WelcomeWelcome | 00:04 | Hi, my name is Chris Orwig. I am a
photographer and a teacher, and I am really
| | 00:08 | excited about this course.
| | 00:09 | We are going to focus in on
Photoshop CS6 New Features.
| | 00:14 | And you know Photoshop is a gigantic
application. It's used by so many different
| | 00:18 | people in so many different ways.
| | 00:20 | And here, what we are going
to do is something unique.
| | 00:22 | We are going to focus in on the new features
which are most relevant to us as photographers.
| | 00:27 | We'll start off by taking a look at
the interface, because you'll notice it's
| | 00:31 | changed. It's now darker and different.
| | 00:33 | We'll look at how we can work
with Bridge and Mini Bridge.
| | 00:36 | We'll also spend some time
working with Adobe Camera RAW.
| | 00:40 | Here we'll discover we have new
controls which allow us to enhance and correct
| | 00:44 | our images in some really fascinating ways.
| | 00:47 | Inside of Photoshop we'll spend some
time exploring some of the changes that
| | 00:51 | we'll discover in the Layers panel.
| | 00:53 | We'll also take a look at how we can
make some powerful and exciting adjustments
| | 00:57 | to our photographs, whether that's by
adding blur or increasing the light
| | 01:01 | or retouching or removing blemishes.
| | 01:03 | We'll also explore how we can work
with video clips, how we can edit and trim
| | 01:08 | those clips--or add transitions--
and also export those files.
| | 01:12 | And we'll take a look at the new print
dialog which gives us even more control
| | 01:16 | and flexibility when it comes to printing.
| | 01:18 | Well, we are going to cover
all of these features and more.
| | 01:22 | So without further delay, let's begin.
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| Using the exercise files| 00:00 | If you're a premium member to the lynda.com
Online Training Library, or if you
| | 00:04 | are watching these movies on a disk,
you have access to the exercise files.
| | 00:09 | Once you've located the exercise files,
you can go ahead and double-click the
| | 00:12 | folder in order to open it up.
| | 00:14 | Here you'll discover that I've
organized our exercise files into
| | 00:18 | different chapter folders.
| | 00:20 | As we are working in a chapter, go ahead
and expand or open one of these folders
| | 00:25 | or use the Adobe Bridge in order to
navigate to the folder. And here you'll
| | 00:28 | discover all of the images that we'll
be working on in that particular chapter.
| | 00:33 | Now if you don't have access to
the exercise files, no big deal.
| | 00:36 | You can always follow along, or of course,
you can also just use your own files.
| | 00:40 | All right, let's begin!
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1. Getting to Know the New PhotoshopGetting familiar with and customizing the interface| 00:00 | An important step to getting good at
Photoshop CS6 is becoming familiar with
| | 00:05 | the interface, and that's what
I want to focus in on here.
| | 00:09 | I want to highlight a few changes that
we may have noticed with the interface.
| | 00:13 | I also want to talk about how we can
customize the way that Photoshop appears.
| | 00:17 | But one of the first things that you'll
obviously notice is that Photoshop is now dark gray.
| | 00:22 | But then as you look a little bit more
closely, you'll notice other changes as well.
| | 00:28 | Well, I find it helpful to try to
figure out what are these changes. It's kind
| | 00:33 | of like when a friend walks into a room
and something looks different. What is it?
| | 00:37 | Did they get a haircut? Or they're
wearing a new jacket. You're trying to
| | 00:41 | really figure out what's going on.
| | 00:43 | Well, with Photoshop what you'll
notice is that many of the icons stay in the
| | 00:48 | Tools panel, or perhaps in some of the
other panels--like the Adjustments panel--
| | 00:52 | or all over the interface.
They just look different.
| | 00:56 | Is it just that the background is now
dark gray and that's why they look different?
| | 01:00 | Well, that's part of it, right? Because
previously the background was light gray
| | 01:05 | and all of those icons were dark.
| | 01:07 | Well, that logic has now flipped.
| | 01:09 | The background is dark and
then these icons are bright.
| | 01:12 | But even above and beyond that,
over 1800 icons and over 250 cursors,
| | 01:18 | well, they've changed.
| | 01:19 | They've been modified in
this version of Photoshop.
| | 01:22 | And I think knowing that is really important.
| | 01:25 | It will help you become familiar with
some of the changes that you're seeing
| | 01:28 | here, and say, "Oh, that's
why this looks different."
| | 01:33 | All right. Well, back to the dark tone.
| | 01:34 | How can we change or customize that?
| | 01:37 | Let's say we don't like this shade of gray.
| | 01:40 | Well, there are two different
ways that we can do that.
| | 01:42 | You can navigate your Preference dialog, and
here in Preferences we'll go to Interface.
| | 01:48 | Inside of our Interface preferences,
we have different color themes.
| | 01:52 | You can click on this little color
chip in order to change this background--
| | 01:55 | or this Photoshop interface I
should say--to either something which is
| | 01:59 | darker or brighter.
