open directly inside
| | 05:07 | Photoshop as expected.
| | 05:09 | So that's entirely up to you.
| | 05:11 | Of course, you can now save your changes.
| | 05:14 | This is a flat file, so I can save it as
a JPEG image if I want to just by going
| | 05:19 | up to the File menu and choosing the
Save command, because it hasn't been saved
| | 05:24 | so far, and then I'll switch the file
format to JPEG and I will go ahead and
| | 05:29 | rename this image Camera Raw
boys and click the Save button.
| | 05:33 | Make sure that the Quality value is
set to its maximum of 12 and click OK.
| | 05:38 | And that's how you go about correcting
color casts, I would argue the simplest
| | 05:42 | and most reliable way, using Camera Raw.
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| The Hue/Saturation command| 00:01 | In this movie, I'll introduce you to
the final color adjustment command that we
| | 00:04 | will be seeing in this
chapter and that's Hue/Saturation.
| | 00:08 | I have created this demo file
called Spray paint cans.psd.
| | 00:12 | It's based on an image from the Fotolia
Image Library about which you can learn
| | 00:16 | more at fotolia.com/deke, and I've gone
ahead and added an inset version of that
| | 00:21 | Color Wheel, starting with red on the
right-hand side and wrapping around the
| | 00:25 | visible spectrum in a counter-clockwise fashion.
| | 00:28 | Now the colors are most highly
saturated around the perimeter and they become
| | 00:32 | increasingly less saturated
toward the center culminating in gray.
| | 00:36 | Now the first thing I'm going to do is
bring in my Adjustments panel, and then
| | 00:41 | I will click on the Hue/Saturation
icon which is right next door to Color
| | 00:44 | Balance and that brings
up the set of options here.
| | 00:48 | And for starters, we've got three sliders:
| | 00:50 | Hue, Saturation, and Lightness.
| | 00:52 | The Hue slider is perhaps the most
remarkable because if I drag it, you can see
| | 00:59 | all the colors in the image rotate
metaphorically, as well as quite literally
| | 01:04 | here inside the Color Wheel.
| | 01:05 | So check out that Color
Wheel as I modify the Hue value.
| | 01:10 | The colors are rotating
into different locations.
| | 01:13 | So what you're doing with this Hue
value is rotating all the colors inside of a
| | 01:18 | range from -180 degrees to +180
degrees over on the right-hand side.
| | 01:26 | I'll go ahead and reinstate that value to 0.
| | 01:29 | Your other option is to change the
saturation of the colors so you can make
| | 01:33 | those colors as vivid as humanly
possible, and notice when I crank that
| | 01:36 | Saturation value up to +100, even the
low saturation colors in the middle of the
| | 01:41 | wheel becomes saturated.
| | 01:44 | And of course, if I reduce the
Saturation value to -100, I end up changing the
| | 01:48 | entire artwork to grayscale.
| | 01:51 | Note by the way that we have this Reset
option at the bottom of the Properties
| | 01:55 | panel, and if you click that, you will go
ahead and reinstate all the values to 0.
| | 02:00 | The value that you're less likely
to use at least on a global scale is
| | 02:04 | Lightness, because notice if I reduce
the Lightness value, I'm compressing the
| | 02:09 | luminance range, so that white now
becomes the medium shade of gray, black stays
| | 02:14 | black, and everything else
gets crunched in between.
| | 02:17 | The opposite happens when you
increase the Lightness value.
| | 02:20 | So if I take the value up to +50%, then
what were formally black details inside
| | 02:25 | the image become 50% gray, and the rest
of the luminous range gets compressed.
| | 02:31 | So where this adjustment is concerned,
you're best off leaving the Lightness
| | 02:36 | option alone and adjusting Hue
and Saturation independently.
| | 02:40 | Meanwhile, you have what's
known as a Target Adjustment tool;
| | 02:44 | this little hand with a pointing finger.
| | 02:46 | And notice that it has two little
arrowheads that are pointing either left or right.
| | 02:51 | Well, here is how they work.
| | 02:53 | Let's say I want to modify the color intensity
of the green can independently of the others.
| | 02:58 | If I drag to the right, then I'm going
to increase the saturation of that can
| | 03:03 | and that can only, as well as any other
green details such as the reflections in
| | 03:09 | the neighboring cans.
| | 03:10 | If I drag to the left, then I'm going to
reduce the saturation of that green can
| | 03:15 | independently of the other colors,
and Photoshop even shows me that I'm
| | 03:19 | modifying the greens.
| | 03:21 | So instead of changing the master colors,
in other words, all colors inside the
| | 03:26 | image, I'm just changing
the greens and nothing more.
| | 03:30 | Notice that Photoshop divides the color
range into those same primaries that we
| | 03:34 | saw when working with color balance,
that is, we have reds, greens, and blues as
| | 03:39 | well as their complements, yellows in
the case of blues, cyans in the case of
| | 03:44 | reds and magentas in the case of greens,
and those are the primary colors in the
| | 03:48 | world of RGB imaging.
| | 03:52 | I'm going to go ahead and click on
that Reset button once again in order to
| | 03:55 | reinstate the saturation of that green can.
| | 03:58 | You can also use the Target
Adjustment tool to selectively modify hues.
| | 04:02 | So let's say I want to
change the color of the green can.
| | 04:05 | If I press the Ctrl key or the Command
key on the Mac, and drag to the right,
| | 04:10 | then I'm not only going to switch to
greens as you can see there on the panel,
| | 04:15 | but I'm increasing the Hue value which
goes ahead and rotates the colors in a
| | 04:19 | counter-clockwise fashion.
| | 04:21 | So in this case, I've replaced this
range of greens here inside the Color Wheel
| | 04:25 | as well as inside the can with blues,
even though we end up getting kind of a
| | 04:30 | purplish effect on screen.
| | 04:32 | If you want to rotate the hues in the
other direction, once again press the Ctrl
| | 04:35 | key or the Command key on the Mac, and
drag to the left instead and you will end
| | 04:40 | up applying a negative Hue value which
rotates the hues in a clockwise fashion,
| | 04:45 | so we're replacing that range
of greens with reds instead.
| | 04:49 | Then if we wanted higher saturation
reds, then you could just go ahead and
| | 04:53 | drag without pressing the Ctrl key or
the command key on the Mac, in order to
| | 04:57 | increase those Saturation values, and you
can see we've got something of an orange can.
| | 05:02 | If I want to make it red instead, I
would Ctrl+Drag, or Command+Drag a little
| | 05:07 | more to the left, and we
end up with this effect here.
| | 05:10 | Now, we have some choppy transitions
and that's because we made some very
| | 05:13 | aggressive modifications, as witnessed
by these values here inside the panel.
| | 05:17 | Usually, you don't go that far with
the edits, as I will show you when I
| | 05:21 | demonstrate a practical application
of this feature in the next movie.
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| Summoning colors where none exist| 00:00 | In this movie, I will show you how you
can use the Hue/Saturation command to
| | 00:04 | summon colors from an image that
you would swear don't exist at all.
| | 00:09 | This is a low-angle photograph that
I shot of this delightfully creepy
| | 00:13 | tree-house that's actually near my house,
and looking at the image, it appears
| | 00:18 | for all the world, black and white.
| | 00:20 | You can perceive a little bit of color
going on in the sky, but that's about it.
| | 00:25 | I'm going to switch over to the
Channels panel, so I can show you how
| | 00:28 | the channels compare.
| | 00:29 | So there's the Red channel, and here is the
Green channel, and here is the Blue channel.
| | 00:35 | So the three channels are
almost identical to each other.
| | 00:38 | When the channels are absolutely
identical, you have a grayscale image.
| | 00:43 | It's only when you have differences
between the channels that you get color.
| | 00:48 | So let's go ahead and switch back to
the RGB composite, and I'm going to switch
| | 00:52 | over to the Layers panel as well.
| | 00:55 | Now I will bring up the Adjustments
panel, and click on the Hue/Saturation
| | 00:58 | icon to switch over to the
Properties panel and gain access to my Hue and
| | 01:03 | Saturation controls.
| | 01:05 | Now I'm going to start things off just
by cranking the Saturation value all the
| | 01:10 | way to +100, and you can see, sure
enough, there are colors inside the image,
| | 01:16 | and now they are absolutely electric.
| | 01:18 | The problem is I'll go in and zoom in here.
| | 01:22 | You can see all this color noise, that
is, random variations in color between
| | 01:26 | neighboring pixels, that are non-
representative of the actual scene and that
| | 01:31 | invariably happens when you crank
the Saturation value up to its maximum.
| | 01:35 | But if I start nudging the value down,
you can see that the color noise starts
| | 01:41 | to disappear pretty quickly.
| | 01:43 | So if I take the saturation down to +90,
there's some lingering color noise to
| | 01:48 | be sure that's not nearly so obvious as
it was before, and once we go ahead and
| | 01:53 | zoom out, it's pretty darn minimal.
| | 01:55 | Now at this point, the woods
struck me as being a little too red.
| | 01:58 | So I clicked in the Hue value, and I
press Shift+Up arrow in order to make it
| | 02:03 | a little more orange and you can tell
which direction to go by taking a look
| | 02:07 | at that Color slider, because if we
were starting with something that was too
| | 02:11 | red in the first place, and we
want to scoot it over to orange, then
| | 02:15 | obviously, we want to make a positive
change because orange is to the right of
| | 02:20 | red inside the slider.
| | 02:22 | Now I figured I wanted to make
some selective changes using that
| | 02:25 | Target Adjustment tool.
| | 02:26 | So I'm going to start things off by
reducing the color of the sky because after
| | 02:31 | all, the sky was more colorful portion
of the image in the first place, and now I
| | 02:35 | think it's a little overwhelmingly so.
| | 02:37 | So I'm going to drag to left and that's
going to automatically switch me to the
| | 02:42 | blues there inside the Properties panel.
| | 02:44 | I will see that I've now managed to
reduce the Saturation value to -40.
| | 02:51 | Now the sky strikes me as a little
bit too purple, well if you look at the
| | 02:54 | Hue slider once again.
| | 02:56 | If we want to make it more blue, then
we need to reduce the Hue value, and I'm
| | 03:00 | going to do that by pressing the Ctrl
key or the Command key on the Mac and
| | 03:04 | dragging slightly over to left
until I arrive at a Hue value of -10.
| | 03:10 | I end up with a pretty decent effect here.
| | 03:13 | I'm going to hide the Properties
panel and zoom in just a little bit.
| | 03:17 | Now let's take a look at the
altogether different channels.
| | 03:20 | I will switch over to the Channels panel.
| | 03:22 | Here is the Red channel with this
bright tree trunk in the foreground, here is
| | 03:26 | the Green channel, and you can see that
the sky is brightening up at this point,
| | 03:30 | and then here is the Blue
channel with much darker tree details.
| | 03:34 | The tree house is darker as well and the
sky is quite bright, and it's those
| | 03:39 | differences between luminosity
levels inside the three channels that are
| | 03:43 | generating the actual color
saturation in the full color RGB composite.
| | 03:48 | That's how you use a Hue/Saturation
Adjustment layer to draw forth colors from a
| | 03:53 | seemingly colorless image.
| | 03:55 | So just imagine if the image appears to
have a little bit of color in the first
| | 03:59 | place, how much work you can get done.
| | 04:02 | In the next movie, we're going to make
this image that much more vivid using
| | 04:06 | the Vibrance command.
| | Collapse this transcript |
| Making more color with Vibrance| 00:00 | In this movie, we're going to further
increase the Saturation values using a
| | 00:05 | Vibrance Adjustment layer.
| | 00:07 | So let's say we are not entirely
satisfied with these more or less natural
| | 00:11 | colors that we are seeing now.
| | 00:13 | We want raging Disney colors.
| | 00:17 | Well we've already taken the
Saturation value as high as we can reasonably go
| | 00:20 | where the Hue/Saturation layer is concerned.
| | 00:23 | However, we can pile on a Vibrance
layer at this point without bringing out
| | 00:27 | anymore color noise.
| | 00:29 | Let me show you how that works.
| | 00:31 | I will switch over to the
Adjustments panel and then I will click on the
| | 00:34 | Vibrance icon in order to bring out
the Vibrance and Saturation sliders.
| | 00:39 | I'm going to reduce the size of my
panel a little, so I can see more
| | 00:43 | details inside the image.
| | 00:45 | The thing about the Saturation slider
where vibrance is concerned, is even though
| | 00:49 | it has the same name as the Saturation
slider associated with Hue/Saturation, it
| | 00:54 | works entirely differently.
| | 00:57 | I'm going to go ahead and crank the value up
to 100, and then let's zoom in on the image.
| | 01:03 | You can see while we are getting some
color noise, we're not seeing nearly the
| | 01:08 | kind of color noise we saw
where Hue/Saturation is concerned.
| | 01:13 | Also we don't get quite the
same degree of electric colors.
| | 01:17 | Certainly the colors are over the top
at this point, but they're not nearly so
| | 01:20 | garish as what we saw in the previous
movie when we cranked Hue/Saturations,
| | 01:25 | Saturation value to 100.
| | 01:27 | But here is something else to bear in mind.
| | 01:30 | It's a more subtle control.
| | 01:31 | If I were to turn the Hue/Saturation
layer off, notice the Saturation value by
| | 01:37 | itself does not really get anything done.
| | 01:40 | So you can't use this slider in order to
manufacture color from nothing, the way
| | 01:45 | you can with Hue/Saturation.
| | 01:47 | So it's just something to bear in mind.
| | 01:50 | I'm going to turn the Hue/Saturation
layer back on and I'm going to reduce this
| | 01:54 | Saturation value to 30.
| | 01:57 | Let's go ahead and zoom out just a little
bit so we can see more of the tree house.
| | 02:01 | Now then, I want to increase the
Vibrance value and I was telling you that
| | 02:05 | vibrance is more selective.
| | 02:06 | It's going to increase or decrease the
saturation of the least saturated colors
| | 02:12 | in the image more than
the most saturated colors.
| | 02:15 | Again, even if you crank that value up
to its absolute maximum of +100, we are
| | 02:20 | not bringing out an awful lot of color
noise and we are not exaggerating the bad
| | 02:25 | details inside the image.
| | 02:27 | We are to a certain extent,
but not nearly so much as we saw
| | 02:29 | with Hue/Saturation. All right,
| | 02:31 | I'm going to press Shift+
Down arrow a couple of times.
| | 02:34 | So in the end, I'm taking the Vibrance value
up to +80 and the Saturation value up to +30.
| | 02:40 | Now it strikes me that the tree is
just too darn yellow which makes sense if
| | 02:44 | it's being lit by yellow lights.
| | 02:47 | But I want to scoot it more toward orange.
| | 02:49 | So I'm going to click on the Hue/
Saturation layer there in the Layers panel
| | 02:53 | and Photoshop automatically swaps out
the Hue/Saturation controls here inside
| | 02:58 | the Properties panel.
| | 02:59 | I'll grab that Target
Adjustment tool once again.
| | 03:02 | And because I want to scoot from yellow
into orange, I'm going to want to drag
| | 03:07 | to the left, while
pressing the Ctrl key of course.
| | 03:10 | So I will press the Ctrl key,
Command key on the Mac, and then I'll drag
| | 03:15 | slightly to left to about there until
I get a Hue value of -10, like so, and I
| | 03:22 | end up achieving this final effect.
| | 03:24 | Once again, just to give you a sense of
what kind of difference this makes where
| | 03:28 | channels are concerned,
| | 03:29 | I'm going to switch over to the Channels panel.
| | 03:32 | This is now the Red channel.
| | 03:33 | So very bright foreground tree, some
relatively bright details going on in this
| | 03:38 | dark tree house and a dark sky as well.
| | 03:41 | This is the Green channel which also
has a bright tree in the foreground, a
| | 03:45 | darker tree house, and a brighter sky
and then this is a Blue channel which has
| | 03:49 | an incredibly dark tree house
and an incredibly bright sky.
| | 03:54 | And because we have so much contrast
between these various channels, especially
| | 04:00 | between the Red channel and the Blue
channel, we're getting all kinds of vivid
| | 04:05 | colors in the RGB composite image.
| | 04:08 | One more thing here, I really
want you to see it before and after.
| | 04:12 | So if I Alt+Click on the eye in front
of the background layer, this is what
| | 04:15 | the image looked like at the outset of the
previous movie, and this is how it looks now.
| | 04:20 | Thanks to the power of Hue/
Saturation and Vibrance working together
| | 04:25 | inside Photoshop.
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| Making a quick-and-dirty sepia tone| 00:01 | In this movie, I'll show you how to
create a quick-and-dirty sepia tone effect
| | 00:05 | using a Hue/Saturation
function that we haven't seen so far.
| | 00:10 | I'm looking at that final version of the
photograph that I created using Camera Raw.
| | 00:15 | I'm going to start things off by
bringing up the Adjustments panel and
| | 00:19 | clicking on the Hue/Saturation icon to
bring up the Hue/Saturation controls in
| | 00:24 | the Properties panel.
| | 00:25 | Notice this check box right there, Colorize;
| | 00:28 | it does exactly what it says.
| | 00:30 | Turn it on, and you will infuse the
image with the color that you described
| | 00:34 | using Hue and Saturation.
| | 00:36 | So if you want a highly saturated image,
you would crank that Saturation value way up.
| | 00:41 | Of course you wouldn't go nearly that far.
| | 00:45 | If you want a low Saturation image which is
more likely, you would take the value down.
| | 00:49 | I'm going to take the Saturation to 20.
| | 00:52 | The bigger question is, what
do you set the Hue value to?
| | 00:55 | Well now the Hue value is absolute.
| | 00:58 | So in other words, 0 is absolutely red.
| | 01:02 | If you want to look up a color, you can
grab that Hue locator.psd file once again.
| | 01:07 | I'm going to close my
Properties panel for a moment.
| | 01:10 | Then just select a color from the list.
| | 01:11 | Now sepia is going to fall
somewhere around the orange range.
| | 01:15 | I'm looking for a kind of amber color,
a little bit of yellow-infused orange.
| | 01:20 | So I'm going to go with a Hue value of 40%.
| | 01:23 | So I'll switch back to my image at hand,
double-click on the thumbnail for the
| | 01:27 | Hue/Saturation layer to
bring up the Properties panel.
| | 01:30 | Then I'll click inside the Hue value
and press Shift+Up arrow four times in a
| | 01:35 | row in order to get the sepia effect here.
| | 01:38 | But of course, you can select
something different if you like.
| | 01:41 | You could back off the value for more
of an orange effect, you could increase
| | 01:45 | the value for more of a
yellow effect or what have you;
| | 01:48 | 40 is what I'm looking for.
| | 01:50 | Now if you ask me, a true sepia tone
should look a little bolder where the
| | 01:55 | luminance levels are concerned.
| | 01:56 | So I'm going to return to the
Adjustments panel and click on the
| | 02:00 | Brightness/Contrast icon to
add a Brightness/Contrast layer.
| | 02:05 | I'm going to start by taking my
Brightness value down by clicking in that first
| | 02:09 | field and pressing Shift+Down
arrow three times in a row.
| | 02:13 | And then, I'll tab to the
Contrast value, and I'm going to press
| | 02:17 | Shift+Up arrow six times in a row in
order to increase that contrast until I
| | 02:22 | arrive at this final effect here.
| | 02:24 | And then I'll press the F key a
couple of times in order to fill the screen
| | 02:27 | with the image, just to give you
a sense for the before and after.
| | 02:31 | I'll press the F12 key in order to
revert the image, that's the full color image
| | 02:35 | as it appeared after we remove the color cast.
| | 02:38 | Then if I press Ctrl+C or Command+C on
the Mac, that's our bold high contrast
| | 02:44 | sepia tone, created using a very
basic combination of Hue/Saturation and
| | 02:49 | Brightness/Contrast adjustment
layers here inside Photoshop.
| | Collapse this transcript |
|
|
9. Select and EditMaking selective modifications| 00:00 | There are two ways to
modify an image in Photoshop;
| | 00:03 | you can edit the entire thing at once
known as a Global Modification, or you can
| | 00:09 | adjust a specific region
which is a Selective Modification.
| | 00:13 | Selective Modifications
have their obvious advantages.
| | 00:17 | You can change one area
while keeping another the same.
| | 00:21 | You can move part of an image to an
independent layer, or even into another
| | 00:25 | background, and you can create what's
called a Layer Mask which gives you an
| | 00:30 | unrivaled level of control over the
elements in your layered composition.
| | 00:35 | On the plus side, Selective
Modifications are one of the things Photoshop does
| | 00:39 | better than any other
imaging program on the planet.
| | 00:43 | On the minus, selecting a specific area,
for example, the exact contours of this
| | 00:49 | flower takes some effort. Not necessarily
a lot of manual labor, but at the very
| | 00:54 | least a deliberate approach.
| | 00:57 | Back on the plus side, Photoshop offers
three categories of selection tools to
| | 01:02 | make your job easier:
| | 01:03 | Geometric, Freeform, and Automated.
| | 01:07 | And I'll show you all three in this chapter.
| | Collapse this transcript |
| The geometric Marquee tools| 00:00 | In this chapter, we'll take this stock
image background and we'll use Photoshop
| | 00:05 | selection tools to add a variety of
image elements, and ultimately achieve this
| | 00:09 | final layered composition.
| | 00:12 | We're going to start things off by
using one of Photoshop's Marquee tools
| | 00:16 | to select this moon.
| | 00:17 | If you're working along with me,
switch to the image called Full moon.jpg.
| | 00:21 | It's found inside the 09_selection folder.
| | 00:24 | When you first launch Photoshop, by default,
the Rectangular Marquee tool is selected.
| | 00:30 | You can get to that tool at
any time by pressing the M key.
| | 00:33 | Rectangular Marquee, quite obviously allows
you to select rectangular areas just by dragging.
| | 00:40 | If you want to select an exactly
square area, then as you're dragging, not
| | 00:44 | before, but while you're dragging,
press and hold the Shift key like so, and
| | 00:49 | keep that key down until after you
release the mouse button and then you'll
| | 00:53 | have a perfect square.
| | 00:54 | Now once you've drawn a selection as
long as one of the selection tools is
| | 00:58 | active, you can move the selection to a
different location just by dragging it like so.
| | 01:04 | If you want to deselect the image, you
can either press Ctrl or Command+D which
| | 01:08 | is the shortcut for the Deselect
command under the Select menu, or you can just
| | 01:13 | click inside the image window.
| | 01:15 | If you click and hold on the
Rectangular Marquee tool, you'll see your other
| | 01:18 | Marquee tool options, including the
Elliptical Marquee tool which I'll show you
| | 01:22 | in a moment, and the Single
Row and Single Column tools.
| | 01:26 | Let me show you how those work just FYI.
| | 01:29 | If I grab the Single Row Marquee tool,
and I click inside the image, then I
| | 01:33 | create a selection that's exactly one
pixel tall and the entire width of the image.
| | 01:38 | By contrast, if I grab the Single
Column Marquee tool, and I click inside
| | 01:43 | the image, then I create a selection that's
exactly 1 pixel wide and the entire image tall.
| | 01:49 | Now, these aren't tools that I used very
often, but you may find them useful for
| | 01:54 | creating lines, and borders, and
that kind of thing.
| | 01:57 | All right, I'm going to press Ctrl+D or Command+D
on the Mac to deselect the image, and I'm
| | 02:01 | going to press the M key to
switch back to the Rectangular Marquee.
| | 02:05 | Now notice here in the flyout menu,
that both the Rectangular Marquee and the
| | 02:09 | Elliptical Marquee have keyboard shortcuts of M.
| | 02:13 | And so here's the idea.
| | 02:15 | If you want to switch back and forth
between the Rectangular and Elliptical
| | 02:18 | Marquee tools, then you press Shift+M.
So notice, if I press Shift+M once, I
| | 02:23 | go to the Elliptical Marquee tool, press Shift+M
again, I get the Rectangular Marquee tool.
| | 02:29 | I'm going to press Shift+M to get the
Elliptical Marquee tool, because I want
| | 02:32 | to select this moon.
| | 02:34 | I wanted to show you a few tricks
that work with the rectangular and
| | 02:37 | elliptical marquees.
| | 02:38 | Let's say I exactly want to select this moon.
| | 02:41 | I start dragging, but as you can see my
selection outline is out of alignment.
| | 02:46 | As you're dragging, while you have
your mouse-button down, you can press and
| | 02:50 | hold the spacebar in order to
move that marquee on-the-fly.
| | 02:54 | That way, you can get that selection
outline registered with the edges of the moon.
| | 02:59 | We kind of want to cheat in just a little bit.
| | 03:02 | Then once you get the selection in place,
go ahead and release the spacebar and
| | 03:07 | continue dragging in order to
scale that selection outline.
| | 03:11 | The moon happens to be pretty darn circular.
| | 03:14 | So you can press the Shift key as
you drag if you want to, to ensure that
| | 03:18 | you're selecting your perfect circle, and
ultimately, you should get something like this.
| | 03:22 | So once again, I'm cheating slightly
inside of the edge of the moon, so I don't
| | 03:27 | run the risk of selecting any of that black sky.
| | 03:30 | Now I want to show you one more way to work.
| | 03:32 | I'm going to press Ctrl+D or Command+D
on the Mac to deselect the image.
| | 03:37 | Let's say you want to select
the moon from the center outward.
| | 03:39 | The moon just so happens to be
exactly centered inside of this image.
| | 03:44 | Here's how you find the exact
center of an image in Photoshop.
| | 03:48 | You press Ctrl+A or Command+A on the Mac
to select the entire image, then you go
| | 03:54 | up to the Edit menu, and you choose the
Free Transform command, or you can press
| | 03:58 | Ctrl+T or Command+T on the Mac, and
now you can see a little target at the
| | 04:03 | center of the selection.
| | 04:04 | Next, go up to the View menu, and
choose the Rulers command or Press Ctrl+R or
| | 04:09 | Command+R on the Mac, and then you can
drag guidelines out from the ruler and
| | 04:15 | have them snap into
alignment with that center point.
| | 04:18 | Now if you can't see the guidelines
as you drag them out, it's because your
| | 04:22 | Guides are turned off and you have to
go to the View menu, choose the Show
| | 04:26 | command, and then choose Guides to turn on.
| | 04:28 | But my Guides are already on.
| | 04:31 | So I'm going to press the Escape key in order
to escape out of the Free Transform mode.
| | 04:36 | I'm going to press Ctrl+R or Command+R
on the Mac to hide the rulers and then
| | 04:40 | I'm going to press Ctrl+D or Command+D
on the Mac to deselect the image.
| | 04:45 | Now try dragging out from that center point.
| | 04:48 | Now don't press any keys at
this point, just start dragging.
| | 04:51 | Then after you begin the drag, press
and hold the Alt key or the Option key on
| | 04:56 | the Mac, and keep that key down, and
notice that you'll be drawing a selection
| | 05:01 | from the center outward.
| | 05:02 | Go ahead and press the Shift key as well.
| | 05:04 | So I have both the Shift
and Alt keys down on the PC.
| | 05:07 | If you're working on a Mac, make sure
you have both the Shift and Option keys
| | 05:10 | down, and then cheat that selection
inside the moon just a little bit, and
| | 05:15 | release in order to precisely
select that moon from the center out.
| | 05:20 | So again, that's another
way to work if you like.
| | 05:23 | Now let's copy the moon and
paste it into the background.
| | 05:26 | I'll go up to the Edit menu, and
choose the Copy command, or of course, you
| | 05:30 | can press Ctrl+C, Command+C on the Mac, and
then I'm going to switch over to the stock image.
| | 05:35 | So far, it doesn't contain any layers at all.
| | 05:37 | Then I'll go up to the Edit menu
and choose the Paste command or press
| | 05:41 | Ctrl+V, Command+V on the Mac, and we
end up with this moon right there in the
| | 05:45 | center of the image.
| | 05:46 | I'll go ahead and rename this new
layer moon, and we're done, for now anyway.
| | 05:52 | So that's how you use
Photoshop's Geometric Marquee tools.
| | 05:55 | In the next movie, we'll take the moon
and we'll make it look right at home in
| | 05:59 | its new environment.
| | Collapse this transcript |
| Aligning one image element to another| 00:01 | In this movie, we're going to
blend and adjust and scale the moon.
| | 00:04 | I'll also show you how to align a
couple of image elements in Photoshop.
| | 00:08 | Specifically, we're going to
align the moon to the tree.
| | 00:12 | Now if you've ever taken a look at the
moon during the daytime, you know that
| | 00:16 | it's brighter than the sky around it.
| | 00:18 | You don't see any of the brownish
coloring and the shadows of the moon don't
| | 00:21 | actually darken the sky.
| | 00:23 | So we need to apply a blend mode
that's going to make the moon brighter than
| | 00:26 | everything around it.
| | 00:28 | By clicking on the word Normal in the
upper left-hand corner of the Layers panel
| | 00:32 | and choosing the most useful of the
brightening modes, Screen and we end up
| | 00:36 | achieving this effect.
| | 00:37 | We don't have near enough contrast, so
what I want to do is maximize contrast
| | 00:42 | using a Brightness/Contrast adjustment layer.
| | 00:44 | So I'll press and hold the Alt key or
the Option key on the Mac and then drop
| | 00:49 | down to the Black/White icon at the
bottom of the Layers panel and choose the
| | 00:52 | Brightness/Contrast command.
| | 00:55 | Now because I had the Alt or Option
key down, that forces the display of the
| | 00:58 | New Layer dialog box.
| | 01:00 | I'll call this new layer Contrast,
and I'll turn on the Use Previous Layer
| | 01:03 | to Create Clipping Mask check box, so that
I'm affecting the moon and not the background.
| | 01:08 | Then I'll click OK.
| | 01:10 | You can see that the Adjustment layer
is clipped inside the moon, because it's
| | 01:14 | indented, and it has that little arrow.
| | 01:16 | Now I'll increase the Contrast
value all the way to 100, and then hide
| | 01:20 | the Properties panel.
| | 01:22 | So it's making a pretty
subtle difference so far.
| | 01:24 | If I turn the Contrast layer off,
this is how the moon looked before.
| | 01:28 | If I turn it back on, this
is what it looks like now.
| | 01:30 | Now I'm going to select the
moon layer to make it active again.
| | 01:34 | Let's say I want to move
it to a different location.
| | 01:36 | I could manually select the Move tool
which you can also get by pressing the V
| | 01:41 | key, but you can get the Move tool on
the fly when another tool is selected by
| | 01:46 | pressing and holding the Ctrl
key or the Command key on the Mac.
| | 01:49 | So if I have the Ctrl key down and I
drag the moon, then I can move it to a
| | 01:53 | different location, such as for
example this upper-left region of the sky.
| | 01:58 | We have a few remaining problems with the moon.
| | 02:02 | It's too big, it's covering up some
clouds, and it's bizarrely colorful.
| | 02:07 | So we have some remnants of that
brown mixing in with the blue sky.
| | 02:10 | If you want to neutralize the colors of
a layer, then go up to the Image menu,
| | 02:14 | choose Adjustments, and then choose
the Desaturate command, and that will go
| | 02:19 | ahead and leach all those colors away,
so we're seeing the luminance of the moon
| | 02:24 | mixed in with the blues of the sky.
| | 02:26 | All right, now let's scale the moon by
going up to the Image menu and choosing
| | 02:31 | the Free Transform command or you
can press Ctrl+T, Command+T on the Mac.
| | 02:36 | If you want to scale the moon
proportionally with respect to its center, you
| | 02:40 | press both the Shift+Alt keys or the Shift+
Option keys on the Mac, and drag a corner handle.
| | 02:45 | So it's the same keys that we used to
draw an ellipse outward from the center
| | 02:49 | in the previous movie.
| | 02:51 | I want to go ahead and take the size of
the moon down to 25% of its former size.
| | 02:55 | So I'm going to click on this Chain
icon between the W and H values to lock
| | 02:59 | down the proportions.
| | 03:01 | Then I'll click on the W to select its
numerical value, and I'll change it to
| | 03:04 | 25% and then I'll press the Enter key a
couple of times in order to invoke that change.
| | 03:10 | Now you can move this moon pretty much
anywhere in the sky and it looks pretty
| | 03:14 | darn natural as long as you don't put
it in front of a cloud or the tree or on
| | 03:18 | the ground or something like that.
| | 03:19 | I want it to be somewhere over in this region.
| | 03:23 | And just to ensure that you and I are
getting the same results, let's go ahead
| | 03:26 | and align the moon to the tree like so.
| | 03:30 | Make sure your Rectangular Marquee tool
is selected, then go up to the Options
| | 03:34 | Bar and switch Style from Normal to
Fixed Size and that allows you to dial in a
| | 03:39 | size for your rectangle and pixels.
| | 03:42 | I'm going to click on the Width value to
select it, and then enter 420, then tab
| | 03:47 | over to the Height value, and enter 580.
| | 03:50 | You may wonder why these values?
| | 03:52 | Well just because they end
up working for this example.
| | 03:55 | Now press the Enter key or the Return key on
the Mac, and I'll click inside the image window.
| | 04:00 | I'm actually dragging to move the
marquee around, and notice that I can't change
| | 04:04 | its size because it has a fixed size
now of 420 pixels wide by 580 pixels tall.
| | 04:09 | I'm going to move that marquee over
until it surrounds the tree, and it aligns
| | 04:14 | to the base of the trunk.
| | 04:16 | And now with the moon layer selected
inside the Layers panel, I'll click on the
| | 04:19 | Move tool at the top of
the toolbox to select it.
| | 04:22 | Then I'll click on the first align icon,
Align top edges to move the moon down,
| | 04:28 | and I'll click on the last align icon,
Align right edges to move the moon over.
| | 04:33 | Now press Ctrl+D or Command+D
on the Mac to deselect the image.
| | 04:38 | With the Move tool selected, I want you
to press Shift+Right arrow to nudge the
| | 04:42 | moon to the right 10 pixels.
| | 04:44 | And as you can see, if you look at
the final composition, that is the exact
| | 04:48 | final placement of the moon.
| | 04:49 | That's how you go about blending a
layer with its new environment, and aligning
| | 04:55 | one image element to
another here inside Photoshop.
| | Collapse this transcript |
| The freeform Lasso tools| 00:00 | In this movie, we're going to begin the
process of creating these rays coming out
| | 00:04 | of the moon, not something you see
very often, but a pretty cool effect.
| | 00:08 | And we're going to do so
using the Polygonal Lasso tool.
| | 00:11 | And we're going to start things up
by drawing these rays outward from the
| | 00:15 | center of the image.
| | 00:16 | So I'm going to zoom out slightly here
and press Ctrl+A or Command+A on the Mac
| | 00:21 | in order to select the entire image.
| | 00:22 | We're going to use that same
trick where we find the center point.
| | 00:25 | I'll press Ctrl+T or Command+T on the
Mac to enter the Free Transform mode
| | 00:29 | or press Ctrl+R or Command+R on the
Mac to bring up the Rulers and I'll drag
| | 00:36 | guidelines, both the Horizontal guide
and the Vertical guide out from the rulers.
| | 00:41 | Again, if you can't see those guidelines,
go the View menu and choose Show and
| | 00:45 | then choose the Guides command and turn it on.
| | 00:48 | Having created the Guides, I'll press
the Escape key in order to escape out of the
| | 00:51 | Free Transform mode.
| | 00:52 | I'll press Ctrl+D or Command+D
on the Mac to deselect the image.
| | 00:56 | And then, I'll press Ctrl+R or Command+R
on the Mac in order to hide the rulers.
| | 01:02 | Notice directly below the
Marquee is the Lasso tool, which you can get
| | 01:05 | by pressing the L key.
| | 01:07 | And the Lasso tool allows you to draw
Free Form selections like so, which means
| | 01:13 | that you have to be pretty darn gifted,
especially if you're using a mouse to
| | 01:17 | draw a reasonable looking selection outline.
| | 01:20 | I use the tool very rarely, with one big
exception, I'm going to press Ctrl+D or
| | 01:25 | Command+D on the Mac to deselect the image.
| | 01:28 | Where the Lasso tool really
shines is when you're creating straight
| | 01:31 | sided selection outlines.
| | 01:32 | So for example, as long as there is no
selection active, you can press and hold
| | 01:37 | the Alt key or the Option key on the Mac,
| | 01:39 | and as long as you keep the key down,
you can click with the tool in order to
| | 01:43 | draw a straight sided selection like so,
and this can be very useful indeed,
| | 01:49 | especially when you consider that after
you get done roughing in a straight edge
| | 01:52 | selection outline, you can go out to
the Select menu, choose Modify and then
| | 01:57 | choose Smooth, in order
to round off the corners.
| | 02:01 | But what we're going to do
is create a series of rays.
| | 02:04 | Let me show you what that looks like.
| | 02:06 | I'm going to zoom out even more from this image.
| | 02:09 | Press Ctrl+D or Command+D on
the Mac to deselect the image.
| | 02:12 | And I'm going to start right there at
the center where the guidelines intersect,
| | 02:16 | and I'll press the Alt key
or the Option key on the Mac.
| | 02:19 | And then I will click out here in
the pasteboard and then, I'll click at
| | 02:23 | a second point, like so, and then I'll release
and that goes ahead and draws a little triangle.
| | 02:30 | Now I'm going to zoom back in for a
moment just so that we can see things a
| | 02:33 | little more closely.
| | 02:34 | Once you have a selection outline in
place, the Shift and Alt key start to
| | 02:38 | serve different purposes.
| | 02:40 | So if you press the Shift key and
drag with the Lasso tool, you add to the
| | 02:45 | selection, as you see here.
| | 02:47 | If you press the Alt key or the Option
key, notice that you get a little minus
| | 02:51 | sign next to your cursor.
| | 02:52 | And then, if you drag around, you
subtract from your selection outline.
| | 02:57 | And if you press both the Shift and
Alt Keys at the same time, that would be
| | 03:01 | Shift+Option on the Mac, you end up
with a little X next to your cursor, in
| | 03:06 | which case you can drag around an area
to keep just the portion of the selection
| | 03:12 | that falls inside your drag.
| | 03:14 | So in other words, you're
keeping the intersected area.
| | 03:17 | And as a result, I end up losing my ray.
| | 03:19 | Well of course I don't want that.
| | 03:22 | So I'll press Ctrl+Z or Command+Z on
the Mac in order to undo that change.
| | 03:27 | I have my ray back as you can see, so
every selection maneuver is undoable.