| | 02:00 | Let's go ahead and choose this option
for our color theme and then click OK.
| | 02:05 | Well, that completely alters or
changes our experience of Photoshop.
| | 02:10 | Now by doing this we also may want to
change the work area, the area behind the image.
| | 02:16 | In order to do that you can Right-click
or Ctrl-click on that area.
| | 02:20 | Here I might want to choose a lighter
gray so that it matches that interface
| | 02:24 | a little bit more closely.
| | 02:26 | Again, Right-click or Ctrl-click. Here you
can see you have different shades of gray.
| | 02:31 | You can also choose a color for the background.
| | 02:33 | All right. Well, I am going to go back
to medium gray for a moment, and let's say
| | 02:37 | that after having viewed Photoshop with
this brighter theme, I really want to go
| | 02:42 | back to the darker theme.
| | 02:43 | Well, I could of course go back to my Preferences,
or I could use a really handy shortcut.
| | 02:48 | I want to highlight that for you.
| | 02:50 | I have a slide here which
shows you that shortcut.
| | 02:54 | It's Shift+F1 or Shift+F2.
| | 02:56 | In other words, if you press Shift+F1,
it darkens the interface, or darkens the
| | 03:01 | theme of the Photoshop interface,
and then Shift+F2 brightens it.
| | 03:05 | The reason why I show you that shortcut
is because what I think you want to do
| | 03:10 | to really get familiar with Photoshop CS6
is you want to tinker a little bit.
| | 03:15 | You want to look at the menus, at the icons.
You want to experiment with these
| | 03:19 | different color themes so that you can
modify and customize the interface
| | 03:24 | so that it can suit your needs.
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| Arranging photos and choosing Screen Mode options| 00:00 | Here I want to briefly highlight a few
interface changes which modify the way that
| | 00:05 | we work with multiple documents and also
how we view or see our photographs when
| | 00:10 | we are working with them in
the different screen modes.
| | 00:13 | All right. Well, here you can
see I have three documents open.
| | 00:16 | I can access these by
simply clicking on their tabs.
| | 00:20 | Now by default, when you open up multiple
documents in Photoshop, they open up in tabs,
| | 00:25 | and that's fine.
| | 00:26 | Yet, in the previous version of Photoshop,
there was just little widget or this
| | 00:30 | icon which allowed us to
choose different arrange options.
| | 00:35 | And you as a photographer, being able
to arrange or to view multiple images or
| | 00:39 | documents at the same time is really
important, especially if I'm combining
| | 00:44 | multiple exposures or making a
composite, bringing in different elements
| | 00:49 | from different documents.
| | 00:50 | Well, in order to access those same arrange
controls, now what we have to do is to
| | 00:55 | navigate to the Window pulldown menu.
Here we can select Arrange. I'll go ahead
| | 01:00 | and choose Tile All Vertically.
| | 01:02 | This allows me to see these three documents.
| | 01:05 | If ever I want to consolidate this
back to that tab view, well, you can navigate
| | 01:11 | to the Window, choose Arrange, and then
just select the option Consolidate All to Tabs.
| | 01:16 | All right. Well, what about
the different screen modes?
| | 01:19 | Well, you can access your different
screen modes by way of a shortcut or a menu.
| | 01:24 | The menu is to go to the View pulldown
menu, then choose Screen mode. And here we
| | 01:28 | have three different modes,
Standard or two Full Screen modes.
| | 01:32 | We can also do this by pressing the F key.
| | 01:35 | I want to highlight this, because if I go
to the Full Screen View mode by pressing F,
| | 01:40 | well, it's pretty different.
| | 01:42 | All of a sudden it's opened up much
more screen real estate so that I can start
| | 01:47 | to work on the image.
| | 01:49 | In order to navigate out of the Full
Screen View mode, you can always press
| | 01:53 | Shift+F. That then takes you back to
that previous view. And while these
| | 01:57 | interface changes are small, I think
it's helpful to get familiar with them
| | 02:01 | so that you can more effectively
work with your photographs.
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| Selecting a workspace| 00:00 | Photoshop is used by so many different
people in so many different ways.
| | 00:05 | Therefore, it's helpful to customize
the workspace so that the panels and
| | 00:09 | controls which are most relevant
to you are visible and accessible.
| | 00:14 | Well, in the previous version of Photoshop
there was this whole system where you
| | 00:18 | had buttons and you could drag out
this drawer and you could click on these
| | 00:21 | different workspaces
and it was located up here.
| | 00:24 | Well, now all of that thankfully has
been simplified into this pulldown menu.
| | 00:29 | Here you can click on the menu and then
choose the workspace which is relevant to you.
| | 00:33 | Let's say Photography. That will then
customize or reconfigure or rearrange the panels.
| | 00:39 | It will display certain panels
while others will be hidden.
| | 00:42 | If you make another change, say let's go
to Typography. You can see this a little
| | 00:47 | bit more dramatically.
| | 00:48 | And the great thing about this is that
all of these different workspaces,
| | 00:53 | they have built-in memory.