| | 03:33 | And you can even press Ctrl+Alt+Z or
Command+Option+Z on the Mac to back step
| | 03:38 | through your selections.
| | 03:39 | So selections are tracked by history as well.
| | 03:42 | Now the upshot of all this is I
can't just start Alt+Clicking or
| | 03:45 | Option+Clicking with the Lasso to add
more rays, because if I do, I'll subtract
| | 03:50 | from my existing ray.
| | 03:52 | Instead I need to switch over to the
Polygonal Lasso tool and I'll show you how
| | 03:56 | that works in the next movie.
| | Collapse this transcript |
| Polygonal Lasso tool and Quick Mask| 00:00 | In this movie, I'll show you how to
use the Polygonal Lasso tool to build the
| | 00:04 | rays that are emanating out of the
moon inside the final composition.
| | 00:09 | I'm still working away inside Daytime moon.psd.
| | 00:13 | We have one triangular ray that we've
created so far and we're going to create
| | 00:17 | the other ones using the Polygonal Lasso.
| | 00:20 | To get to it, go up to the Lasso tool
flyout menu, Click+Hold and choose the
| | 00:25 | Polygonal Lasso tool from the flyout menu.
| | 00:27 | You can also press Shift+L. And then
you need to press the Shift key so that
| | 00:32 | you get a little plus sign next to
the horned lasso cursor and that tells you
| | 00:36 | that you'll end to the existing
selection outline, then click at the center of
| | 00:40 | the image where the guidelines intersect.
| | 00:43 | And once you've clicked, you can
release the Shift key, you only have to press
| | 00:46 | it right there at that first click point.
| | 00:48 | And notice that I've click the
second time out here in the pasteboard.
| | 00:52 | And then at the third point, I can just
double-click in order to finish the selection.
| | 00:57 | And then I would Shift+Click again
at the center, click out here in the
| | 01:00 | pasteboard, double-click in order
to create another ray and so forth.
| | 01:04 | You may find it inconvenient to have to
press the Shift key over and over again
| | 01:09 | and that's what these icons are for, up
here at the outside of the Options Bar.
| | 01:13 | They allow you to apply so
called Selection Calculations.
| | 01:17 | Now, the first one which is
selected by default reads New Selection.
| | 01:20 | So if you click without holding a key,
you'll deselect the existing area and
| | 01:24 | start a new selection.
| | 01:26 | However, if you move over to the second
icon, notice that it reads Add to Selection.
| | 01:30 | Go ahead and click on it to select it
and now you don't have to press the Shift
| | 01:33 | key anymore because your cursor
automatically has a plus sign.
| | 01:37 | You can click at the center, click on
the pasteboard, double-click, and then
| | 01:41 | click in the center, click out
here in the pasteboard, double-click.
| | 01:44 | And we're keeping it random the whole
time, so sometimes you want slim little
| | 01:48 | triangles like so, and other times
you want thicker triangles, and you want
| | 01:53 | different amounts of space between
each one of these rays and so forth.
| | 01:57 | Now it might be a little tedious
watching me create these things, which is why
| | 02:00 | I've gone ahead and saved the
selection along with the image.
| | 02:03 | I'm going to load it up by going up
to the Select menu and choosing the
| | 02:06 | Load Selection command.
| | 02:09 | And then inside the Load Selection
dialog box, if you are working along with me,
| | 02:12 | make sure Document is set to the
document you're working inside of, and then
| | 02:16 | make sure Channel is set to half rays.
| | 02:19 | Now these should all be set this way by default.
| | 02:21 | The Invert check box should also be off
and Operation should be set to New Selection.
| | 02:26 | If all that is true, then just go
ahead and click OK in order to load up
| | 02:30 | that selection outline.
| | 02:31 | Now notice that I've only selected
the top half of the image, and that's
| | 02:35 | because I decided drawing half the
rays was enough and I could go ahead and
| | 02:39 | duplicate the selection and rotate it a
180 degrees to create the rest of the rays.
| | 02:45 | But to do that, you have to enter a
special mode called the Quick Mask mode.
| | 02:49 | And you can switch to the Quick Mask
mode by clicking on this Edit in Quick Mask
| | 02:53 | Mode icon down here towards the bottom
of the toolbox, and notice that it looks
| | 02:57 | like a dotted circle inside of a rectangle.
| | 03:00 | Go ahead and click on it and
you see this Rubylith Overlay.
| | 03:04 | And here's what it means, anywhere
that you see the red overlay, that's a
| | 03:08 | deselected region of the image.
| | 03:10 | Wherever you don't see the
red overlay, is selected.
| | 03:14 | Now I'm going to select the top half for
this mask using the Rectangular Marquee tool.
| | 03:18 | Now if you're working along with me,
make sure to change the Style Setting from
| | 03:23 | Fixed Size back to Normal so you
can draw an unconstrained rectangle.
| | 03:27 | And then go ahead and select the
entire top region of the image, all the way
| | 03:31 | down to the horizontal guideline.
| | 03:33 | Now at this point, we need to rotate
the selection using the Free Transform
| | 03:37 | command, and you may have recalled me
mentioning that the Free Transform command
| | 03:41 | under the Edit menu has a keyboard
shortcut of Ctrl+T or Command+T on the Mac.
| | 03:46 | If you add the Alt key or the Option
Key on the Mac, you go ahead and duplicate
| | 03:51 | the selection as well.
| | 03:53 | And so, in order to make this
work we have to use the shortcut.
| | 03:57 | And so, I'm going to Escape out of the
menu and press Ctrl+Alt+T here on the PC,
| | 04:02 | that would be Command+Option+T on the Mac.
| | 04:04 | And then, I'll zoom in just a little bit here.
| | 04:07 | Notice that target right there
at the center of the selection?
| | 04:09 | I want you to drag it down so that
it snaps into alignment with the guide
| | 04:14 | intersection, right there at the bottom handle.
| | 04:17 | And that indicates the center of our rotation.
| | 04:20 | Now I'll right-click inside the image
and choose 180 degrees and you'll end up
| | 04:25 | rotating and duplicating those spikes.
| | 04:27 | Now you can press the Enter key or
the Return key on a Mac in order to
| | 04:31 | complete the transformation and
press Ctrl+D or Command+D on the Mac to
| | 04:35 | deselect the image.
| | 04:37 | Now we need to convert the mask back
into a selection outline and you do that by
| | 04:42 | dropping down to that icon at the
bottom of the toolbox once again.
| | 04:45 | Now it says Edit in Standard mode.
| | 04:47 | Go ahead and click on it.
| | 04:49 | And so, the marching ants and the Quick
Mask mode are just two different ways to
| | 04:53 | look at the selection outline.
| | 04:54 | And incidentally, you can switch between
them from the keyboard by pressing the Q key.
| | 04:59 | So tap the Q key to go to into the
Quick Mask mode, tap it again to exit the
| | 05:04 | Quick Mask mode and see the marching ants.
| | 05:07 | And that's how you create a straight
-sided selection outline using the
| | 05:10 | Polygonal Lasso tool.
| | 05:12 | And as you can see, you can make your
selection outlines as intricate, not to
| | 05:16 | mention, accurate, as you like.
| | Collapse this transcript |
| Cropping one selection inside another| 00:00 | In this movie, I'll show you how to
find the intersection of two selections
| | 00:04 | which allows you to effectively use
one selection outline to crop another.
| | 00:09 | This may be the most challenging
movie in this course, just in terms of the
| | 00:14 | number of keys you have to press and so forth.
| | 00:17 | So we're going to start things off with
a little bit of a rehearsal, so you can
| | 00:20 | understand what's going on.
| | 00:22 | We're just going to find the
intersection of a square selection outline and a
| | 00:27 | circular selection outline.
| | 00:29 | So I'm going to start by dragging from
the intersection of the two guides like so.
| | 00:33 | Notice that I'm drawing my
Marquee from corner to corner.
| | 00:36 | If while I'm dragging, I press and hold
and the Alt key or the Option key on the
| | 00:41 | Mac, then I immediately start
drawing from the center outward.
| | 00:45 | And if I press the Shift Key, I'll
also constrain my shape to a square.
| | 00:49 | If I want that to remain the case,
I have to keep those keys down.
| | 00:52 | If I release the keys, then I go back
to the corner-to-corner behavior and I'm
| | 00:57 | drawing a rectangle instead of a square.
| | 00:59 | So I'll press both Shift+Alt or Shift
+Option on the Mac, then release my
| | 01:04 | mouse button and then release the keys in
order to draw a square from the center outward.
| | 01:10 | Now let's say I just want to keep those
portions of that square selection that
| | 01:14 | fall inside the moon.
| | 01:15 | So I'll go ahead and grab
my Elliptical Marquee tool.
| | 01:19 | And I was telling you, if you press
the Shift key, then you'll get a little
| | 01:23 | plus sign next to your cursor, which shows you
that if you drag, you'll add to the selection.
| | 01:28 | That's of course not what we want.
| | 01:30 | So I'll press the Ctrl+Z
or Command+Z on the Mac.
| | 01:33 | If you press the Alt key or Option key
on the Mac, you'll get a little minus
| | 01:36 | sign which means that if you drag,
you'll subtract from the selection, which is
| | 01:40 | also not what we want.
| | 01:42 | So I'll go ahead and press
Ctrl+Z or Command+Z again.
| | 01:45 | If you press both Shift+Alt or Shift+
Option on the Mac, then you get a little X
| | 01:50 | which means you're going to find the
intersection of two selection outlines.
| | 01:54 | That's what we want.
| | 01:55 | So I will begin dragging from the center
once again while pressing the Shift+Alt
| | 02:00 | keys or the Shift+Option keys on the Mac.
| | 02:02 | However, notice that my
Ellipse begins at the guidelines.
| | 02:05 | I want it to be centered on the guides.
| | 02:08 | So this is a tricky part.
| | 02:09 | You keep the mouse button down and you
release the keys, then you immediately
| | 02:14 | repress the Alt key or the Option key
on the Mac, and all of a sudden you're
| | 02:19 | drawing the selection
outline from the center out.
| | 02:21 | If you want to draw a circle,
then you repress that Shift Key.
| | 02:25 | So in order to do what I'm doing here,
I had to release the Shift+Alt keys or
| | 02:30 | the Shift+Option keys in the Mac, keep
the mouse button down and repress those
| | 02:34 | exact same keys, Shift+Alt on
the PC, Shift+Option on the Mac.
| | 02:39 | Keep those keys down, release the
mouse button, and then release the keys and
| | 02:44 | that's how you create a selection outline
in the shape of a square inside of a circle.
| | 02:49 | And just to confirm that's the case
because it's a little more obvious this way,
| | 02:53 | I'll press the Q key in order
to switch to the Quick Mask mode.
| | 02:56 | So the reason we rehearse that is
because things get a little trickier when we
| | 03:00 | have a bunch or marching
ants all over the screen.
| | 03:03 | Just to give you a sense
of where were going here;
| | 03:05 | I'll switch to the final
version of the composition.
| | 03:07 | Notice this hidden rays
layer inside the Layers panel?
| | 03:11 | If you Alt+Click or Option+Click on
the square in front of that layer, you'll
| | 03:15 | see what we're trying to create.
| | 03:17 | So I want to create a series of rays
that are cropped inside of an ellipse,
| | 03:21 | which means the first thing we need to
do is take our ray selection outlines and
| | 03:26 | crop them inside of an
elliptical selection outline.
| | 03:29 | So let's try it out here.
| | 03:31 | I'm going to switch back to the image
at hand, which is still Daytime moon.psd.
| | 03:35 | I'm going to zoom in so I
could better see what I'm doing.
| | 03:39 | What I want to do is start at that
guide intersection, but I can barely see it
| | 03:43 | for all these marching ants.
| | 03:44 | So I'm going to hide everything for a
moment by pressing Ctrl+H or Command+H on
| | 03:49 | the Mac, so that hides all the screen
folder, all my selection outlines, my
| | 03:53 | guides and so forth.
| | 03:55 | The image is still selected,
so don't worry about that.
| | 03:57 | If I press Ctrl+H or Command+H
again, everything comes back.
| | 04:01 | Anyway, I'll press Ctrl+H
or Command+H on the Mac.
| | 04:04 | Now I need to bring back my guidelines
by going to the View menu, choosing the
| | 04:08 | Show command and then choosing Guides,
and that will bring those guides back up.
| | 04:13 | So now, I at least have a
starting point for my Elliptical Marquee.
| | 04:18 | Now the Elliptical Marquee tool is still
selected, I'll press the Shift+Alt keys
| | 04:23 | or the Shift+Option keys on the Mac,
notice I get a little X next to my cursor,
| | 04:27 | and I'll begin dragging.
| | 04:28 | But notice, rather than getting an
ellipse that's centered on the guides, I have
| | 04:32 | one that's resting against and on the guides.
| | 04:36 | I'll keep my mouse button down,
I'll release the Shift+Alt keys or the
| | 04:39 | Shift+Option keys on the Mac, and
then I'll repress the Alt key or the
| | 04:43 | Option key on the Mac.
| | 04:44 | We don't need Shift anymore, because
we're not drawing a circle, but I do need
| | 04:49 | to keep that Alt or Option key down.
| | 04:51 | And notice that I'm moving the ellipse
outwards, so it's about three quarters
| | 04:55 | away into the tree and up into the sky quite
a bit as well, and nearly touching the moon.
| | 05:00 | So it's just down into the left of the
moon a little bit, and then I'll release
| | 05:04 | the mouse button, and then I'll
release the Alt or Option key.
| | 05:08 | And I end up getting exactly the
effect I'm looking for, which is a series of
| | 05:13 | ray shaped selection outlines
cropped inside of an ellipse.
| | 05:18 | Now let's take what we've
made and turn it into a layer.
| | 05:21 | Go ahead and click on the background to
make sure it's active here in the Layers
| | 05:24 | panel and then we'll create a new layer
by going up to the flyout menu icon and
| | 05:28 | choosing the New Layer command.
| | 05:31 | And I'm going to call this new
layer rays and then click OK.
| | 05:35 | And now, we need to fill the selection
with white and we can do that by going up
| | 05:39 | to the Edit menu and choosing the Fill command.
| | 05:43 | And then inside the Fill dialog box,
change Use from Content Aware to the
| | 05:47 | very last option, White.
| | 05:49 | And make sure the Blending options
are set to the default, that is mode,
| | 05:53 | Normal, Opacity 100%, Preserve
Transparency off, and click OK, and we end up
| | 05:59 | getting our base rays.
| | 06:00 | Now you can press Ctrl+D or Command+D on
the Mac in order to deselect the image.
| | 06:05 | And that friends, is how you
effectively crop one selection outline inside of
| | 06:10 | another by finding the
intersection of two selections.
| | Collapse this transcript |
| Creating rays of light| 00:00 | In the movie, we're going to take
those base rays that we created using the
| | 00:04 | Lasso and Marquee tools and we're going
to turn them into rays of light using a
| | 00:08 | filter called Radial Blur.
| | 00:11 | Now this step has nothing to do with
selection outlines but it's a really cool trick.
| | 00:15 | I'm going to start off by
zooming out a little bit.
| | 00:18 | Now I need more room to work in
order to pull off this technique.
| | 00:22 | So I'm going to expand the
canvas using the Canvas Size command.
| | 00:26 | Go up to the Image menu and choose Canvas Size.
| | 00:30 | And then inside the Canvas Size dialog
box, change the unit of measure to Pixels.
| | 00:36 | Now I want to add 1,000
pixels horizontally and vertically.
| | 00:40 | So rather than trying to do the math,
I'm just going to enter in relatives
| | 00:43 | values by turning on the Relative
check box, then I'll click on Width and
| | 00:48 | change that value to 1,000, press the
Tab key a couple of times here in the
| | 00:52 | PC, just once on the Mac, and change the
Height value to 1,000 as well, and then click OK.
| | 00:59 | And you can see how that
expands the overall size of the image.
| | 01:03 | Now with the Rays Layer selected, go
up to the Filter menu, choose Blur and
| | 01:08 | then choose the Radial Blur command.
| | 01:12 | Radial Blur is one of Photoshop's
old school filters, meaning that it
| | 01:15 | doesn't provide a preview.
| | 01:16 | So you need to make sure that this
Blur Center item is centered, so that
| | 01:21 | dot right there should be absolutely at
the center of the square as it is by default.
| | 01:27 | If it isn't for you, drag it
around until it looks right.
| | 01:30 | And then I want you to switch the Blur
Method to Zoom and crank the Amount value
| | 01:35 | up to its maximum, which is 100, then
click OK and you'll end up zooming the
| | 01:40 | rays outward as you see here.
| | 01:43 | Now we need to repeat the filter a few times.
| | 01:45 | If you go up to the Filter menu,
you'll notice that the first command is now
| | 01:49 | Radial Blur and it has a keyboard
shortcut of Ctrl+F or Command+F on the Mac.
| | 01:54 | I'm going to use that keyboard shortcut
because that's the easiest way to work.
| | 01:58 | So I'll press Ctrl+F or Command+F once
and then twice, and then the third time,
| | 02:04 | and then finally, a fourth time.
| | 02:06 | So you want to repeat that filter four
times after applying it in the first place.
| | 02:11 | Now we want to add a little bit of blur
around each one of the rays of light and
| | 02:15 | you do that by repeating that filter
again, except with different settings.
| | 02:20 | And that means making the dialog box
come back up on screen, and you do that by
| | 02:25 | pressing Ctrl+Alt+F here on the
PC or Command+Option+F on the Mac.
| | 02:30 | Inside the Radial Blur dialog box,
reduce the amount value to five and change
| | 02:35 | the Blur Method to Spin and then
click OK, and those are our final rays.
| | 02:42 | Now we need to restore
our original canvas size.
| | 02:45 | So go up to the Image menu and
choose the Canvas Size command again.
| | 02:49 | The Relative check box should still be on.
| | 02:52 | You need to change the units back to
Pixels again, then click on the word Width
| | 02:56 | and change it to -1000 this time.
| | 02:59 | Tab your way to the Height value and
change it -1000 as well and then click OK.
| | 03:05 | Photoshop will bring up an alert
message telling you that the new canvas size
| | 03:09 | is smaller than the current canvas
size, we already knew that, and some
| | 03:12 | clipping will occur.
| | 03:13 | Well that's not actually technically true.
| | 03:16 | We are going to end up clipping away
pixels from the background, but that's
| | 03:20 | okay, because we'll just be
clipping those white pixels away.
| | 03:23 | The independent layers will be unaffected.
| | 03:25 | They'll continue to be
the same size they are now.
| | 03:28 | So go ahead and click the Proceed
button to nondestructively crop the canvas.
| | 03:33 | All right, I'm going to zoom back in.
| | 03:34 | We don't need the guides anymore, so you
can either hide them or get rid of them.
| | 03:40 | If you want to delete them, then go
up to the View menu and choose the
| | 03:43 | Clear Guides command.
| | 03:45 | Now I want to move the rays so that
they're centered on the moon and I'll do
| | 03:48 | that by pressing and holding the
Ctrl key or Command key on the Mac to
| | 03:52 | temporarily get the Move tool.
| | 03:54 | And then I'll drag the rays so that
they more or less appears centered inside
| | 03:58 | of that moon, like so.
| | 04:01 | And now, the great thing is you can move
that moon and the rays together, if you
| | 04:04 | like, by going over to the Layers panel
and Shift+Clicking on the moon layer, so
| | 04:09 | both rays and moon are selected.
| | 04:11 | And now, if you press the Ctrl key or
the Command key on the Mac and drag,
| | 04:15 | then you can move the moon and
the rays to any location inside your
| | 04:19 | composition that you like.
| | 04:21 | However, before I get too carried away,
I'm going to go ahead and press Ctrl+Z
| | 04:25 | or Command+Z on the Mac to undo that
move, because this is exactly where I
| | 04:29 | want these items to be.
| | 04:31 | So that's how you create a ray of
light effect using the Radial Blur filter.
| | 04:35 | Our next step is to mask the rays behind
the tree, and we'll do that using a few
| | 04:41 | of Photoshop's automated selection functions.
| | Collapse this transcript |
| Quick Selection and Similar| 00:00 | In this movie, we're going to select
the ground and the tree using a pair of
| | 00:04 | automated selection tools inside Photoshop.
| | 00:07 | The Quick Selection tool
and the Similar command.
| | 00:10 | And I'm going to switch to the
Quick Selection tool which is located
| | 00:13 | directly under the Lasso.
| | 00:14 | Notice that it has a keyboard
shortcut of W and that's because the Quick
| | 00:18 | Selection tool shares a
flyout menu with the Magic Wand.
| | 00:22 | After selecting the tool, I'll go
up to the Options Bar and turn on the
| | 00:26 | Auto Enhance check box.
| | 00:28 | That's very important to
the performance of this tool.
| | 00:31 | When Auto Enhance is turned off,
you get very choppy, ragged edges.
| | 00:35 | When it's turned on, you get smooth edges.
| | 00:38 | Theoretically, that might cause a
performance hit where Photoshop is concerned,
| | 00:42 | but I've never experienced one,
and you do get much better results.
| | 00:46 | Now notice that I have this little
Ghostbuster's cursor, and that's telling
| | 00:50 | me that I can't currently use the
tool and that's because I have two layers
| | 00:53 | selected in the Layers panel.
| | 00:55 | You can only edit one layer
at a time in Photoshop.
| | 00:58 | And the layer I want to edit is the background.
| | 01:00 | So I'll go and click on the background
to make it active and then I'll Alt+Click
| | 01:04 | or Option+Click on its Eye icon
to view the background by itself.
| | 01:08 | Now notice that I have a circular
cursor, that's Photoshop's way of showing
| | 01:12 | me that I'm using a brush, and that's
how the Quick Selection tool works, you
| | 01:16 | brush in the selection.
| | 01:18 | I'm going ahead and zoom in a little bit
here and pan over, so I can see the tree.
| | 01:23 | And what I'd like you to do is drag
around the tree like so, so you're
| | 01:27 | painting around the tree over that cloud,
over there on the right-hand side and then down.
| | 01:32 | And once you do, you should select the
entire sky inside of this image, which
| | 01:37 | is fairly remarkable.
| | 01:39 | So what this tool is doing is it's
evaluating the area that you're painting,
| | 01:44 | and then selecting to the nearest
image edge, that is an area of rapid
| | 01:49 | luminance transition.
| | 01:50 | So when you're painting in the
brightness of the sky, the tool reaches out to
| | 01:54 | the darkness of the tree and stops.
| | 01:56 | Now what that means is it doesn't select
the portions of the sky inside the tree.
| | 02:01 | And it does select a few leaves
here and there in the tree as well.
| | 02:05 | To get that area of sky in the tree,
we need to take advantage of a command
| | 02:09 | under the Select menu called Similar.
| | 02:12 | Similar goes ahead and selects those
colors that are similar to the selected
| | 02:16 | pixels throughout the image.
| | 02:18 | So it'll jump inside the tree.
| | 02:20 | The thing is, it works according to a
specific tolerance range that you set up
| | 02:25 | using the Magic Wand.
| | 02:26 | So before we choose that command, I'm
going to switch from the Quick Selection
| | 02:30 | tool to the Magic Wand tool, and
there's our Tolerance option right there.
| | 02:35 | It's set to 32 by default.
| | 02:37 | What that means is 32 luminance levels.
| | 02:41 | Now remember back to our discussion
a couple of chapters ago of luminance
| | 02:45 | inside of Photoshop, zero
is black and 255 is white.
| | 02:51 | So if you had a white pixel selected and
you set the Tolerance to 255, you would
| | 02:57 | select all the other luminance
levels as well, including black.
| | 03:00 | But if we had a white pixel selected
and the Tolerance was set to 32, then
| | 03:06 | Photoshop would only scoot 32 luminance
levels away from white, and just select
| | 03:10 | the brightest colors inside the image.
| | 03:13 | We want to select every bit of sky
we can, so I'm going to open up that
| | 03:17 | Tolerance value by increasing it to 100
and then pressing the Enter key or the
| | 03:22 | Return key on the Mac to accept that value.
| | 03:25 | Now let's go up to the Select menu
and choose the Similar command, and
| | 03:29 | Photoshop goes ahead and grows the selection
to include every little bit of sky it can find.
| | 03:35 | Now we really want the opposite
selection, in other words, we want to select
| | 03:39 | the tree and the ground.
| | 03:40 | It just so happened that it was
easier to select the sky instead.
| | 03:44 | And you can always reverse the
selection after creating it by going up to the
| | 03:48 | Select menu and choosing the Inverse command.
| | 03:50 | And now, the tree and the ground is
selected and the sky is deselected.
| | 03:55 | And that's how you select a complex
region using a combination of the Quick
| | 03:59 | Selection tool and the
Similar command here in Photoshop.
| | 04:04 | In the next movie, we'll make the
selection outline its very best using a
| | 04:08 | command called Refine Edge.
| | Collapse this transcript |
| Making it better with Refine Edge| 00:00 | In this movie, we'll take the base
selection outline that we created in the
| | 00:04 | previous movie and we'll make it more
accurate using a command known as Refine Edge.
| | 00:10 | You will have had to follow along with
the previous movie to make this one work.
| | 00:14 | Notice up here in the Options Bar, when
any selection tool is active, you'll see
| | 00:19 | a button called Refine Edge.
| | 00:21 | You can click on that button to bring
up the Refine Edge dialog box, or if
| | 00:26 | for some reason you don't see it, you can
go to the Select menu and choose Refine Edge.
| | 00:31 | And that brings up the Refine Edge dialog box.
| | 00:34 | I'm going to scoot the tree over a
little bit so I can see it better.
| | 00:37 | By default, you see the selected
region against the white background, but you
| | 00:41 | can change that by clicking on this
View option and switching to some other
| | 00:45 | background such as On Black,
which is going to work best for us.
| | 00:48 | Then go ahead and click off
that pop-up menu to hide it.
| | 00:52 | This is a fairly complex
dialog box; a lot of stuff going on,
| | 00:56 | we're not going to review every
option at this point, we will in a future
| | 00:59 | course, but for now, we're going to
take advantage of the most powerful feature
| | 01:04 | inside this dialog box, which is
this Edge Detection Radius option.
| | 01:08 | And the idea behind Edge Detection is
we're asking the Refine Edge command
| | 01:13 | to trace around the edge of the
selection outline and make it better inside
| | 01:19 | of a specific radius.
| | 01:21 | And when I say radius, imagine that
we're thickening up a stroke that's going
| | 01:25 | around the selection and that's' the
area in which Photoshop will reevaluate.
| | 01:30 | So if I crank up this Radius value to
something like 50, we're telling Photoshop
| | 01:34 | to reevaluate a lot of this edge.
| | 01:37 | That's obviously too much because
even though we're doing a great job of
| | 01:40 | softening the selection around the
leaves, we're bringing back some sky inside
| | 01:45 | the tree and that's not what we want.
| | 01:48 | So I'm going to take this Radius value
down to a mere five and press the Tab key.
| | 01:53 | That still leaves us with some tree
and if you want to get a sense for what
| | 01:57 | Radius has done by itself, you can turn
on the Show Original check box, that's
| | 02:01 | like turning a preview off.
| | 02:03 | And so this is what the tree look like
before, this is what it looks like now.
| | 02:07 | We do have softer more organic edges.
| | 02:10 | However, we have an awful lot of sky
showing through which is why I'm going to
| | 02:14 | shift the edge of the selection inward.
| | 02:16 | So this Shift Edge function allows you to
either contract or expand the selection.
| | 02:22 | If you drag to the left, you're going
to contract, if you drag to the right,
| | 02:26 | you're going to expand.
| | 02:28 | So I want to take this value down to
about -25%, it works pretty darn well.
| | 02:34 | But it's not perfect by any means, as
you can see here, but it's going to work
| | 02:39 | great for our rays of light.
| | 02:41 | Having made these changes, so set the
Radius value to five, the Shift Edge value
| | 02:45 | to -25 and then click OK to
modify that selection outline.
| | 02:50 | Now let's apply the selection as a layer mask.
| | 02:53 | I'll go ahead and Alt+Click or Option+
Click on the eye in front of Background in
| | 02:57 | order to turn all the layers back on.
| | 02:59 | And then I'll click in the rays layer
to make it active and I'll drop down to
| | 03:03 | this icon at the bottom of the
panel, which says Add layer mask.
| | 03:07 | If I were to click on it, I'd mask the
rays of light inside the tree which is
| | 03:11 | exactly the opposite of what I want.
| | 03:13 | So I'll press Ctrl+Z or Command+
Z on the Mac to undo that change.
| | 03:17 | Then I'll press the Alt key or the
Option key on the Mac and click on that Add
| | 03:21 | Layer Mask icon again, and that goes
ahead and masks away the selected region
| | 03:27 | and gives me the exact effect I'm looking for.
| | 03:30 | One more change we need to make to this mask.
| | 03:32 | I'm going to zoom back out by
pressing Ctrl+0 or Command+0 on the Mac.
| | 03:36 | We need to mask the moon
away inside of the rays as well.
| | 03:41 | So I'm going to load the moon layer as
the selection outline and you do that by
| | 03:45 | hovering your cursor over
the thumbnail for the layer.
| | 03:48 | Notice that appears as a hand with the
pointing finger, and now you press the
| | 03:52 | Ctrl key or the Command key on the Mac
and you'll get a little Marquee next to
| | 03:56 | that cursor, and you click.
| | 03:58 | So Ctrl+Click or Command+Click on the
thumbnail for the moon layer, loads it up
| | 04:02 | as the selection outline.
| | 04:04 | The layer mask is still selected as
you can see here inside the Layers panel.
| | 04:09 | Make sure that your foreground color is set to
black down here at the bottom of the toolbox.
| | 04:14 | If it's not do this, press the D
key in order to establish your default
| | 04:19 | colors, which will be white as the foreground
color, and then press the X key to swap them.
| | 04:26 | And now black is your foreground color.
| | 04:28 | Press Alt+Backspace or Option+Delete
on the Mac in order to fill that portion
| | 04:33 | of the layer mask with black, which goes
ahead and masks away the rays inside the moon.
| | 04:37 | Then you can press Ctrl+D or Command+D
on the Mac in order to deselect the image.
| | 04:42 | All right, now we have
some beautifully masked rays
| | 04:46 | thanks to a combination of the Refine
Edge command along with a layer mask.
| | 04:51 | In the next movie, we'll better
integrate the rays and the moon into the scene.
| | Collapse this transcript |
| Integrating image elements| 00:00 | In this movie, we're going to make the
rays of light actually appear as if they
| | 00:04 | are emanating from the moon by
adding a couple of layer effects.
| | 00:08 | You may notice from this distance it
appears as if we have a little bit of a rim
| | 00:13 | around the moon as if we
didn't select it properly.
| | 00:16 | That's actually not the case.
| | 00:18 | If I zoom in to 100%, you can
see that the moon looks great.
| | 00:22 | It's just that Photoshop doesn't always
render things properly when you're zoomed out.
| | 00:26 | So if you see something wrong in your
image, make sure to zoom in to 100% which
| | 00:31 | is Photoshop's most accurate preview.
| | 00:34 | Now I have the rays layer
selected here inside the Layers panel.
| | 00:37 | And I also switched back to the
Rectangular Marquee tool, so I'm going to reduce
| | 00:41 | the Opacity from the keyboard by
pressing the 8 key to take the opacity of this
| | 00:46 | layer down to 80%, as you can
see here inside the Layers panel.
| | 00:50 | Then I'll click on the moon layer to select it.
| | 00:53 | And we're going to add a couple of glow
effects by dropping down to the FX icon
| | 00:57 | at the bottom of the Layers panel,
clicking on it, and I'll start by choosing
| | 01:01 | Outer Glow down here at the
bottom of the pop-up menu.
| | 01:04 | And I'm going to drag inside the image window.
| | 01:08 | You don't have to press the Spacebar
when you have this dialog box up, you can
| | 01:12 | just drag to pan the image.
| | 01:14 | And then, I'm going to click on this
little Color Swatch, which by default
| | 01:17 | appears as yellow, and I'm going to
change it to white by dragging inside
| | 01:22 | this big color field here all the way to
the upper left corner and then I'll click OK.
| | 01:26 | And now, I'll take the Opacity value up to 100%.
| | 01:28 | A Blend mode of Screen is just fine.
| | 01:32 | I'll tab my way down to the Size value
and I'll press Shift+Up arrow until I get
| | 01:36 | a size of 85 pixels, so I have
a big glow coming off the moon.
| | 01:42 | I also want to spread that glow just
slightly, so I'm going to change the Spread
| | 01:46 | value here just above the Size value
and raise it incrementally from the
| | 01:50 | keyboard by pressing the
Up arrow key until I get 5%.
| | 01:54 | And that looks good to me, now I feel like
we need a little bit of an inner glow as well.
| | 02:00 | So go ahead and click on Inner Glow in
the list, not Inner Shadow but Inner Glow.
| | 02:05 | And again, we want it to be white, so
click on that yellow color swatch, drag to
| | 02:09 | the upper left-hand corner
of the field and click OK.
| | 02:13 | This time, I want an Opacity value of
50% and I'm going to tab my way down to
| | 02:17 | the Size value and press Shift+Up
arrow in order to change that value to 15
| | 02:22 | pixels and then click OK.
| | 02:25 | And that's all there is to it.
| | 02:26 | We now have a glowing moon
integrated into the rays of light.
| | 02:30 | The only image element that's still
outstanding is the big huge flower in the
| | 02:35 | foreground and we'll begin
working on that in the next movie.
| | Collapse this transcript |
| Magic Wand and Grow| 00:00 | In this movie, we're going to select
that giant sunflower that appears at the
| | 00:04 | foreground of the final composition,
and we're going to do so using a
| | 00:08 | combination of the Magic
Wand tool and the Grow command.
| | 00:12 | Now in the end, we want to select the sunflower.
| | 00:14 | However, it's pretty complicated
by comparison to its background.
| | 00:17 | So we're once again going to select
the background and reverse the selection.
| | 00:22 | So if you're working along with me, select
the Magic Wand tool below the Lasso tool.
| | 00:26 | If you don't see it there, select the tool
from the Quick Selection tool flyout menu.
| | 00:30 | And then just to restore the default
settings, I'm going to right-click in
| | 00:34 | the Magic Wand tool icon on the far
left side of the Options Bar and choose
| | 00:38 | the Reset tool command.
| | 00:40 | And that resets all the options except
this Sample Size option that it shares
| | 00:44 | along with the Eyedropper, and I'm
going to go ahead and change that back to
| | 00:48 | Point Sample so Photoshop tracks
just the pixel upon which I click.
| | 00:52 | Now this is a pretty straightforward
tool to use, but a lot of folks don't
| | 00:56 | understand what's going on under the hood.
| | 00:58 | What you do is you click on a pixel
and then Photoshop grows the selection to
| | 01:03 | include all similar colors.
| | 01:06 | However, as you can see here, it's
not selecting the entire background and
| | 01:11 | that's because the selection
is based on a Tolerance value.
| | 01:14 | The Tolerance is set to 32 by default,
meaning that Photoshop is going to
| | 01:18 | select 32 luminance levels brighter
and 32 luminance levels darker than the
| | 01:23 | pixel upon which I clicked.
| | 01:25 | And it's going to do so on a
channel-by-channel basis and average the
| | 01:29 | selection accordingly.
| | 01:31 | Also worth noting is
Contiguous is turned on by default.
| | 01:35 | What that means is Photoshop is just
selecting adjacent pixels as opposed to,
| | 01:40 | for example, dark green pixels that
are located on the other side of the
| | 01:44 | sunflower if there were such a thing.
| | 01:47 | Now I mentioned that the Wand works on
a channel-by-channel basis because the
| | 01:51 | tool works best with high color images.
| | 01:53 | I'm going to switch over to the
Channels panel and you may recall from the
| | 01:57 | previous chapter that I was telling you
that high intensity color is caused by
| | 02:02 | dramatic differences between the channels.
| | 02:05 | And so if I click on a Red channel, you
can see that the sunflower appears very
| | 02:09 | bright against the dark background.
| | 02:11 | In the Green channel, the
sunflower is only slightly brighter than
| | 02:14 | this background overall.
| | 02:16 | And then in the Blue channel, the
whole darn image is nearly black.
| | 02:20 | And as a result, we have a ton of
channel difference to work with, the Magic
| | 02:25 | Wand tool really likes that.
| | 02:27 | All right, I'm going to switch back to the RGB
Composite, switch back to the Layers panel as well.
| | 02:31 | Ideally what you'd be able to do
is increase the Tolerance value.
| | 02:36 | For example, let's say, well,
apparently my Tolerance isn't set high enough.
| | 02:40 | I'll take it up to 50, or something
along those lines, and the selection would
| | 02:45 | update, but that doesn't happen
because it's a static control.
| | 02:48 | So what you have to do if you want to
add to the selection is press the Shift
| | 02:51 | key and then click again in order to
add to the selection, and I might Shift
| | 02:56 | click over here as well.
| | 02:57 | And that selects almost everything, but
there's a lot of background that isn't
| | 03:01 | selected so far, which is
where the Grow command comes in.
| | 03:05 | Go up to the Select menu.
| | 03:07 | You'll see that Grow and Similar
appear right next to each other.
| | 03:10 | They are actually variations on the
same command and they are both linked to
| | 03:13 | that Tolerance option
that we just changed to 50.
| | 03:17 | The Similar command will select all
similar colors whether they are adjacent or not.
| | 03:22 | The Grow command will just
select the adjacent pixels.
| | 03:26 | So in our case, Grow is the best bet
because we just want to select this
| | 03:30 | adjacent region of background.
| | 03:32 | So I'll go ahead and choose the Grow
command and that selects almost everything.
| | 03:36 | You can see that we're still missing
this little corner of background, and I can
| | 03:41 | add it in by Shift+Clicking
with the Magic Wand tool.
| | 03:43 | Or another way to work by the way,
I'm going to start over actually.
| | 03:47 | Press Ctrl+D or Command+D on the
Mac and I'm going to restore this
| | 03:51 | Tolerance value to 32, and I'm going to click
and Shift+Click and so forth inside the image.
| | 03:58 | And I can spend a lot of time doing
that or I could just increase the Tolerance
| | 04:03 | value like crazy, let's say to a 100,
and then go up to the Select menu and
| | 04:07 | choose the Grow command and the deed is done.