| | 00:54 | So, for example, if you go to Photography
and if you make a change here--let's
| | 01:00 | make a change by dragging this
Adjustments tab up into another panel group.
| | 01:04 | Well, it will then remember that.
| | 01:06 | So if ever I navigate to a different
workspace and then come back, well, it will
| | 01:12 | remember however I had that set up last time.
| | 01:15 | If ever you need to reset a workspace,
go to this menu and then simply choose
| | 01:20 | Reset and it will reset
this to those default settings.
| | 01:24 | Another way to access the workspace
options is to go to the Window pulldown menu
| | 01:29 | and then choose Workspace.
| | 01:31 | This is the same exact
menu as we saw previously.
| | 01:34 | Now there's a Workspace option which
might be really helpful for you in order to
| | 01:38 | get up to speed with
Photoshop CS6, it's this one here.
| | 01:42 | Go ahead and click on it.
You'll notice that, well,
| | 01:44 | things have dramatically changed.
| | 01:47 | On the right-hand side our panels are
now showing as icons, and this is just
| | 01:51 | highlighting that in all of these areas
some sort of change has been applied or
| | 01:56 | has been made to this version of Photoshop.
| | 01:59 | This is, perhaps, even more helpful
when you go to the pulldown menus.
| | 02:03 | In the pulldown menus you now see
different options or different items
| | 02:07 | highlighted in blue that's
telling you that something has changed.
| | 02:11 | This will be particularly interesting
as you scroll through these different
| | 02:15 | options. Say, when you go to the Filter
pulldown menu, you'll notice that changes
| | 02:19 | have been made to the Blur filter.
| | 02:21 | Now we'll be talking about these
important changes later, but I just wanted to
| | 02:25 | highlight that this is a really helpful
workspace for getting familiar with some
| | 02:29 | of the things which have
changed in Photoshop CS6.
| | 02:32 | Well, after you have tinkered around
and paid attention to some of these
| | 02:36 | changes, you of course want to go back
to a more typical workspace. To do that,
| | 02:42 | use this pulldown menu and then
choose the option which is relevant to you.
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| Introducing Auto-Save and Background Save| 00:00 | As you start to work with Photoshop CS6,
you'll soon discover that the changes
| | 00:04 | aren't just skin or surface deep.
| | 00:07 | In other words, it's not just about the
interface, rather the entire application
| | 00:11 | has been overhauled, and that's meant
some performance tuning and some new
| | 00:16 | features which will really improve our
overall workflow. And that's definitely
| | 00:20 | true with Background and Auto Save.
| | 00:23 | I'm going to talk about both of those here.
| | 00:25 | Well, a lot of times in our workflows
we'll have a photograph like this.
| | 00:30 | This file is about 35 Megs.
| | 00:32 | And let's say that we decide to
duplicate this layer for some reason.
| | 00:37 | To do that you can press Command+J
or Ctrl+J. Well, now the file size is
| | 00:42 | significantly increased, it's about 86 Megs.
| | 00:45 | Well, if we choose to save this file,
what Photoshop will do by default is it
| | 00:51 | will do all of this saving in the background.
| | 00:54 | Take a look at the bar down below
here which shows us our file size,
| | 00:59 | and also the tab at the top.
| | 01:01 | When you save by pressing Command+S or Ctrl+S,
it gives you progress of what's happening.
| | 01:07 | Now with a smaller file size, well, that happened
pretty quickly. It's not that big of a deal.
| | 01:12 | But let's say that all of a sudden we
have this workflow where we have 10
| | 01:16 | or 20 layers where our file
size is really significant.
| | 01:20 | Well, to simulate that, let's
keep copying in this layer.
| | 01:24 | To do that, press Command+J on a Mac,
Ctrl+J on Windows, and just do this a
| | 01:28 | handful of times, again just to
stimulate what might happen when we're
| | 01:31 | working on our files.
| | 01:33 | Well, here we now have a document
which is almost 700 Megs.
| | 01:38 | Well, previously, if we were to save this,
Photoshop would be frozen in the act of
| | 01:43 | saving this document.
| | 01:44 | We couldn't do anything else and our
hands would be tied. But now if we save
| | 01:49 | this document, what will happen is
it will do this in the background.
| | 01:53 | This means I can even continue to
make adjustments of any sort to this file
| | 01:58 | while that saving is
taking place in the background.
| | 02:01 | I could also jump to other documents
and work on them. Then when the saving was
| | 02:06 | complete, well, I could then jump back
to the document that I was working on in
| | 02:10 | order to work on that file.
| | 02:12 | In this progress or this background
saving can really change your workflow.
| | 02:17 | In other words, this can help you
multitask, whether you want to save a
| | 02:21 | document and jump to another, or if you
just want to keep moving in an image as
| | 02:27 | you make your way through the photograph, what
you'll want to do is to save more frequently.
| | 02:32 | So you can save that work. It will
happen in the background. Keep working and
| | 02:36 | keep saving in the background so
that it doesn't interrupt your workflow.
| | 02:41 | Another thing in regards to saving which
has changed is this preference which
| | 02:45 | is called Auto Save.
| | 02:47 | You can find this preference by
navigating to your Photoshop > Preferences,
| | 02:51 | and here we'll go to Preferences. And what I
want to you to do is to select File Handling.
| | 02:56 | Then in the File Handling dialog
you'll notice this check box,
| | 02:59 | Automatically Save Recovery Information,
in this case every 10 Minutes.
| | 03:04 | Well, what does this mean?
Or what's this all about?
| | 03:07 | Well, background save, that is
something that you do manually. You save your
| | 03:11 | document, and then it saves in the
background so you can continue working.
| | 03:15 | Well, this is something which
happens automatically. It happens even
| | 03:20 | further behind the scenes.
| | 03:22 | In other words, if you have this option
turned on--and let's say you're working
| | 03:26 | on this document here and all of a
sudden Photoshop crashes--well, what it's
| | 03:31 | done is it's saved the version of this
file if you've been working at least for
| | 03:35 | more than 10 minutes, and it will open
that version of the file up so that you
| | 03:40 | don't lose all of the work that you've done.
| | 03:43 | You can also change this to save these
more frequently. You could choose, say,
| | 03:46 | an option like 5 Minutes. And again, every 5
minutes it would be saving a version of
| | 03:51 | your file in the background.
| | 03:53 | You wouldn't ever know this unless
Photoshop crashed. Then when you reopen
| | 03:57 | Photoshop, well, it would reopen that
recovered document, and then you could
| | 04:01 | continue working on it.
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2. Improvements in Bridge and Mini BridgeCreating a contact sheet in Bridge or Photoshop| 00:00 | One of the benefits of digital capture
is that it's now easier than ever to take
| | 00:05 | and to make photographs.
| | 00:06 | One of the downsides is that many
times we capture too many images.
| | 00:11 | We need some tools which allow us to
kind of handle and organize our files,
| | 00:15 | because otherwise they can
get lost on a hard drive.
| | 00:18 | Well, here I want to look at one
such tool which allows us to create and
| | 00:22 | design a Contact Sheet.
| | 00:24 | Now in the previous version of
Photoshop and Bridge, you could go to the
| | 00:28 | Output module. There you could design a
Contact Sheet, export that to a PDF format.
| | 00:33 | Yet in the new version of Photoshop
and Bridge, there's a Contact Sheet which
| | 00:38 | allows us to create this Contact Sheet layout,
which will automatically open up in Photoshop.
| | 00:44 | Let's take a look at how we can do this.
| | 00:46 | Well, first we want to select some
images, and we'll do that in the Adobe Bridge.
| | 00:51 | Here I'm going to click on this folder, Bridge,
and then I want to select all of these pictures.
| | 00:55 | On a Mac press Command+A, on Windows
press Ctrl+A. Next, navigate to the Tools
| | 01:01 | pulldown menu, go to Photoshop, and here
with the Tools you'll notice there's
| | 01:06 | a new tool Contact Sheet II.
| | 01:09 | Let's click on that. This will open up
the Contact Sheet dialog and also show us
| | 01:13 | the Photoshop interface in the background,
because it's a Photoshop engine which
| | 01:18 | will build this Contact Sheet.
| | 01:19 | Well, here you can see we're using
these 11 files. We can specify Width and
| | 01:24 | Height, Color mode, Bit Depth, Color
Profile. Then there's this little check box.
| | 01:30 | You can either choose to Flatten All
the Layers, or if you want to edit the
| | 01:34 | layers after the fact, you can turn this off.
| | 01:37 | Let's turn that off, because I want to
highlight a feature in regards to working
| | 01:42 | with layers which can be helpful
for modifying multiple layers.
| | 01:45 | So again, we'll turn that
option off for demo purposes.
| | 01:48 | We can also determine how many columns
or rows we prefer. And if we want to use
| | 01:53 | the file name as a caption, we can
choose a font to our font type or size.
| | 01:58 | All right. Well, let's leave all
these settings as is and click OK.
| | 02:04 | Once you click OK, Photoshop will create a
new document and begin to create this layout.
| | 02:09 | In the Layers panel you can see it's
populating that panel with the different
| | 02:13 | images and also text files which are
describing the images, the file names.
| | 02:18 | Once this is complete what we
can do is we can customize things.
| | 02:22 | For example, if I go to my Layers panel,
I can turn off the visibility of certain
| | 02:27 | layers, and you can see how those
layers are now not shown in this document.
| | 02:31 | Another thing that you can do is make changes
after the fact, and this can be really helpful.
| | 02:36 | For example, one of the new features in
the Layers panel allows you to filter or
| | 02:41 | just show certain layer types.
| | 02:43 | Well, if we click on the T key, it will
then just show us the text layers in this
| | 02:48 | document. There they are.
| | 02:50 | Well, here I'll go ahead and click on one,
scroll down, hold down the Shift key
| | 02:54 | and click on another.