| | 04:10 | Because the Grow command is
essentially using every selected pixel and then
| | 04:15 | growing the selection based on a
tolerance of a 100 luminance levels, which
| | 04:19 | means it's going to select a ton of
the image, and because we have so much
| | 04:22 | contrast, the selection does not
leak into the petals of the flower.
| | 04:26 | Now as I say, we've selected the
background, we really want to select the flower.
| | 04:31 | So go up to the Select menu
and choose the Inverse command.
| | 04:35 | And now let's prepare the flower for
placement in the larger composition by
| | 04:39 | giving the current image a layer mask.
| | 04:41 | So the background is selected.
| | 04:42 | If you want to both convert this flat
image to a layer and give it a mask,
| | 04:46 | then just drop down to the Add Layer Mask
icon at the bottom of the Layers panel and click,
| | 04:52 | and both operations are done at once.
| | 04:54 | Then I'll go ahead and
rename this layer, daisy.
| | 04:57 | I'll go up to the File menu and
choose the Save As command and then I'll go
| | 05:01 | ahead and call this image Masked daisy.
| | 05:03 | Make sure the Format is set to PSD,
that the Layers check box is turned on, and
| | 05:07 | then I'll click on the Save button.
| | 05:09 | And now we have a masked and layered
image, thanks to the Magic Wand tool
| | 05:13 | working in combination with the Grow command.
| | Collapse this transcript |
| Refine, integrate, and complete | 00:01 | In this movie, we're going to introduce
the daisy into the larger composition,
| | 00:04 | we're going to refine its edges, and
we're going to add some finishing touches,
| | 00:08 | so the flower looks at
home in its new environment.
| | 00:11 | I'm going to switch back to my
Rectangular Marquee tool, which I can get
| | 00:15 | by pressing the M key.
| | 00:16 | And then I'm going to click on the background
item here at the bottom of the Layers panel,
| | 00:21 | so that when I bring the flower in
it'll appear directly above the background.
| | 00:25 | Now I'll switch back to the Masked
daisy image, and I'll right-click inside the
| | 00:29 | image window and choose Duplicate Layer.
| | 00:32 | And I'll switch the Document to
Brightly shining moon.psd and I'll click OK.
| | 00:38 | Now I'll switch back to that image and
you can see that the flower is in place.
| | 00:42 | But I want to slightly adjust its positioning.
| | 00:45 | So I'm going to zoom out here and I'll
go up to the Edit menu and choose the
| | 00:49 | Free Transform command.
| | 00:51 | And the reason I'm doing this is not
because I want to rotate the flower or
| | 00:55 | scale it or anything like that.
| | 00:57 | What I want to do is reposition it and
Free Transform can be very useful for
| | 01:01 | that purpose because you have
numerical coordinate controls.
| | 01:05 | Notice up here in the Options bar, we
have this Reference point indicator.
| | 01:09 | Currently it's set to the center.
| | 01:11 | Meaning the numerical coordinates
are measured from the center point.
| | 01:14 | I'm going to switch it to the upper
left corner by clicking in that upper
| | 01:18 | left point right there, and I'm going
to click on X to select the X value and
| | 01:22 | I'm going to change it to -150 pixels, then
I'll tab to Y and change it to -70 pixels.
| | 01:29 | And then I'll press the Enter key or the
Return key on the Mac a couple of times
| | 01:32 | in order to accept that change.
| | 01:34 | And that just happens to be the
position where I want the daisy to land.
| | 01:39 | If you zoom in, you might notice we have
some slightly rough edges here and there.
| | 01:44 | So it's probably worth cleaning
up these edges using Refine Edge.
| | 01:47 | But instead of cleaning up the selection
outline, we need to clean up the layer mask.
| | 01:52 | So click on the Layer Mask thumbnail
over here inside the Layers panel and then
| | 01:57 | go on to the Select menu and
choose the Refine Mask command.
| | 02:02 | It's the same function.
| | 02:03 | It just goes by a different name.
| | 02:04 | Now your View should be automatically
set to On Layers, so we can see how the
| | 02:09 | flower interacts with its background.
| | 02:11 | But if you prefer, you could change it
to On White or On Black or one of the
| | 02:16 | other ones, just to get an
additional sense on what's going on.
| | 02:20 | I'm going to leave it set to On Layers
and I'm going to crank up that Radius
| | 02:24 | value again just to see what ends up happening.
| | 02:27 | And you can see that Photoshop is
having a tendency to grow the selection
| | 02:31 | outward a little bit.
| | 02:32 | So I don't want to take that value too high.
| | 02:35 | I'm going to take it down to 10 pixels.
| | 02:37 | And I'm going to tab my way down to the
Shift Edge value and choke this edge to
| | 02:42 | negative 25% once again,
just to move the edge in.
| | 02:46 | And we'll get a little bit of
interaction as you can see here between the
| | 02:49 | background and the petals of the flower.
| | 02:51 | All right, now I'll click OK in order to
accept that change and I'll zoom back out.
| | 02:57 | Even though the edges are in a good
shape at this point, they may look a
| | 03:00 | little bit rough here and there, but
once again, if you zoom in to 100%,
| | 03:04 | things should look a lot better.
| | 03:06 | Anyway, I'm going to zoom back
out so I could keep an eye in the
| | 03:09 | entire composition.
| | 03:10 | Now I look at this flower and I think, all
right, here's the flower against the background.
| | 03:14 | I don't believe for a
second it actually belongs here.
| | 03:18 | So we need to integrate it into the scene.
| | 03:20 | And the simplest integration
tools tend to be layer effects.
| | 03:24 | So I'm going to drop down to the FX icon
and choose Inner Glow so that we have a
| | 03:29 | little bit of glow on the
inside edges of those petals.
| | 03:31 | And the default settings end up working great.
| | 03:34 | So we have this pale yellow, Opacity is
set to 75%, Blend Mode is set to Screen,
| | 03:39 | Size is set to 5 pixels, that's just fine.
| | 03:42 | Now I'm going to click on Color Overlay.
| | 03:45 | And what I want be able to do is lift
the color from the image, but I'm not
| | 03:49 | going to be able to
because my layer mask is active.
| | 03:52 | If I click on the Color Swatch and then
click inside the image window, notice I
| | 03:56 | end up lifting black outside the
flower or white inside the flower and that's
| | 04:01 | because my layer mask is selected.
| | 04:03 | So I'll just go ahead click OK for now,
| | 04:05 | click OK again, and I'll just go ahead
and click on the full color thumbnail for
| | 04:09 | the layer to make it active.
| | 04:11 | And now we'll edit the Color
Overlay Effect by double-clicking on it.
| | 04:15 | That will bring up the Layer
Style dialog box once again.
| | 04:18 | Click on the white swatch and move your
cursor outside into the image window and click.
| | 04:23 | And this time, assuming you click in the
sky, you should lift the shade of blue.
| | 04:26 | I'm going to raise that
Hue value to 220 degrees.
| | 04:30 | I'm going to take the
Saturation value up to 65%.
| | 04:33 | And I'll take the Brightness value
all the way to 100% and click OK.
| | 04:38 | And then I'm going to change the
Blend Mode so that we have a little bit of
| | 04:41 | interaction between the blue and the
flower from Normal to Overlay, and we end up
| | 04:46 | achieving this effect here.
| | 04:47 | Now I'll click OK and what we have
is an integrated flower, I think.
| | 04:53 | It's awfully bright and cheerful, however.
| | 04:56 | I'd rather have something of a brooding
flower in the foreground and I want it
| | 05:00 | to be a little darker suggesting
that it's not catching the light.
| | 05:04 | So I'm going to add a Brightness/Contrast
Adjustment layer by pressing and
| | 05:07 | holding the Alt key or the Opt key on
the Mac and then clicking in the black
| | 05:11 | white icon at the bottom of the Layers
panel and choosing Brightness/Contrast.
| | 05:15 | And I'll go ahead and call this Layer
deepen, and again, turn on Use Previous
| | 05:20 | Layer to Create Clipping Mask, so
that we affect just the flower layer and
| | 05:24 | not the background. Now I'll click OK.
| | 05:26 | Now here's another great
way to use Adjustment layers.
| | 05:30 | In addition to changing their values,
you can also change their blend modes.
| | 05:35 | So if I switch from Normal to the main
darkening mode which is Multiply, it's as
| | 05:41 | if I'm using the image to darken itself.
| | 05:43 | And we end up getting this rich
orange colors as well as these dark shadows
| | 05:47 | toward the center of the flower.
| | 05:49 | Now I'm going to select the Brightness
value and I'm going to dial it down to
| | 05:53 | -25 to darken the flower even further.
| | 05:56 | And now I'll hide the Properties
panel because after all, I'm done.
| | 06:00 | So I'll go ahead and press Shift+F in
order to switch to the Full Screen mode
| | 06:04 | and zoom in as well.
| | 06:05 | And that's our final, fairly
other-worldly composition
| | 06:09 | thanks to the power of Photoshop's
geometric free form and automated
| | 06:13 | selection tools.
| | Collapse this transcript |
|
|
10. Retouch and HealYour best face forward| 00:00 | Retouching is ultimately the art of
making someone or something look better.
| | 00:06 | For example, in this chapter we'll
take this portrait shot, heal away some of
| | 00:12 | the blemishes, brush away the stray
hairs, paint away the shine, brighten the
| | 00:17 | teeth and the eyes and smooth over the
skin details to create this final effect.
| | 00:23 | Here's the before image and here's the after.
| | 00:27 | Quite a difference, but it's
obviously the same person and that's the key.
| | 00:32 | You want the person to
remain all together identifiable.
| | 00:36 | The way they see themselves in the mirror.
Not like you've turned them into a mannequin.
| | 00:41 | If you show someone a retouched picture of
them and they ask you, did you Photoshop me?
| | 00:46 | Then you've gone too far.
| | 00:48 | Take it easy. Keep the personality intact,
| | 00:51 | meaning, don't remove smile lines and the
good creases that come with age and wisdom.
| | 00:57 | And above all, do good work.
| | Collapse this transcript |
| Content-Aware Fill| 00:00 | Over the course of this chapter, we're
going to take this photograph of this
| | 00:03 | attractive young person, as
captured by photographer Matthew Dula,
| | 00:08 | and we'll away her blemishes, we'll
paint away some of the stray hairs across
| | 00:12 | her face, we'll recolor the makeup
under her eyes, so it's a better match for
| | 00:16 | her natural skin tones.
| | 00:18 | We'll get rid of some of the shine
across her forehead and over here on
| | 00:22 | her left-hand cheek.
| | 00:24 | We'll also whiten her teeth and then
finally, we'll add some saturation to her eyes.
| | 00:29 | We'll ultimately come up
with this final retouched image.
| | 00:33 | And notice that she's the
same person she ever was.
| | 00:36 | I haven't healed away any of the creases
or smile wrinkles or any of the details
| | 00:41 | that make us interesting to look at.
| | 00:43 | This is not Botox and that's very important.
| | 00:47 | Rather, it's about achieving a smoother,
more evenly rendered portrait, and that
| | 00:52 | really is the key to successful retouching.
| | 00:54 | Now I am going to switch
back to my original photograph.
| | 00:57 | In this movie, I'll show you how to
work with one of Photoshop's best automated
| | 01:01 | retouching tools, which is Content-Aware Fill.
| | 01:05 | Before I set about working on this image,
because virtually, all of Photoshop's
| | 01:10 | retouching tools are static.
| | 01:12 | Meaning that they permanently modify the pixels.
| | 01:14 | I'm going to go ahead and create a copy
of this image so I can come back to the
| | 01:17 | original later on if I need it.
| | 01:19 | So I'll press Ctrl+Alt+J or Command+Option+J
on the Mac to jump the background.
| | 01:25 | And I'll go ahead and call
it Retouch and then click OK.
| | 01:29 | Now I'll start off by demonstrating
how Content-Aware Fill works and then I'll
| | 01:33 | show you a practical application.
| | 01:36 | Using my Rectangular Marquee tool,
I'm going to select a rough area in
| | 01:39 | the middle of the face.
| | 01:40 | So I'm selecting around her nose as you can see.
| | 01:43 | I want the selection outline
to match the angle of her face,
| | 01:46 | so I'm going to rotate it independently
of the image by going up to the Select
| | 01:50 | menu and choosing the
Transform Selection command.
| | 01:54 | Now notice, if you drag on the handles,
you can scale the selection after the fact,
| | 01:58 | and if you drag outside the
selection outline, then you can rotate it.
| | 02:03 | And I'm going to rotate the selection
to about 12 degrees, works out nicely.
| | 02:07 | And I can see 12 degrees in the
heads up display right next to my cursor.
| | 02:12 | And then I'll release my mouse button
and press the Enter key or the Return key
| | 02:15 | on the Mac in order to complete the rotation.
| | 02:18 | And I'm also going to nudge the
selection to the right a little bit by pressing
| | 02:21 | the Right Arrow key a few times.
| | 02:23 | Now let's heal away the nose.
| | 02:25 | Now you know this is not a
practical retouching technique.
| | 02:28 | However it does demonstrate
how Content-Aware Fill works.
| | 02:32 | To access the function, you go up to
the Edit menu and choose the Fill command,
| | 02:36 | and that brings up the Fill dialog box.
| | 02:39 | You can also access this dialog box by
pressing Shift+Backspace on the PC or
| | 02:43 | Shift+Delete on the Mac.
| | 02:45 | Go ahead and set Use to Content-Aware
and then make sure the Blending Options
| | 02:49 | are set to their defaults, by which I
mean, a Mode of Normal and Opacity of
| | 02:53 | 100%, Preserve Transparency
should be turned off.
| | 02:57 | Then go ahead and click OK in order
to fill in that selection outline.
| | 03:02 | What Photoshop is doing, is it's looking
outside the selection for details that
| | 03:08 | should be cloned into the selection.
| | 03:11 | And is basing its decisions on the
luminance levels and details that it finds
| | 03:16 | along the perimeter of the selection outline.
| | 03:18 | And everything that it puts into the
selection is something that was formerly
| | 03:22 | outside the selection.
| | 03:23 | So all those details associated with the
nose are completely and entirely replaced.
| | 03:27 | If I press Ctrl+H or Command+H on a Mac
to hide the selection outline, you can
| | 03:32 | see that in this region right here,
where we're seeing the shading next to the
| | 03:36 | nose, right at that location, Photoshop
sees that there are darker details and
| | 03:41 | repeats darker details inside the selection.
| | 03:45 | You'll see a variety of details, by the
way, from all over the image and you may
| | 03:50 | see some details repeat here and there as well.
| | 03:53 | So there's a lot of random
detail juggling going on.
| | 03:56 | Now I'm going to press Ctrl+Z or
Command+Z on the Mac to bring back the nose
| | 04:00 | because after all, it's very
positive detail inside this photograph.
| | 04:03 | Then I'm going to zoom in on what is
perhaps the biggest blemish which is this
| | 04:08 | item over here on the cheek
just to the right of the nose.
| | 04:11 | Let's start by selecting
and using the Lasso tool.
| | 04:14 | Now bear in mind, the perimeter of the
selection outline makes a big difference
| | 04:18 | in terms of how Content-Aware Fill behaves.
| | 04:21 | So we want to select well outside the
blemish in order to tell Photoshop that
| | 04:25 | this unblemished region of the skin
is the area that we want to match.
| | 04:30 | Then I'll press Ctrl+H or Command+H on
the Mac to hide the selection outline
| | 04:34 | and I'll press Shift+Backspace or Shift+
Delete on the Mac to bring out the Fill dialog box.
| | 04:40 | Everything is set the way it should be
because Photoshop remembers the last
| | 04:44 | application of this command.
| | 04:45 | So in other words, Use is already set
to Content-Aware, so all I have to do is
| | 04:49 | click on the OK button and Photoshop
goes ahead and replaces that detail.
| | 04:54 | It may or may not do exactly
the job that you're looking for.
| | 04:59 | One way to alter the results is to
press Ctrl+Z or Command+Z on the Mac.
| | 05:03 | Press Ctrl+H or Command+H to
bring back the selection outline.
| | 05:07 | Then press the Shift key, for example,
and drag with Lasso tool to include just
| | 05:12 | a little more detail like
that, and then try again.
| | 05:16 | Press Shift+Backspace or Shift+Delete on
the Mac, click OK and evaluate the results.
| | 05:22 | And at this point, things are looking
okay but not perfect, and they never are.
| | 05:26 | Each and every one of the retouching
tools is going to deliver a different
| | 05:30 | result--not always a good result, but
that's okay as long as you're moving in
| | 05:33 | the right direction.
| | 05:34 | Because for example, let's say I'm not
very happy with this region right there,
| | 05:38 | that sort of scrapey detail,
| | 05:40 | I'll just go ahead and reselect
this area, like so, and then press
| | 05:45 | Shift+Backspace or Shift+Delete on the Mac
in order to bring up the Fill dialog box.
| | 05:49 | Click OK and that's starting to look better.
| | 05:52 | So just to give you a sense of what
we've been able to achieve so far, I'm going
| | 05:55 | to zoom out from the image
and then go ahead and pan down.
| | 05:59 | This is the original
version of that blemish detail,
| | 06:02 | and this is a healed version so far, not
perfect but a lot better, thanks to the
| | 06:07 | automation of Photoshop's Content-Aware Fill.
| | Collapse this transcript |
| Using the Spot Healing Brush| 00:00 | In this movie, I'll show you how to use
the Spot Healing Brush, which allows you
| | 00:04 | to paint with Content-Aware Fill.
| | 00:07 | Notice this second section of tools
inside the toolbox, these are Photoshop's
| | 00:11 | painting and editing tools, which
allow you to brush in and, otherwise, apply
| | 00:16 | permanent modifications to the active layer.
| | 00:19 | If you click and hold on the first
tool on the second section, you'll see the
| | 00:22 | Spot Healing Brush right at
the top of the flyout menu.
| | 00:25 | Notice that all these tools have a
keyboard shortcut of J even though the letter
| | 00:29 | J never appears in any of the tool names.
| | 00:32 | Here is how I try to remember that.
| | 00:34 | When you're healing an image,
you're applying a kind of surgery to it.
| | 00:38 | And if you were to misspell the word
surgery, the most logical way to do it
| | 00:42 | would be to replace the G with a J.