| | 02:56 | Next, I could change the opacity or
the font or the color. I'll just decrease
| | 03:01 | the opacity so you can see that that
now shows up in a much more muted way.
| | 03:05 | It's now light gray rather than black.
| | 03:08 | So again, we can make changes to
our Contact Sheet after the fact.
| | 03:12 | In regards to the layer of filtering,
we'll talk more about that later, but for
| | 03:16 | now when you want to turn off the
Filtering, we'll just click the icon again, and
| | 03:20 | now it shows us all of the layers.
| | 03:23 | Another way that you can create this same
contact sheet is from right inside of Photoshop.
| | 03:29 | To do that you'll navigate to the File
pulldown menu, then in the File pulldown
| | 03:33 | menu what you want to do is go
all the way down to Automate.
| | 03:37 | There underneath Automate you'll see
you have the option for Contact Sheet II.
| | 03:42 | When you click that option
it will reopen this dialog.
| | 03:45 | Now you could either use the files that
you've already selected in Bridge, or you
| | 03:49 | can manually select those files and then
create the Contact Sheet. It's the same
| | 03:54 | process as we did before.
| | 03:55 | I just want to highlight that you can
initiate or start this process either
| | 04:00 | from Photoshop or Adobe Bridge.
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| Working with Mini Bridge| 00:00 | Bridge CS5 and Bridge CS6 are pretty
much the same. And while there aren't any
| | 00:05 | new revolutionary features that are
worth highlighting inside of Bridge CS6,
| | 00:10 | that isn't true when it comes to Mini Bridge.
And here I want to focus in on how
| | 00:15 | we can work with Mini Bridge.
| | 00:17 | Many times what we will do is I'll work
with Bridge, Mini Bridge, and Photoshop
| | 00:21 | together, and I want to
talk about that process here.
| | 00:24 | Well, here I'm obviously inside of Bridge.
| | 00:27 | I've selected this folder, 02-Bridge, and I've
targeted or clicked on this image, jared-08.
| | 00:34 | Well, one of the things that you can do
is you can work with Bridge and then jump
| | 00:38 | to Photoshop, and then you can view
these images inside of Mini Bridge.
| | 00:43 | Let's take a look at how we can do that.
| | 00:45 | Here inside of Bridge, if you click
on this boomerang icon, it will then
| | 00:48 | take you to Photoshop.
| | 00:50 | Inside of Photoshop, if you have Mini
Bridge open, you'll notice that it took me
| | 00:55 | to this particular image.
| | 00:57 | If Mini Bridge isn't open, well just
click the tab, and you can do that either to
| | 01:01 | close or double-click
again to open up Mini Bridge.
| | 01:05 | What's great about this is that if
this is the photograph that I want to work
| | 01:09 | on, I want to open it in Photoshop,
we'll just double-click the file and it will
| | 01:13 | open that up inside of Photoshop.
| | 01:15 | In other words, Mini Bridge allows us to
work with our files in a similar way to Bridge.
| | 01:21 | The advantage of this is it now
kind of functions like a filmstrip.
| | 01:26 | If the thumbnails are too big, if
they're taking up too much screen real
| | 01:29 | estate, well, just hover over this
dividing line--you can go ahead and click and
| | 01:33 | drag to make this smaller.
| | 01:35 | Well, now that these are small, I can't
really determine if this is a good image.
| | 01:40 | This is just too small.
| | 01:42 | Well, a great shortcut which allows
you to view your images in Mini Bridge in
| | 01:47 | full screen is the spacebar key.
| | 01:50 | Press spacebar, and now I'm in full
screen mode. Use your arrow keys, right or
| | 01:55 | left, and you can move through your
images in order to find a photograph that
| | 01:58 | you want to work on.
| | 02:00 | In order to exit this view, just press
spacebar again and it will revert back
| | 02:04 | to the previous view.
| | 02:06 | You can also navigate your
images in some pretty creative ways.
| | 02:10 | First, let's take a look at
how we can jump back to Bridge.
| | 02:13 | To do that, you can click on this Bridge
icon here right below the Mini Bridge tab,
| | 02:18 | and that will then take us back to Bridge.
| | 02:20 | Here we could choose a new image,
then we could go back by clicking on
| | 02:25 | the boomerang icon.
| | 02:26 | So again, you can see how you can really
go back and forth between these two tools.
| | 02:31 | Another way that you can navigate is
you can click on these arrows. Here it
| | 02:35 | shows me I am in my exercise files folder.