So if that works for you, great.
| | 00:46 | I'm going to switch back to the active image.
| | 00:48 | And I want you to make sure up here in the
Options bar that your mode is set to Normal.
| | 00:53 | And then notice that you have three
different radio buttons that you can
| | 00:56 | choose from, so three different behaviors that
you can associate with the Spot Healing Brush.
| | 01:01 | Let's start off with Proximity
Match just so you can see how it works.
| | 01:04 | I'm also going to increase the size of my
brush, which I can do in one or two ways.
| | 01:10 | The less convenient way is to right-click
inside the image and then increase the Size value.
| | 01:16 | You will almost always want the
Hardness value to be a 100% so that you
| | 01:20 | get clean transitions.
| | 01:21 | You might want to reduce the Spacing
value, however, to something like 10% that
| | 01:26 | will give you smoother brush strokes.
| | 01:27 | And then you can decide whether you want
to change the angle around this on your own.
| | 01:31 | Now I'll press the Enter key or the
Return key on a Mac to hide that panel.
| | 01:36 | The other way to change the size of
the brush is to press one of the square
| | 01:39 | bracket keys to the right of the P as
in Paul key on an American keyboard.
| | 01:44 | If you press the right bracket key,
it'll increase the size of the brush.
| | 01:48 | If you press the left bracket key,
you'll decrease the size of the brush.
| | 01:52 | I'm going to increase the size of the brush a
little bit and then just paint over the eye, so
| | 01:57 | that you can see what Photoshop does.
| | 01:58 | It goes ahead and duplicates nearby
pixels into that painted region and it
| | 02:04 | does so with one pass.
| | 02:06 | So for example, where this brush
stroke is concerned, Photoshop has duplicated
| | 02:10 | this region in the forehead right
about over here, I think, and repeated the
| | 02:15 | entire length of this region.
| | 02:17 | So it's not repeating details, it's not
grabbing from different areas and so forth.
| | 02:22 | All right, I'll go ahead
and undo that brush stroke.
| | 02:25 | Then I'll switch to Create Texture,
which generates a texture on the fly and
| | 02:30 | overlays it on to the original image
which can be useful for smoothing out
| | 02:34 | details, but there's better
ways to work in my opinion.
| | 02:37 | And then finally, we've got Content-
Aware, which is the best option of them all,
| | 02:42 | because it allows you to paint a brush
stroke, and then Photoshop goes out and
| | 02:46 | samples different regions, and creates a
kind of collage of details and repeated
| | 02:50 | details inside your brush stroke.
| | 02:53 | So that's how the options work.
| | 02:55 | Obviously we don't want to paint
away the eyes, so I'll press Ctrl+Z or
| | 02:57 | Command+Z on a Mac to undo that brush stroke.
| | 03:00 | And let's try Spot Healing away a few blemishes.
| | 03:04 | I'm going to reduce the size of my
brush by pressing left bracket key and I'll
| | 03:08 | click there in the center of the nose.
| | 03:10 | I'll click over this spot, this one here.
| | 03:13 | You can see when you're just clicking,
I'm not dragging with this tool at all,
| | 03:17 | that you can get rid of blemishes
very, very quickly inside of the image.
| | 03:22 | Sometimes it's going to work
great and sometimes it's not.
| | 03:24 | If it doesn't, just press
Ctrl+Z, Command+Z on the Mac.
| | 03:27 | You can either try again if you want to
or you can come back to the detail later
| | 03:32 | using a different tool.
| | 03:34 | All right, I'm going to zoom in on
this a little bit right there, reduce the
| | 03:38 | size of my cursor, so it's pretty
tiny and click to get rid of that.
| | 03:42 | And you want to think of your brush
cursor, where the size is concerned, as being
| | 03:46 | a kind of selection outline.
| | 03:47 | So its perimeter defines a good area
around the blemish upon which Photoshop can
| | 03:52 | base its Content-Aware Fill.
| | 03:54 | And I'm going to increase the size of my
cursor a little bit and paint right about there.
| | 03:58 | We need to get rid of some of the
roughness around that first area that we heal.
| | 04:02 | And then I'm going to paint
this little area. Can you see it?
| | 04:06 | I'll zoom in some more.
| | 04:07 | If these were a scanned image, I would say
it was something in the glass, but it's not.
| | 04:11 | This is a digital photograph.
| | 04:12 | So my guess is this is a little bit of mascara.
| | 04:15 | And so, I'm going to paint along at
this time as opposed to just clicking, and
| | 04:19 | then I'll paint up a little bit on that guy.
| | 04:21 | Let's zoom back out and see
what else we have to deal with.
| | 04:24 | There are some little hairs underneath the
eyebrows that you could click on to get rid off.
| | 04:29 | And we have a few freckles and moles
up here in the forehead that you could
| | 04:33 | work on, if you like.
| | 04:35 | Let's go ahead and zoom out.
| | 04:36 | Now there's also this little bump or whatever
this is just down into the left of the first eye.
| | 04:41 | I'll go ahead and increase my cursor so
it's just bigger than it and then I'll
| | 04:44 | click in order to get rid of it.
| | 04:46 | If that doesn't align quite properly,
in other words, you can see that the
| | 04:50 | crease along that ridge doesn't
quite line up with the other creases;
| | 04:55 | again, we can come back to that later
with another variation on this Healing Brush.
| | 04:59 | Go ahead and click there on that detail as well.
| | 05:02 | And then I'll zoom all the way out
in order to take in the entire image.
| | 05:06 | I just want to make sure that I got
everything that's worth dealing with right now.
| | 05:10 | It's actually quite a bit better.
| | 05:11 | I've made a big difference using this one tool.
| | 05:14 | It's one little detail right
there that I think I'll paint away.
| | 05:17 | And there's also this
tiny little item right there.
| | 05:20 | Let's check our progress.
| | 05:22 | I'll turn off the retouch layer.
| | 05:23 | This is the original version of the image.
| | 05:26 | And when I turn the layer back on, this
is the retouched version so far, thanks
| | 05:31 | to the swift and speedy results you
can achieve using the Spot Healing Brush.
| | Collapse this transcript |
| The more capable "standard" Healing Brush| 00:00 | In this movie, I'll show you how to
use the Standard Healing Brush, which
| | 00:04 | allows you to specify the source and
destination for your healing, thereby
| | 00:08 | giving you more control.
| | 00:10 | Now that we've gotten rid off most of the
blemishes, let's take on these stray hairs.
| | 00:15 | I'm going to zoom in on this hair
that's found its way into the model's mouth.
| | 00:19 | Now if I were to try to get rid of this
hair using the Spot Healing Brush tool
| | 00:22 | just by roughly painting over it,
I'm unlikely to get good results.
| | 00:27 | The tool is well named after all.
| | 00:29 | It's great for little spot touch-ups,
but it's not good for big brush strokes.
| | 00:33 | And in this case, we've kind of wiped
out the crease along her mouth and then it
| | 00:37 | look as if we've kind of blurred out the lip.
| | 00:39 | So I'll press Ctrl+Z or Command+
Z on the Mac to undo that change.
| | 00:43 | Instead what we want to do is switch
from the Spot Healing Brush to the Healing
| | 00:48 | Brush by selecting the next
tool down in the flyout menu.
| | 00:51 | And assuming default settings, that is
the Source is set to Sampled, you just
| | 00:56 | start clicking inside the image, you're
going to get an error message that tells
| | 01:00 | you that you need to Alt+Click or on a
Mac Option+Click to define the source
| | 01:04 | point to be used to repair the image.
| | 01:07 | When you're working with the Standard
Healing Brush tool, you're cloning one
| | 01:10 | portion of the image onto another and
you have to specify the source that is the
| | 01:15 | area that you want to clone and then
drag on to the destination that is the area
| | 01:20 | that you want to heal away.
| | 01:22 | So I'm going to start things off by
reducing the size of my cursor so that we
| | 01:26 | have a very small brush.
| | 01:28 | Mine happens to be six pixels, as you can see
up here on the left side of the Options bar.
| | 01:33 | And the most important
detail to match is this crease.
| | 01:36 | So I'm going to press the Alt
key or the Option key on the Mac.
| | 01:40 | Notice that my cursor changes to a
little target, then I'll click right there
| | 01:44 | just above the hair on the crease in
order to specify that point as my source.
| | 01:49 | And then, let's increase the size of
the cursor a little bit so I can line up
| | 01:52 | the preview right about there should be good.
| | 01:56 | And now I'll reduce the size of my
cursor once again and I will begin dragging
| | 02:00 | from that location and then I'll just
go ahead and release in order to heal
| | 02:04 | that tiny little area.
| | 02:05 | And notice what a
brilliant job Photoshop has done.
| | 02:09 | Now I want to heal away
the rest of the brush stroke.
| | 02:12 | If I start painting in though, I'm
going to start that same source location, so
| | 02:16 | I'll get a little bit of the crease
right there, which isn't what I want at all.
| | 02:19 | So I'm going to press Ctrl+Z or
Command+Z on the Mac to undo that change.
| | 02:24 | And I'm going to start the stroke over
right there just to make sure I've got
| | 02:28 | things lined up properly.
| | 02:29 | And that looks good.
| | 02:30 | Then I'll go up to the Options bar
and turn on the Aligned check box to
| | 02:35 | tell Photoshop to align my various
brush strokes to each other so that I
| | 02:39 | get consistent results.
| | 02:40 | And then I'll click right at that
location right at the outset of the
| | 02:44 | remaining hair, and I'll Shift+Click in order
to draw a straight line between those two points.
| | 02:49 | And Shift+Click again, Shift+Click
again and continue Shift+Clicking until I've
| | 02:54 | gotten rid of the entire hair.
| | 02:57 | And so clicking and Shift+Clicking
allows you to create straight segments
| | 03:00 | between those click points.
| | 03:03 | Now I'll click right about there and
Shift+Click on my way into the mouth.
| | 03:08 | And finally, just to get rid of that
tiny bit of hair inside of her mouth,
| | 03:11 | I'll press the Alt key or the Opt key
on a Mac and click right about there
| | 03:16 | along the edge of her lip.
| | 03:17 | And then I'll turn off the Align
check box just to make sure we're not
| | 03:21 | in alignment anymore.
| | 03:22 | And I'll paint from right
there into the lip like so.
| | 03:27 | And that goes ahead and gets
rid of that last remaining detail.
| | 03:30 | And just to make sure I've done a good
job, I'll press Ctrl+Z or Command+Z on
| | 03:32 | the Mac to undo, and then I'll press
Ctrl+Z or Command+Z on a Mac to redo.
| | 03:37 | And that looks pretty good.
| | 03:38 | I might Alt+Click here and click
right there in order to get rid of that
| | 03:43 | little bit of darkness.
| | 03:44 | As long as we're here, this location
inside the image, I'm going to Alt+Click
| | 03:48 | right about there, above into the right
of the lip, and then I'll click in that
| | 03:51 | slightly dark area to get rid of it.
| | 03:53 | All right, let's zoom back out in
order to take in the image and I'll
| | 03:58 | scroll down as well.
| | 03:59 | Couple of other details we
might want to work on here.
| | 04:01 | I'm going to zoom in on the hair above the
right eye which would be her left, of course.
| | 04:06 | I'm just going to select it with the Lasso
tool, which I can get by pressing the L key.
| | 04:11 | And I'll Alt+Click or Option+Click around
this detail, like so, in order to draw a
| | 04:17 | Polygonal Lasso around it.
| | 04:18 | And then I'll press Shift+
Backspace or Shift+Delete on the Mac.
| | 04:21 | Make sure Use is set to Content-Aware.
| | 04:24 | Click OK order to heal that area away.
| | 04:26 | Press Ctrl+D or Command+D on
a Mac to deselect the image.
| | 04:30 | Sometimes you'll find that the Healing
Brush tool, which I'll select now, is best
| | 04:34 | employed after using another tool.
| | 04:35 | So for example, you apply Content-
Aware Fill and then you go in and fix any
| | 04:40 | defects that remain using this tool.
| | 04:43 | So I'll go ahead and Alt+Click right about
there because we've got some texture problems.
| | 04:47 | And then I'll drag up in order to fill
in that region, so it's a better match.
| | 04:53 | And I might Alt+Click here, click
there to get rid of a few of these little
| | 04:57 | hairs that have been plucked out and so forth.
| | 04:59 | Next, I'll go ahead and scroll up so
that I can see the beginning of the hair.
| | 05:04 | Now I don't really feel like we need
to heal this top region of hair because
| | 05:08 | it's not interfering with the main
details on the image such as the mouth and
| | 05:11 | the eyes and so forth, but I do
want to heal away that blemish.
| | 05:15 | So I'll increase the size of my cursor
by pressing the right bracket key and
| | 05:19 | then I'll Alt+Click or Option+Click
right about there to make sure we have a bit
| | 05:23 | of hair inside the source point.
| | 05:25 | And then I'll move my cursor up so it
covers up the blemish and I'll click in
| | 05:29 | order to heal that detail.
| | 05:30 | I'll zoom out again and
take in the entire image.
| | 05:33 | Again, just to give you a sense of what
we've done, I'll turn off the retouch layer.
| | 05:37 | There's our original image with the
hair coming into her mouth, the hair coming
| | 05:41 | down into the eye, and the
little blemish above the eyebrow.
| | 05:45 | And here's our healed image so far.
| | 05:47 | So that gives you a sense of how to
work with the Standard Healing Brush.
| | 05:50 | In the next exercise, I'll show you
how to work with the Clone Source panel.
| | Collapse this transcript |
| Meet the Clone Source panel| 00:00 | In this movie, I'll show you how to
use the Clone Source panel to rotate the
| | 00:05 | angle of the source so that you
can exactly match fragile details.
| | 00:10 | And most of the hairs are healed at
this point, but we still have a hair coming
| | 00:14 | into the left-hand eye,
her right eye, of course.
| | 00:17 | So I'll go ahead and zoom in on that
detail and I'll switch to the Healing Brush
| | 00:21 | tool, which is my Standard Healing
Brush, and reduce the size of my cursor a
| | 00:26 | little bit and then I'll Alt+Click or
Option+Click on the Mac on this hair
| | 00:31 | detail down here, let's say,
in order to lift it as a source.
| | 00:35 | But then when I move my cursor over
the portion of the image that I want to
| | 00:38 | paint away, you can see that the
angle of the hair inside my Brush Preview
| | 00:42 | doesn't exactly match the angle of
that hair that's coming downward.
| | 00:45 | So if I start painting away, like so,
we're going to get a very bad match.
| | 00:50 | So I'll press Ctrl+Z or Command+
Z on the Mac to undo that change.
| | 00:53 | It turns out there is a way
to rotate that hair into place.
| | 00:57 | Go up to the Window menu and choose Clone
Source to bring up the Clone Source panel.
| | 01:03 | Notice you have all these options for
scaling the size of the source, you can
| | 01:06 | also flip the source
horizontally or flip it vertically.
| | 01:10 | And flipping horizontally is
particularly useful if you want to clone a detail
| | 01:14 | from the left side of somebody's face
onto the right side, for example, if one
| | 01:18 | eye is closed more than the other.
| | 01:20 | But the most common way to use this panel,
in my experience, is to rotate the source.
| | 01:25 | So I'm going to go ahead and click on this
Rotate icon in order to make the value active.
| | 01:30 | And then I will move my brush cursor over
the hair so that I can see what I'm doing.
| | 01:34 | And I'll start things up by
pressing and holding Shift+Up arrow, which
| | 01:38 | increases the value, as you can see
here inside the panel, but that apparently
| | 01:41 | is going the wrong direction.
| | 01:43 | I've rotated my cursor
clockwise instead of counterclockwise.
| | 01:47 | So I'll press and hold Shift+Down arrow
to rotate it the other direction and at
| | 01:52 | -15 degrees I've gone too far.
| | 01:54 | So I'll press Shift+Up arrow a few
times, and it appears that a value of
| | 01:59 | -7 degrees works out great.
| | 02:02 | So once I have achieved a value that
looks pretty good, I'll go ahead and
| | 02:05 | paint over the hair, as I did before, and see
if I get a better result, and sure enough I do.
| | 02:11 | I think my brush is too big.
| | 02:12 | So I'm going to press Ctrl+Z or Command+Z
on the Mac in order to undo that brush stroke.
| | 02:16 | Reduce the size of my brush by
pressing left bracket key a couple of times,
| | 02:21 | and then I'll click and I'll Shift+Click my
way into the upper left region of the eye.
| | 02:26 | And then Alt+Click or Option+Click again
in order to load a different source point.
| | 02:30 | And then I'll Alt+Click or Option+Click
again and paint over this little defect.
| | 02:34 | And then finally, I'll Option+Click or
Alt+Click on the inside of that hair and
| | 02:39 | I'll paint my way in, like so.
| | 02:42 | And that looks pretty darn good, I think.
| | 02:43 | I'll Alt+Click or Option+Click and then
drag down like that in order to get rid
| | 02:47 | of the little bit of repeated detail,
because I don't want to see repetition of
| | 02:51 | detail inside the image, if I can avoid it.
| | 02:53 | Notice also we have this wrinkle
that's going at the wrong angle.
| | 02:56 | Alt+Click or Option+Click right about
there in order to load a region of creased
| | 03:01 | skin, and I'll increase the size of my
cursor and paint, like so, and see if I
| | 03:06 | get a better result.
| | 03:08 | And I guess I kind of do, but I'm not
sure that's really at the right angle.
| | 03:12 | So I'll press Ctrl+Z or Command+Z
on the Mac to undo that brush stroke.
| | 03:15 | I'll go back to the Clone Source panel
and I'll click on this little button that
| | 03:19 | says Reset transform.
| | 03:21 | And then I'll go ahead and get rid of
that Rotational value so that I'm matching
| | 03:25 | the angle of the creases which is what I want.
| | 03:27 | Then I want to bring the crease in a little bit.
| | 03:29 | So I'll turn on the Align check box and click
right about there in order to fix that detail.
| | 03:35 | We've got another little spot right
there that I'll get rid off as well.
| | 03:38 | Let's see what we've done here.
| | 03:40 | I'll go ahead and zoom out just a
little bit so we can take in the eye at 100%.
| | 03:44 | This is the hair from the original
version of the image and this is the hair
| | 03:47 | removed, thanks to our ability to
rotate the source point from the Clone
| | 03:51 | Source panel.
| | Collapse this transcript |
| Caps Lock and Fade| 00:00 | In this movie, I'll show you a couple
of tricks for working with the Healing
| | 00:03 | Brushes, one of which allows you to
change the appearance of your cursor so
| | 00:07 | you can better see what you're doing,
and the other allows you to heal at
| | 00:10 | reduced levels of Opacity.
| | 00:12 | I've saved my progress as More edits.psd,
so called because I went ahead and
| | 00:17 | used the Spot Healing Brush to correct
about a dozen more blemishes on her skin,
| | 00:21 | but I went ahead and left the big ones.
| | 00:23 | I'm going to zoom in on her lip and you
can see over here in the right-hand side
| | 00:28 | that she has a little bit of roughness,
and also looks like the lipstick is
| | 00:31 | either being absorbed
differently or it's not there all.
| | 00:34 | So let's go ahead and make that region
a little more consistent by switching
| | 00:38 | over to the Standard Healing Brush once
again and I'm going to press the Alt key
| | 00:42 | or the Option key on the Mac in order
to source this lower region of the lip.
| | 00:47 | And then, I'll move my cursor up.
| | 00:49 | Now sometimes it's a little bit hard
to align details when you're seeing that
| | 00:52 | white circle around the brush, and if
you want to hide the white circle, then
| | 00:56 | you can press the Caps Lock key.
| | 00:58 | So just tap the Caps Lock key, and
instead of the white circle round the brush,
| | 01:02 | you'll see a cross on the inside
and you also see the Brush Preview.
| | 01:05 | And then you can just go ahead and
paint over the detail, like so, in order
| | 01:10 | to heal that area way.
| | 01:11 | If you paint into your brushstroke
like I'm doing right now, notice those
| | 01:16 | two crosses on screen.
| | 01:17 | The upper right one is the
destination, the lower left one is the source.
| | 01:21 | If I move the source into the
brushstroke, well, rather than repeating the
| | 01:25 | detail, Photoshop is sourcing from the
original appearance of the image, which
| | 01:28 | is going to give you
smoother results. All right,
| | 01:31 | I'll go ahead and release that
brush stroke and notice we get an
| | 01:34 | awfully good-looking heal.