Click on that arrow and a contextual
| | 02:40 | menu will open up, and here I could
select a different folder--say Layers--and that
| | 02:44 | I can see the files inside of that folder.
| | 02:47 | To remove this filtering or this location,
you can double-click these dots
| | 02:52 | here and it will remove those, and then you can
click on a particular folder as I'm doing here.
| | 02:57 | If you click on this, we have some view options.
| | 03:00 | These allow us to go to
that slideshow or review mode.
| | 03:03 | We can also show our images in
different ways and include information along
| | 03:07 | with those thumbnails.
| | 03:09 | Next, we can choose how we sort these
images, whether that's by filename or size
| | 03:14 | or rating, et cetera.
| | 03:16 | Another thing that you can do is you can
right-click or Ctrl-click over an image.
| | 03:21 | When you do that, you'll see a contextual
menu which gives you some similar controls.
| | 03:26 | You can choose a different view mode,
navigate to the Adobe Bridge, or you can
| | 03:30 | choose some Photoshop functions as well--or
determine how you want to open up a picture.
| | 03:35 | So again, you have a lot of different
options when it comes to working with Mini Bridge.
| | 03:40 | Now the trick, of course, is that while
this is great--and while you have that
| | 03:44 | filmstrip below--sometimes it can take
away from space that you desperately need
| | 03:49 | in order to view your photograph.
| | 03:51 | For example, here at this picture, I
will go ahead and press Command+Plus on a Mac,
| | 03:55 | or Ctrl+Plus on Windows, to zoom in.
| | 03:57 | Well, now I can't see the whole image
because Mini Bridge is covering a
| | 04:02 | large part of Photoshop.
| | 04:04 | In order to minimize or to hide Mini
Bridge, you already know how to do this.
| | 04:08 | You simply double-click the tab name, and
this is true with any panel in Photoshop.
| | 04:13 | So here I will go-ahead and do that in
order to minimize that space, and so now I
| | 04:18 | can see more of my photograph.
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|
|
3. Adobe Camera Raw ImprovementsIntroducing the new basic tone controls| 00:00 | For photographers, perhaps some of
the most exciting new features inside of
| | 00:04 | Photoshop CS6 are located in Adobe Camera RAW.
| | 00:08 | Adobe Camera RAW allows us to
non-destructively correct, enhance, and process our
| | 00:14 | pictures in some incredibly powerful ways.
| | 00:17 | Let's start off by taking a look at
how we can work with Adobe Camera RAW
| | 00:20 | with this photograph here,
it's titled wedding.dng.
| | 00:25 | Go ahead and select that photograph and then
press Command+R on the Mac, Ctrl+R on Windows.
| | 00:31 | One of the first things you almost
always want to do in Camera RAW is go to
| | 00:34 | the full screen mode.
| | 00:35 | You can do so by clicking on this
icon here or by pressing the F key.
| | 00:40 | All right. Well, once you are in the full
screen mode, what I want to highlight is
| | 00:44 | that the controls in Adobe Camera RAW
have changed, in particular the controls
| | 00:49 | for the basic panel.
| | 00:51 | If you look at these controls, you'll
notice that the names have changed.
| | 00:55 | Now it's not just that they've renamed
things, but really they've reworked the
| | 00:59 | Adobe Camera RAW engine so that it's able to
extract much more information out of your file.
| | 01:05 | Well, here what we can do is we can use
these controls or sliders to change the picture.
| | 01:10 | To increase the exposure, click and drag
to the right. To increase the contrast,
| | 01:15 | again, drag to the right. To
decrease that, move that to the left.
| | 01:19 | If ever you want to reset one of these
values, we'll simply double-click that
| | 01:23 | slider and it will take it back to the
default setting. And that brings me to
| | 01:27 | a really important point.
| | 01:29 | You'll notice that by default, all of
these sliders, all of these controls,
| | 01:34 | they are zeroed out.
| | 01:35 | In the previous version of Camera RAW,
they were really all over the map, so it
| | 01:39 | was hard to know where to begin.
| | 01:41 | All right. So here we can see we
have Exposure and Contrast, then we have
| | 01:45 | Highlights, Shadows, Whites
and Blacks. What's this about?
| | 01:50 | Well, if we work with highlights--
again clicking and dragging to the right--
| | 01:54 | the highlights or the brighter whites
become whiter, or drag to the left, then
| | 01:57 | what we are going to be able to do is to
recover some detail on some of those highlights.
| | 02:02 | To see the before and after, you can
click on that Preview button. So here is
| | 02:06 | before, and now here is after.
| | 02:08 | We have more detail in this area of the image.
| | 02:10 | We can also do something which is a little
bit less intense by decreasing that amount.
| | 02:15 | All right. Well, what about Shadows?
| | 02:18 | Drag to the right, the shadows become brighter.
Drag to the left and they become darker.
| | 02:22 | So here again, we can recover or bring in
some shadow detail by dragging this to the right.
| | 02:28 | Then we have Whites and Blacks.
| | 02:30 | These work in a very similar way.
| | 02:33 | Drag the Whites to the right, you can
see how again I'm brightening up those
| | 02:36 | whites, or I am bringing them down.
| | 02:38 | In this case, these have a little bit of
a broader reach compared to Highlights
| | 02:42 | and Shadows but still
work in a very similar way.
| | 02:45 | Now because of that, I think it's
helpful to really try to understand these
| | 02:49 | controls, because they have
new names, they work in new ways.
| | 02:53 | What I want to do is take a look at a
demo file, which is a grayscale, and
| | 02:58 | I want to see if we can't reverse engineer or
deconstruct how these sliders actually work.
| | 03:04 | So here what we are going to do is go
ahead and apply these adjustments by
| | 03:06 | clicking Done, and then in the next
movie we will take a look at how we can
| | 03:11 | modify this particular demo file, grayscale.jpg.
| | 03:15 | All right, I'll see you in the next movie.