| | 01:36 | However, there are some
repeated details going on.
| | 01:39 | Now ideally, what I would have been
able to do is reduce the Opacity of my
| | 01:43 | brush up here in the Options bar.
| | 01:45 | But while you have control over the
Blend Mode, which may or may not prove to do
| | 01:49 | you any good, you don't
have any control for Opacity.
| | 01:52 | Instead what you do, is you fade your
last brush stroke by going to the Edit menu
| | 01:57 | and choosing Fade Healing Brush,
bearing in mind, of course, that you have to
| | 02:01 | choose that command immediately after
applying the brush stroke and before you do
| | 02:05 | anything else to the image.
| | 02:06 | So I'll go ahead and choose the command
and then I'll reduce the Opacity value.
| | 02:11 | Notice I don't have control over the
blend mode where healing is concerned, but
| | 02:15 | I can reduce the Opacity.
| | 02:17 | And as I do so, if I take it down,
for example, to 0%, then I'll see the
| | 02:22 | original version of that lip.
| | 02:24 | And if I increase the Opacity, I'll
bring back the healed version and at an
| | 02:29 | opacity of about 70%, I think
things end up looking really great.
| | 02:33 | So I'll click OK in order accept that change.
| | 02:36 | Let's go ahead and zoom out now and
take in the other area that really needs
| | 02:40 | some help, which is the side of her cheek.
| | 02:43 | Notice how it has some pretty rough
transitions and we have this darkness that's
| | 02:47 | spilling over too far to the left.
| | 02:50 | So what I might do, just one way to
approach this is to grab the Spot Healing
| | 02:54 | Brush once again, and then press the
Caps Lock key to turn it off, so I can see
| | 02:59 | the size of my cursor.
| | 03:00 | And I'm going to press the right
bracket key to increase the size to take up
| | 03:03 | this whole region of cheek.
| | 03:05 | I'm just going to wing it.
| | 03:06 | I'll just click on that
area and see what happens.
| | 03:09 | So this is the before version, this is
the after version, not perfect by any
| | 03:14 | means, but I can fade it once again.
| | 03:16 | You've got a keyboard shortcut of Ctrl+
Shift+F for fade or Command+Shift+F on
| | 03:20 | the Mac, and I'll just change
this guy to 50% and click OK.
| | 03:24 | I could also clone from the other cheek,
but to do that, I would have to switch
| | 03:29 | back to the Standard Healing Brush and I'll
increase the size of my cursor quite a bit.
| | 03:34 | I'll Alt+Click or Option+Click on
this left cheek, her right of course,
| | 03:39 | in order to source it.
| | 03:40 | Then I'll move the cursor over into the
right-hand region of the image and paint
| | 03:44 | over the cheek, like so.
| | 03:45 | And that brings back some pores, as you can
see, but obviously, it's a little too much.
| | 03:50 | So I'll press Ctrl+Shift+F once again,
Command+Shift+F on the Mac, try an
| | 03:54 | Opacity value of, let's say, 35%
might end up looking pretty good.
| | 03:59 | So we're kind of splitting the
difference between bringing back some pores so we
| | 04:03 | don't have too many smushy details
and, of course, retaining the original
| | 04:06 | luminance associated with the
right-hand side of the image.
| | 04:09 | All right, now I'll click OK in
order to accept that modification.
| | 04:13 | Finally, I'm going to switch back to
the Healing Brush tool and reduce the size
| | 04:17 | my cursor and just paint inside that
little V of brightness there, and that does
| | 04:21 | darken things up a little bit.
| | 04:23 | Again I'll press Ctrl+Shift+F, Command+
Shift+F on the Mac, reduce the Opacity,
| | 04:27 | let's say, this time to 50%, it looks
pretty good, and click OK in order to
| | 04:32 | accept that modification.
| | 04:34 | So there you have it.
| | 04:35 | If you want to hide that circle around
the brush cursor, then just press the
| | 04:38 | Caps Lock key in order to get a cross instead.
| | 04:41 | And then if you want to bring the
circle back, turn off Caps Lock.
| | 04:44 | And that's what's known, by
the way, as a precise cursor.
| | 04:46 | It works with all the tools inside Photoshop.
| | 04:49 | And then if you want a paint a
translucent brush stroke with one of the healing
| | 04:51 | brushes, just go ahead and paint away
and fade the brushstroke after the fact.
| | Collapse this transcript |
| The Dodge and Burn tools| 00:00 | In this movie, I'll show you how to use
the Dodge and Burn tools which allow you
| | 00:04 | to paint in brightness
and darkness respectively.
| | 00:08 | Except for this contouring over here
on the right-hand cheek, we've got two
| | 00:13 | areas that I don't like, one is this
little bit of brightness right there in the
| | 00:17 | center, it makes it look like we have a
lump or a divot or something, and then
| | 00:21 | we've got this little bit of darkness
on the right-hand side that makes the
| | 00:25 | cheek look like it has uneven contour.
| | 00:28 | So I am going to deselect the
image there just by clicking.
| | 00:31 | And the Dodge tool is by default the
last tool in this second group of tools and
| | 00:36 | notice that it has a keyboard shortcut of O.
| | 00:38 | If you don't see the Dodge tool,
click and hold on the tool, and select the
| | 00:41 | first tool from the flyout menu, and
then I will increase the size of my brush
| | 00:45 | by pressing the right bracket key.
| | 00:47 | Also right-click inside the image
window so that you can see by default, the
| | 00:51 | hardness is set to 0%
which is exactly what we want.
| | 00:54 | We want a nice soft brush.
| | 00:57 | So I will press the Enter key to hide
that pop-up panel, and then I'll just
| | 01:00 | paint inside this region like so,
and that gives me too much brightness.
| | 01:05 | And that's because the Exposure by default
is set to 50%, which is generally too high.
| | 01:10 | So I will press Ctrl+Z or Command+Z on
the Mac to undo that change, and then I
| | 01:14 | will press the 2 key to reduce the
Exposure value to 20%, and now I will paint
| | 01:20 | again which ends up giving me a better result.
| | 01:23 | Now I'll paint-in another
brushstroke right about there.
| | 01:26 | I think I've gone too far, in which
case you can fade the brushstroke by
| | 01:30 | pressing Ctrl+Shift+F or Command+Shift+
F on the Mac to bring up the Fade dialog
| | 01:34 | box and then I will try reducing
that Opacity to 50%, looks good!
| | 01:39 | So I will click OK.
| | 01:40 | Now let's address the
regions that are too bright.
| | 01:42 | I will go ahead and click and hold on
the Dodge tool and choose the Burn tool
| | 01:46 | from the flyout menu.
| | 01:47 | And the way I remember the
difference between these tools is burning
| | 01:50 | makes things darker.
| | 01:51 | For example, if you burn toast, it's
going to be very dark, whereas, dodging is
| | 01:56 | the other tool, so it makes things bright.
| | 01:58 | Anyway I am going to switch to the Burn tool.
| | 02:01 | Again it has an awfully high
Exposure value, 50% by default.
| | 02:04 | So I am going to press the 2
key to reduce that value to 20%.
| | 02:09 | I will increase the size of my cursor a
little bit, again by pressing the right
| | 02:12 | bracket key, and I will click right about there.
| | 02:15 | And that maybe goes too far, so I will
press Ctrl+Shift+F or Command+Shift+F on
| | 02:20 | the Mac to bring up the Fade dialog box,
change the Opacity to 50%, and press
| | 02:24 | the Enter or Return key in
order to apply that change.
| | 02:27 | I will also go ahead and zoom in
so I can better see what I am doing.
| | 02:30 | It's that little area of brightness
right there that I'd like to calm down, so I
| | 02:34 | will click on it, that looks pretty good.
| | 02:36 | And then I will increase the size of
my brush, and click right about there on
| | 02:40 | that area that's too bright.
| | 02:42 | And again, I might have gone too
far, so I will press Ctrl+Shift+F,
| | 02:45 | Command+Shift+F on the Mac, and this
time, I'll just press Shift+Down arrow a
| | 02:49 | few times until I reduce that
Opacity value to 70%, click OK in order to
| | 02:53 | accept that change.
| | 02:55 | Let's try clicking right about
there with the smaller brush.
| | 02:59 | Again maybe that's too much, so I will
press Ctrl+Shift+F or Command+Shift+F on
| | 03:03 | the Mac, take the Opacity down to 50%
and press the Enter key or the Return key
| | 03:07 | on the Mac in order to
make that change. All right,
| | 03:10 | Let's go wide again, just so I can see
what I am doing from a decent vantage point.
| | 03:13 | Now there is a couple of regions
that remain a little bit too bright in my
| | 03:17 | opinion, so I will increase the size of
my cursor slightly and drag up like that
| | 03:21 | in order to continue that
shadow from the nose over a little.
| | 03:24 | And again, that looks like I might
have gone too far, this is the way things
| | 03:28 | work when you're brushing with these tools.
| | 03:30 | So I will press Ctrl+Shift+F, Command+
Shift+F on the Mac, reduce the Opacity to
| | 03:34 | 50%, press the Enter key or the Return
key on the Mac, and then may be brush up
| | 03:38 | into this region,
definitely went too far that time.
| | 03:41 | So press Ctrl+Shift+F or
Command+Shift+F on the Mac.
| | 03:44 | Let's try 30% and see if that works.
| | 03:47 | That looks actually pretty good.
| | 03:48 | Then I will click OK in
order to accept that change.
| | 03:52 | You can reverse the effect a
little by using the opposite tool.
| | 03:55 | So I'm feeling like that area is a
little bit too dark, so I will switch from
| | 03:59 | the Burn tool back to the Dodge tool,
and I'll just give it a click right at
| | 04:03 | that location, and that
brightens things up in the way I like.
| | 04:07 | So technically, it's a destructive
modification to work back and forth that way.
| | 04:10 | Now you have to be realistic as well.
| | 04:12 | So going back and forth a little
bit doesn't hurt, and now I'd like to
| | 04:16 | reintroduce some texture in this area.
| | 04:18 | So I'll switch over to my Standard
Healing Brush tool and I will Alt+Click or
| | 04:22 | Option+Click in the left-hand cheek in
order to lift some of that porous detail.
| | 04:27 | And this time, I am going to switch
the mode from Normal to Screen, so that I
| | 04:31 | brighten up the details because I
don't really want to introduce too much
| | 04:34 | darkness, and I will click right about
there with a fairly large brush, in order
| | 04:38 | to add some texture.
| | 04:39 | And so this was before
that click, and this is after.
| | 04:43 | So in addition to adding a little bit
of texture below the eye, I also went
| | 04:46 | ahead and changed out the texture a
little bit as you can see, so this is
| | 04:49 | before and this is after, but it
ultimately makes for a more even transition,
| | 04:54 | and that's at least one way to employ
the Dodge and Burn tools very judiciously
| | 04:59 | here inside Photoshop.
| | Collapse this transcript |
| Adjusting color with the Brush tool| 00:00 | In this movie, we'll use the Brush
tool to even out the coloring of the flesh
| | 00:04 | tones as well as knock down some of
the shine on the model's forehead.
| | 00:08 | And if you zoom in on the makeup
underneath the model's eyes, you can see that
| | 00:12 | it doesn't quite match the
coloring of the natural skin tones.
| | 00:15 | You can see it's even more
evident over here on the left-hand side.
| | 00:19 | So we're going to take care of that
problem using the Brush tool, which
| | 00:23 | you'll find directly below the Healing
Brush, and you can get to the tool by
| | 00:26 | pressing the B key.
| | 00:27 | And if for some reason you see some
other tool in the slot, go ahead and click
| | 00:31 | and hold on that tool and choose
the Brush tool from the flyout menu.
| | 00:35 | Now I'm going to increase the size of my brush.
| | 00:37 | If I was just starting just painting
inside the image, I would paint with the
| | 00:41 | foreground color, which by default is black.
| | 00:43 | So I create this fuzzy black brush stroke.
| | 00:46 | Obviously, that's not what I want.
| | 00:47 | So I'll press Ctrl+Z or Command+Z
on the Mac to undo that change.
| | 00:51 | However I do want a fuzzy brush.
| | 00:53 | So I'll right-click inside the image.
| | 00:54 | Make sure your Hardness value is set
to 0% for this effect to work, and then
| | 00:59 | press the Enter key or the Return
key on the Mac to hide that panel.
| | 01:02 | What I'm going to do is lift a flesh
tone by pressing and holding the Alt key
| | 01:06 | or the Option key on the Mac and that
gets me my Eyedropper on the fly, and
| | 01:10 | then I'll click inside the image to lift the flesh
tone, as you can see at the top of the circle.
| | 01:14 | And here inside the Color panel, I'm
going to adjust my Hue, Saturation, and
| | 01:18 | Brightness values just a little bit.
| | 01:20 | I want a Hue value of 15 degrees
so that's perfect.
| | 01:22 | Saturation should be more like 30% and
the brightness should be more like 60%.
| | 01:28 | Now if I paint a brush
stroke it will be in that color.
| | 01:31 | However we're not getting any
interaction between the brush stroke and the image.
| | 01:35 | So again, I'll press Ctrl+Z
or Command+Z on the Mac.
| | 01:38 | What I need to do is assign a blend mode.
| | 01:40 | So I'll go up here to the Options bar
and change the mode from Normal to Color.
| | 01:45 | In that way, we'll override the
color of the makeup, but we'll keep all
| | 01:48 | the surface detail which is conveyed by
luminosity, that is the luminance information.
| | 01:52 | So I'll go ahead and choose color and
then paint over this region, like so.
| | 01:57 | Now we're getting some colors that
are awfully hot, as you can see, that is
| | 02:01 | overly-saturated in the shadow detail.
| | 02:04 | So we need to break color into its two parts.
| | 02:07 | I'll press Ctrl+Z or Command+Z
on the Mac to undo that change.
| | 02:10 | If I go back to the Blend Mode pop-
up menu, you'll see that there's two
| | 02:14 | options above color;
| | 02:15 | Hue and Saturation.
| | 02:16 | Those are the ingredients that make up color.
| | 02:18 | We were having a problem with saturation.
| | 02:21 | So in other words, we want to keep the
natural saturation values, in which case,
| | 02:25 | I'll select Hue so that the hue
is the only thing we're changing.
| | 02:28 | And now I'm going to increase the size
of my brush just a little bit more and
| | 02:32 | paint inside of this region of makeup, like so.
| | 02:35 | And then I'll reduce the size of my cursor and
paint over this little bit of makeup as well.
| | 02:39 | It's a pretty subtle change so far.
| | 02:42 | However over here on the left-hand side,
it's not going to be quite so subtle.
| | 02:45 | So I'll pan over to that location,
increase the size of my brush and paint
| | 02:49 | underneath the eye and we
get a more credible effect.
| | 02:52 | So we can still tell that she's wearing makeup,
but at least, the makeup is the right color.
| | 02:56 | All right, now I'm going
to zoom out a little bit.
| | 02:59 | You may recall that the model has some
shine on her forehead and on her cheek
| | 03:03 | over here on the left-hand side.
| | 03:05 | What you might do to solve this
problem is switch over to the Burn tool and
| | 03:10 | then instead of burning the midtones,
which is the default range, you'd burn
| | 03:14 | the highlights instead.
| | 03:16 | However when you burn highlights in
Photoshop, you usually get some pretty bad
| | 03:20 | results because Photoshop doesn't have
any real color information to work with
| | 03:24 | inside those highlights.
| | 03:26 | I'll go and press Ctrl+Z or Command+Z
on the Mac to undo that change.
| | 03:29 | Your better approach is to switch back
to the Brush tool and let's lift a very
| | 03:34 | light color from the forehead here.
| | 03:36 | I'll Alt+Click or Option+Click at
this location and that brightens up the
| | 03:40 | foreground color significantly, as you
can see along the top of the circle.
| | 03:45 | And once again, I'm going
to adjust my HSB values.
| | 03:47 | I'll take the Hue value up to 20 degrees and
then I'll lift the Saturation value to 15%
| | 03:53 | and the Brightness value should be around 85%.
| | 03:57 | All right, now I'm going to switch to a
different blend mode, because we want to
| | 04:00 | darken, the best blend mode for
our purposes will be Multiply.
| | 04:03 | I'll go ahead and select that mode.
| | 04:05 | Press the Escape key so the mode is no
longer active here on the PC and then
| | 04:09 | press the right bracket key a few
times in order to increase the size of my
| | 04:12 | brush and just paint
along that highlight, like so.
| | 04:15 | I've gone way too far.
| | 04:17 | Let's press Ctrl+Shift+F, Command+
Shift+F on the Mac in order to bring up
| | 04:21 | the Fade dialog box.
| | 04:22 | I'll reduce the Opacity to 50%.
| | 04:24 | See how that looks.
| | 04:25 | You might want to take it farther down
actually, so I'll take it down to 30% in
| | 04:28 | order to create the effect you see
in the video, and then I'll click OK.
| | 04:33 | And I might try it again, actually.
| | 04:35 | Paint up with a smaller brush
stroke along the highlight and then press
| | 04:39 | Ctrl+Shift+F or Command+Shift+F on the
Mac, and let's take the Opacity value
| | 04:42 | down to 20% and that looks pretty darn good.
| | 04:45 | Now I'll click OK in
order to accept that effect.
| | 04:48 | Let's go ahead and do the
same thing here in the cheeks.
| | 04:50 | So we'll just paint along the cheek
and then I'll press Ctrl+Shift+F. Let's
| | 04:54 | start at 20% and see how things look.
| | 04:56 | And then I'll go ahead and raise
it to 30% and that looks great.
| | 04:59 | And notice, by the way, that Photoshop
is smart enough to know that I used the
| | 05:04 | Multiply Blend mode, so I could switch it out
to a different mode if I wanted to on the fly.
| | 05:08 | For example, if I wanted to color the
cheek instead of darkening it, I would
| | 05:12 | switch to the Color mode.
| | 05:13 | It's not what I want though.
| | 05:14 | I'll go ahead and switch things
back to Multiply and then click OK to
| | 05:18 | accept that change.
| | 05:20 | Just a couple of other items
that I might want to modify.
| | 05:23 | By the way, you could
change the Opacity on the fly.
| | 05:27 | So I could say, gosh, you know, I'll
press the 5 key to reduce the Opacity value
| | 05:31 | to 50% and then I'll paint over this area.
| | 05:34 | The problem is that it's easier to do
the Fade from the Fade dialog box because
| | 05:38 | you can see it happen as opposed to trying
to anticipate what it's going to look like.
| | 05:43 | So now, I'll press Ctrl+Shift+F,
Command+Shift+F on the Mac.
| | 05:46 | It shows me that my Opacity
value is 50%, which is awesome.
| | 05:50 | I'll take it down to 30% and click OK.
| | 05:53 | And then I'll paint along just under the left
eyebrow, and actually that looks good at 50%.
| | 05:58 | So I'll leave it as is.
| | 05:59 | All right, and I'll switch back
to the Rectangular Marquee tool.
| | 06:03 | Let's go ahead and reset the View once again.
| | 06:05 | And just to give you a sense of what we
were able to accomplish here, I'll press
| | 06:09 | the F12 key in order to revert the image
to its saved appearance and you can see
| | 06:14 | that we have some awfully bright shine
up on the forehead and this off-color
| | 06:18 | makeup, for example, under the left eye.