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| Learning about the basic controls| 00:00 | Because the basic adjustment controls
are so significant, I don't think it will
| | 00:04 | suffice to simply show you how they work.
| | 00:07 | What I want to do here is really
teach you how you can use them.
| | 00:10 | I am going to be working
with two files, the first one is
| | 00:12 | basic_adjustments.tif.
| | 00:14 | And click on that, then press the
spacebar key to open this up in a larger view.
| | 00:19 | This is a screen grab of the basic panel.
| | 00:22 | And here I just want to reiterate
that these controls start zeroed out.
| | 00:26 | And the way that they work is when you
drag to the right, things become brighter.
| | 00:30 | Drag to the left, things become darker.
| | 00:34 | Okay, we will press spacebar
again to exit out of that view.
| | 00:37 | Let's go to this demo file, grayscale.jpg.
| | 00:40 | If we make some changes to this file,
it can help us understand these controls
| | 00:45 | in an interesting way.
| | 00:47 | Here let's go ahead and
open this up in Camera RAW.
| | 00:50 | To do so, press Command+R on
a Mac, or Ctrl+R on Windows.
| | 00:55 | Now we are going to really
focus in on these controls here.
| | 00:59 | Okay, well, what about Exposure?
| | 01:01 | Well, if we click and drag this to the
right, we can see that we can really
| | 01:04 | make dramatic adjustments
to our photograph.
| | 01:07 | I mean, that's its intense.
| | 01:09 | Drag to the left, the same thing.
| | 01:11 | So the Exposure control,
well, it's really powerful.
| | 01:14 | It's going to do a lot.
| | 01:16 | In other words, as you work with this,
you may not swing this very far in order
| | 01:20 | to be able to make the changes that you need.
| | 01:23 | It's a powerful tool.
| | 01:24 | To reset it, double-click the
Tab and it will go back to zero.
| | 01:28 | Contrast we already know about--drag
to the right increases the contrast.
| | 01:32 | Drag to the left and it decreases.
| | 01:34 | What becomes more interesting are
Highlights, Shadows, Whites, and Blacks.
| | 01:40 | In order to really focus in on how
these work, what I want to do is turn on
| | 01:44 | the Clipping indicators.
| | 01:46 | You can do so by clicking on these
icons at the top of the histogram.
| | 01:50 | Currently that's showing me where I
have clipping or loss of detail in this
| | 01:55 | grayscale on this file.
| | 01:56 | Well, what is Highlight going to do for me?
| | 01:59 | Well, if we drag this to the right,
what's going to happen is we are going to
| | 02:02 | have more clipping in the image.
| | 02:05 | Drag it all the way over,
| | 02:07 | you can see that primarily
it's targeting the brighter tones.
| | 02:11 | If you look at this grayscale,
well, it goes to about here.
| | 02:14 | Well, let's then reset that
and compare that, say, to whites.
| | 02:19 | I will go ahead and do the same adjustment.
This time I will go all the way up to 100.
| | 02:23 | You can see that this one is getting
lower in this grayscale. In other words,
| | 02:27 | it's going further into
a different tonal region.
| | 02:31 | So again, typically you can think of
this Highlights control is one that allows
| | 02:36 | you to recover or to work
with the brightest tones.
| | 02:40 | If you have tones which are too
bright, drag it to the left.
| | 02:43 | It will then recover those.
| | 02:44 | Notice there isn't any clipping in this area.
| | 02:47 | The same thing is true with our shadows.
| | 02:49 | We can either brighten those shadows up
or we can darken them down.
| | 02:53 | Notice how it affects the rest of the
histogram but it really targets those
| | 02:57 | deeper or darker tones.
| | 03:00 | Let's reset these sliders here and then
look at whites. Well, whites--we saw how
| | 03:05 | we can either brighten those up or
of course we can darken those down.
| | 03:09 | Next we have blacks.
| | 03:11 | Blacks allow us to work
on this area of our image.
| | 03:14 | Again, it's a little bit
higher than the other one.
| | 03:16 | It reaches a little bit further.
| | 03:18 | So in a sense, you can think
of these controls this way.
| | 03:22 | Highlights and Shadows: they are
subtle; they are on the extremes.
| | 03:26 | Whites and Blacks: they are just in a
little bit further in regards to the
| | 03:29 | reach--or regards to the
area that they are modifying.
| | 03:34 | All right. Well, now that we know
a little bit about these controls,
| | 03:36 | let's take a look at how we
can apply this to a photograph.
| | 03:39 | And let's do that in the next movie.