| | 06:20 | And then if I press Ctrl+Z or Command+
Z on the Mac in order to reinstate my
| | 06:24 | changes, the skin tones are looking a lot
more organic to the model's natural coloring.
| | 06:29 | And that's how you use the Brush tool
to adjust the coloring of a portrait
| | 06:32 | shot here in Photoshop.
| | Collapse this transcript |
| Smoothing skin textures| 00:00 | In this movie, I'll show you how to further even
out the skin coloring and texture
| | 00:05 | using a filter called Gaussian blur.
| | 00:08 | Now what we need to do is create yet another layer,
by selecting this Retouch layer and pressing
| | 00:13 | Ctrl+Alt+J or Command+Option+J on a Mac, and then
I'll name the layer blur and click OK.
| | 00:19 | Now let's go ahead and blur the image by
going up to the Filter menu,
| | 00:23 | choosing Blur, and then choosing
the Gaussian Blur command.
| | 00:27 | For this image, a Radius of 20 pixels works well,
but if you're working with a higher resolution image
| | 00:32 | then you'd want to increase that value.
| | 00:34 | Basically you want to see absolutely smooth contouring
inside the image, of course we're losing detail at this point,
| | 00:42 | but we're going to bring it
back in the following steps.
| | 00:44 | So once you arrive at a Radius value that gives
you an effect that resembles the one you see in the video,
| | 00:50 | then click OK to apply the filter.
| | 00:52 | Now notice I've got my
Rectangular Marquee tool selected,
| | 00:56 | which means I can adjust the Opacity of
this layer just by pressing a number key,
| | 00:59 | so I'll press the 5 key to
take the Opacity down to 50%
| | 01:04 | and that does a great job of
evening out those skin tones,
| | 01:07 | but it also blurs the details, such as the
eyelashes and the eyebrows, and the lips and so forth.
| | 01:13 | So what I'm going to have you do is turn off this blur
layer for a moment and switch back to the retouch layer
| | 01:19 | and use the Rectangular Marquee tool
to select a few regions of the skin,
| | 01:23 | so I'm going to select some of the left cheek,
| | 01:25 | and I'm going to Shift+Drag around some the right
cheek--don't go too far into the shadows for this,
| | 01:30 | then I'll pan down and select a little bit
of the shadow detail below the lip.
| | 01:34 | But again, I'm not selecting
anything that's too dark,
| | 01:37 | and now let's check the settings associated
with the Magic Wand tool by switching
| | 01:41 | to the Magic Wand, make sure all the options
are set to their defaults up here in the options bar.
| | 01:46 | Specifically the tolerance value should be 32,
then go up to the Select menu and choose
| | 01:52 | the Similar command in order to
select all portions of the image that are
| | 01:56 | deemed to be similar to those selected regions.
| | 01:59 | Now we need to add a little more
to the selection using the Lasso tool,
| | 02:03 | so go ahead and select the Lasso,
| | 02:05 | and then press the Shift key and drag around
these details in the nose, above the lip for example,
| | 02:11 | and then over here on
right-hand side of the image.
| | 02:14 | And you don't have to get it exactly right.
| | 02:19 | So don't worry if you end up with a
meandering selection outline.
| | 02:22 | Now I missed some of the chin, so I will
Shift+Drag around it as well.
| | 02:26 | And I may Alt+Drag or Option+Drag in order to deselect
regions, like I don't want any of this here down in the
| | 02:32 | lower-left portion of the image to be selected.
| | 02:36 | And I don't want the hair in the upper-left
region of the image to be selected either.
| | 02:41 | So I'll Alt+Drag around this region, Alt+Drag around
here as well, that's an Option+Drag on the Mac of course.
| | 02:49 | And then Shift+Drag around this
right-hand region of the forehead,
| | 02:54 | and Shift+Drag underneath the eyebrow
over on the right-hand side as well.
| | 02:58 | All right, this is a decent base
selection, believe it or not,
| | 03:01 | but we need to feather it, that is blur the selection
outline, and you do that by going up to the Select menu, choosing
| | 03:08 | Modify and then choosing the Feather command.
| | 03:11 | And I'm going to go with that same
radius value that I applied with Gaussian Blur,
| | 03:15 | which is to say 20 pixels. If you use the different Gaussian
Blur value, you'll want to enter that value into this
| | 03:21 | dialog box as well. Then click OK.
| | 03:24 | Now let's convert the selection to a layer mask.
By clicking on the blur layer, I'll turn the layer back on.
| | 03:29 | Then I'll drop down to the Add layer mask icon
at the bottom of the Layers panel and click on it.
| | 03:34 | And that goes ahead and masks away
some of the details in the blurred image,
| | 03:38 | meaning that it brings that portion
of the image back into focus.
| | 03:42 | All right, we need to paint back in a few more details.
Switch to the Brush tool, which you can get by pressing the B key.
| | 03:47 | Make sure your foreground color is black.
| | 03:49 | If it isn't, here's what you do.
You press the D key to make the foreground color white
| | 03:54 | and then you press the X key
| | 03:56 | to swap the foreground and background
colors so it's black.
| | 04:00 | Make sure your Opacity is set to 100% at
first and that you're working with a very
| | 04:04 | blurry brush. So I'll right-click inside the image
| | 04:06 | and confirm that the hardness is 0%;
| | 04:09 | then I'll press the Enter key or the Return key
on the Mac in order to hide that panel.
| | 04:13 | Then I'll paint inside the eyes in order to
restore the detail around the eyes.
| | 04:18 | And I'll go ahead and paint inside some
of the mouth as well, specifically the teeth,
| | 04:22 | then what I encourage you to do is press the 5 key
to reduce the Opacity of the brush to 50%,
| | 04:28 | and paint over some of the other details
you want to keep, such as the creases around
| | 04:32 | the mouth. And you may want to paint over
| | 04:34 | them multiple times and then you want to
paint over the nostrils to bring them back,
| | 04:38 | around the nostrils as well, because we want
that detail to be there.
| | 04:42 | I want to paint over the eyebrows in order
to bring back some of that detail and
| | 04:46 | we seem to have brought maybe a little bit too
much detail back around the eyes.
| | 04:51 | So I'll reduce the size of my brush
by pressing the left bracket key,
| | 04:54 | then I'll press the X key to
switch the foreground color to white
| | 04:58 | and I'll paint around the eyes in
order to bring back some of the blur.
| | 05:01 | But I'm not seeing any difference and that's
because my blend mode is still set to Multiply.
| | 05:05 | So I'll go ahead and switch it back to Normal
| | 05:08 | and then paint under the eye, and you can see
that now we're bringing back some blurriness.
| | 05:13 | And I'll continue to paint around both
eyes in order to soften those details and
| | 05:17 | I might come back to a few details as well.
| | 05:20 | So as long as you keep your brush small,
soft and translucent, you can paint back and
| | 05:24 | forth as many times as you like.
| | 05:26 | All right, I'm going press the X key to
make my foreground color black again,
| | 05:30 | and I'll paint once again over each of the nostrils.
| | 05:33 | Let's go ahead and center
the image a little bit here.
| | 05:35 | And just to give you a sense of
what we were able to accomplish,
| | 05:39 | I'll Alt+Click on the eyeball in
front of the background layer.
| | 05:41 | So this is the original version of the image
that I loaded several movies ago and this
| | 05:46 | is the retouched image so far. The only thing
left is to whiten up the teeth
| | 05:51 | and increase the saturation of the irises,
| | 05:53 | and I'll show you how to do exactly
that in the next two movies.
| | Collapse this transcript |
| Brightening teeth| 00:00 | In this movie, I'll show you how to
whiten and brighten teeth using a combination
| | 00:05 | of the Sponge and Dodge tools.
| | 00:08 | And I'm going to zoom in on the
model's teeth and I'm also going to switch to
| | 00:11 | the retouch layer, because after all the
entire mouth is masked away on the blur layer.
| | 00:16 | Now I think most people's temptation is
to grab the Dodge tool, because we look
| | 00:21 | at teeth and we see them as being yellow,
they're dingy, let's brighten them up
| | 00:25 | and you start painting across a smile
and that does brighten up the teeth.
| | 00:30 | And that's because the teeth
ultimately have too much saturation.
| | 00:33 | So I'm going to undo that
modification by pressing Ctrl+Z or Command+Z on a
| | 00:38 | Mac and then I'll click and hold on
the Dodge tool and select the Sponge tool
| | 00:41 | from the flyout menu.
| | 00:43 | And notice by default the mode is
set to Desaturate, so we're removing
| | 00:47 | saturation from the teeth
which is exactly what we want.
| | 00:51 | So if I go ahead and paint over the
teeth, you can see that they end up looking
| | 00:53 | less dingy and also inherently whiter
because we're pulling away that yellow.
| | 00:58 | But a couple of problems, we're going
too far with the effect, and I'm removing
| | 01:02 | saturation from the lips as
well which is not what I want.
| | 01:05 | Again I'll press Ctrl+Z or Command+Z on
a Mac to reinstate the original teeth.
| | 01:10 | What we need to do is select the
teeth before we start modifying them.
| | 01:14 | So if you're working along with me, go
ahead and grab the Quick Selection tool
| | 01:17 | and make sure you're working with a
small brush or I'll press the left bracket
| | 01:21 | key a couple of times to
reduce it to 20 pixels in my case.
| | 01:25 | And then I'll make sure that Auto
Enhance is turned on and I'll go ahead
| | 01:30 | and paint over the gums and teeth,
so it's okay to go ahead and get the
| | 01:33 | gums for this effect.
| | 01:34 | In fact you want to get the gums actually.
| | 01:36 | We'll just make sure that we don't paint
too far into them with the Sponge tool.
| | 01:40 | And I'll go ahead and paint down
toward the lip, like so, and if you end up
| | 01:44 | getting a little bit of lip, actually
in my case it disappeared as soon as I
| | 01:47 | released the mouse button, but you
can deselect with this tool as well.
| | 01:52 | But say I go too far over this direction.
| | 01:55 | To deselect with the Quick Selection
tool you press the Alt key or the Option
| | 01:58 | key on the Mac, and notice that goes ahead
and shows you a minus sign inside the cursor.
| | 02:03 | Go ahead and paint the stuff
that you don't want to select away.
| | 02:06 | And this looks like a good selection to me.
| | 02:08 | I do want to soften it a bit so I'll go
up to the Select menu, choose Modify and
| | 02:13 | then choose the Feather command, and
I'll go with the Feather Radius value of 2
| | 02:16 | pixels, which will work pretty well
regardless of the resolution of your image.
| | 02:21 | Now I'll click OK in
order to accept that effect.
| | 02:24 | Now let's switch back to the Sponge
tool, which you can get by pressing the O
| | 02:27 | key, and the reason, by the way, that
the Dodge, Burn, and Sponge tools have a
| | 02:32 | keyboard of O, is because
Photoshop regards them as the Toning tools.
| | 02:37 | So I'll switch back to Sponge,
make sure it's set to Desaturate.
| | 02:40 | Let's take that Flow Value
down to 30% by pressing the 3 key.
| | 02:44 | Make sure that Vibrance is turned on
so that we're reducing the vibrance as
| | 02:48 | opposed to the saturation of the teeth.
| | 02:51 | And again that's important because
vibrance ends up affecting low saturation
| | 02:54 | colors more than high saturation colors.
| | 02:57 | I'll press Ctrl+H or Command+H on the
Mac to hide the Selection outline and then
| | 03:01 | I will paint inside the teeth in
order to remove some saturation.
| | 03:06 | And if necessary, I might hit a couple
of the teeth the second time, so I'll
| | 03:10 | click once in that right front tooth,
once in the left front tooth as well,
| | 03:13 | maybe in the next lower teeth too, so
that got rid of the yellow in the teeth.
| | 03:17 | Now at this point you might want
to brighten up the smile a bit.
| | 03:20 | So this is when you switch over to the
Dodge tool, but you want to work with a
| | 03:25 | very low exposure value.
| | 03:26 | I'm going to press the 1 key to reduce
it to 10%, and then I'll just paint along
| | 03:31 | the bottom of these front teeth,
like so, in order to brighten them up.
| | 03:36 | And that's all there is to it.
| | 03:37 | So creating a bright smile is one the
easier things to pull off inside of Photoshop.
| | 03:42 | Give you a sense of what we were able to do;
| | 03:44 | I'll press the F12 key in order to
revert to the original version of the image.
| | 03:48 | So this is the before version of that
smile and this is the new radiant smile,
| | 03:53 | thanks to our ability to whiten and
brighten teeth using a combination of the
| | 03:57 | Sponge and Dodge tools.
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| Intensifying eyes| 00:00 | In this movie, I'll show you how to
increase the color intensity as well as the
| | 00:04 | brightness of a person's irises.
| | 00:06 | And along the way I'll show you
a great trick for selecting eyes.
| | 00:10 | And I'm going to start things off by,
| | 00:12 | of course, making sure the
retouch layer is selected.
| | 00:15 | And then I'll switch over to the
Sponge tool, which not only allows you to
| | 00:19 | desaturate colors but you can
increase your saturation as well.
| | 00:23 | Go ahead and switch the mode
from Desaturate to Saturate.
| | 00:26 | And then I'll press the Escape key so the
modes no longer active here on the
| | 00:30 | PC, and I'll press the 5 key in
order to increase the Flow value to 50%.
| | 00:35 | Now you want your cursor to be about
the same size as the iris, and as usual
| | 00:40 | with these toning tools, you want to
make sure that the Hardness value is set to
| | 00:44 | 0% and I'm confirming this by right
-clicking inside the image window.
| | 00:48 | And then I'm going to click three times;
| | 00:50 | one, two, three on each of the two
irises so one, two, three on this one as well.
| | 00:57 | I'll switch over to the Dodge tool which
I can get by pressing Shift+O by the way.
| | 01:02 | And I'm going to increase the
Exposure value to 20% by pressing the 2 key.
| | 01:06 | And I'll reduce the size of my cursor
once again so it matches the size of the
| | 01:10 | iris, and I'll click once inside each one of
the irises just to brighten them up slightly.
| | 01:16 | So you can go farther with the
modification if you want to, but to me that
| | 01:20 | looks bright enough.
| | 01:21 | Now let's say you want to push
the color intensity even farther.
| | 01:24 | You probably don't want to click any
more times with the Sponge tool, because
| | 01:27 | each time you modify the eye with the
Sponge tool you also end up affecting the
| | 01:31 | portions of the eyelids and
skin above and below the iris.
| | 01:36 | You're better off making any
further changes using an Adjustment layer
| | 01:39 | constrained inside of a layer mask,
which means that we need to select the
| | 01:43 | eyes and here's how.
| | 01:45 | As opposed to using the Quick Selection
tool, or the Magic Wand, or even the Lasso
| | 01:49 | tool, your best tool for selecting
eyes is the Elliptical Marquee, and let me
| | 01:54 | show you how that works.
| | 01:56 | Select the Elliptical Marquee tool from
the toolbox and then I'll go ahead and
| | 02:00 | draw an ellipse, and I'm using the
Spacebar to move it around here--that
| | 02:04 | matches the top eyelid.
| | 02:05 | And I'm not terribly concerned about
the eyelashes, I just want to match the
| | 02:09 | top eyelid like so.
| | 02:11 | Then I'll scoot the image down and I'll
press both the Shift and Alt keys, these
| | 02:15 | would be the Shift and Option keys on
a Mac, so I can create an intersecting
| | 02:18 | selection, and I'll draw
another elliptical marquee.
| | 02:22 | So I've got my Shift and Alt keys down
and I'm using the Spacebar at the same
| | 02:25 | time in order to move that selection around,
until I've traced the bottom eyelid like so.
| | 02:31 | And you don't have to exactly trace
the eyelid as long as it's accurate below
| | 02:34 | the iris, and then you release
and you end up selecting the eye.
| | 02:39 | Now I'm going to click on the blur
layer, the top layer in the stack, and then
| | 02:42 | I'll press the Alt key or the Option
key on a Mac, drop down to the Black/White
| | 02:46 | icon at the bottom of the Layers panel,
click on it and choose Hue/Saturation.
| | 02:50 | And because I have the Alt or Option
key down that brings up the New Layer
| | 02:54 | dialog box, I'll just name
this layer eyes and click OK.
| | 02:57 | And then I'm going to scoot the Hue
value over just a little bit to 5 so that
| | 03:03 | I'm enhancing the green
inside of these hazel eyes.
| | 03:06 | Those kinds of hue
modifications are totally up to you.
| | 03:09 | You can go full on green if you want
to or you can more emphasize the brown
| | 03:13 | of the eyes as well.
| | 03:14 | I'm going to take the value to +5 and
then I'll tab to the Saturation value and
| | 03:19 | take it to +30 so that we're bringing
out even more color inside that iris.
| | 03:24 | All right now I'll hide the Properties panel.
| | 03:27 | Next I need to select the other eye,
because currently it's not affected.
| | 03:31 | So I'll go ahead and trace the top
eyelid once again using the Elliptical
| | 03:34 | Marquee, and then I'll press the Shift+Alt
keys or the Shift+Option keys
| | 03:39 | on a Mac and I'll trace
that bottom eyelid like so.
| | 03:42 | And again you want to get it accurate
underneath the iris, elsewhere it's not
| | 03:45 | that important, as long as you
don't select into the eyelid that is.
| | 03:49 | And once you get a loss in shape
selection like this then make sure that your
| | 03:53 | layer mask thumbnail is
selected inside the Layers panel,
| | 03:56 | confirm that your background color is
white, as it is in my case, and press
| | 04:00 | Ctrl+Backspace or Command+Delete on a
Mac in order to fill that portion of the
| | 04:04 | layer mask with white so that both
eyes are white and everything else in the
| | 04:08 | layer mask is black, and you end
up achieving this final effect.
| | 04:12 | All right I'm going click inside the
image to deselect it and I'm going to
| | 04:16 | reset my view by pressing Ctrl+Zero or
Command+Zero on a Mac and then zoom back
| | 04:20 | in a little bit here.
| | 04:21 | And just for the sake of comparison here,
I'm going to Alt+Click or Option+Click
| | 04:25 | on the eye in front of the background layer.
| | 04:27 | That is our original portrait
shot entirely unedited by the way.
| | 04:32 | This is the raw image from the digital camera,
and this is the final version of the image,
| | 04:38 | thanks to the immense power of
retouching here inside Photoshop.
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ConclusionGoodbye| 00:00 | In this course, you've had a chance
to come to terms with some essential
| | 00:04 | concepts; things like
pixels, layers and luminance.
| | 00:08 | But you've also had a chance to build
some real hands-on projects, in a few
| | 00:13 | cases entirely from scratch.
| | 00:16 | And this is just the beginning
of what you can do in Photoshop.
| | 00:20 | I'll have three more courses in
this series including part two:
| | 00:24 | Photoshop CS6 One-on-One: Intermediate, which
takes up right where this course leaves off.
| | 00:31 | If you're looking to branch out, you
may be ready to try out my regular weekly
| | 00:36 | series, Deke's Techniques.
| | 00:38 | It's a chance to take the tools you've seen so
far and apply them in fresh and creative ways.
| | 00:45 | But whatever your destination,
we have a course to get you there.
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