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| Enhancing and correcting your images with more power| 00:00 | Now that we know a little bit about the
Adobe Camera RAW basic controls, let's
| | 00:05 | take what we've learned and
apply it to our photographs.
| | 00:08 | We will be working with this
picture here. It's rincon_surfer.dng.
| | 00:13 | To open this one up in Camera RAW, press
Command+R on a Mac, or Ctrl+R on Windows.
| | 00:19 | Well, this particular photograph--this
portrait--I liked the expression, I liked
| | 00:24 | the composition, yet I
want more detail in this area.
| | 00:28 | In order to do that, we
could increase the exposure.
| | 00:31 | Yet, when we increase the
exposure, something happens.
| | 00:35 | This side of the image,
well, it becomes too bright.
| | 00:38 | Well, we can modify that by using these controls.
| | 00:42 | Let's--though--first work on the shadows.
| | 00:44 | If we want more detail in our shadows
or our blacks, well, we can drag these
| | 00:49 | sliders to the right. We can bring
more light into those areas of the image.
| | 00:53 | One of the challenges is that when you brighten
an image, you also need to add a bit of contrast;
| | 00:59 | otherwise, it can look a little fake.
| | 01:01 | So here I will go ahead and increase
the contrast a little bit as well.
| | 01:04 | All right. Well, what about
the bright side of the frame?
| | 01:08 | Well, here we can use Highlights and
Whites. I will go ahead and click and
| | 01:11 | drag this down. You can see how I am
bringing more detail into that area of the picture.
| | 01:16 | So as you use these controls, it's a
little bit of a give and take using them
| | 01:20 | together. Try to come up
with a nice combination.
| | 01:23 | You can also modify them after the
fact, after you dial in the amount of
| | 01:27 | contrast you are going to use and also how much
of light you are going to bring into the shadows.
| | 01:31 | All right. Well, after having made
those adjustments--just a few more here--
| | 01:35 | I am going to drag my Temperature slider
over to the right just to warm this up
| | 01:39 | a little bit as well.
| | 01:40 | Well, now we can view the before and
after by pressing the P key, or by clicking
| | 01:46 | on this icon here for Preview.
| | 01:48 | Here it is, our before and then our after.
| | 01:51 | And by using these controls, it allowed us
to create this different type of exposure.
| | 01:57 | And here you can see how these
specific controls allow us to tap into
| | 02:01 | different parts of the image.
| | 02:03 | And here's what's really powerful.
| | 02:05 | What's happening with this latest
version of Adobe Camera RAW is that it's able
| | 02:10 | to extract more information from the RAW
file so that we can swing these sliders--
| | 02:15 | or move these sliders--in
even more dramatic ways.
| | 02:18 | Also, from the get-go, it's giving us
a better starting point. In order to
| | 02:23 | illustrate that, I want to show you another file.
| | 02:25 | All right. Well, let's click Done with
this image and go back to the Adobe Bridge.
| | 02:30 | Here I have a demo file or some screen
grabs of this image processed in Camera RAW
| | 02:36 | in CS6 and Camera RAW with CS6.
| | 02:39 | Here's the actual photograph.
| | 02:41 | Well, one of the problems with this
picture was that the front part of the car
| | 02:45 | had some loss of detail.
| | 02:48 | I used to use this image as a great
example of a way to recover highlights.
| | 02:53 | Well, I open this image up in Adobe Photoshop
CS6 Camera RAW and here's what I discovered.
| | 02:59 | Well, in CS5, yes, we had clipping,
loss of detail in the front of the car, you
| | 03:04 | can see that by the red highlighted area.
| | 03:07 | In CS6 the same image, yet a different
Camera RAW processing engine. Well, that
| | 03:13 | problem is completely solved,
and I didn't even do anything.
| | 03:18 | In other words, the way that Adobe
Camera RAW taps into the data in that raw
| | 03:23 | file is more intelligent.
| | 03:25 | It allows you to extract more information
out of the file, which gives you a better
| | 03:29 | starting point and also more flexibility
when it comes to modifying those photographs.
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| Updating the processed version of legacy files| 00:00 | Now that you have seen the Adobe
Camera RAW basic controls in action, you may
| | 00:05 | want to go back to some of your
older images which you processed using a
| | 00:09 | previous version of Camera RAW.
| | 00:11 | You may want to update the
way you process those files.
| | 00:15 | Well, let's take a look at
how we can do that here.
| | 00:17 | How we can update the process version.
| | 00:20 | We will be working with these
two images, tahoe_01 and tahoe_02.
| | 00:26 | Click on one, hold down Command or Ctrl--
Command on a Mac, Ctrl on Windows--
| | 00:32 | and then select both of those images.
| | 00:34 | Then press Command+R on
a Mac, Ctrl+R on Windows.
| | 00:37 | Now here in the bottom right-hand corner,
you will see this exclamation point.
| | 00:41 | That's telling me that this image
has been processed by a previous
| | 00:46 | version of Camera RAW.
| | 00:47 | In order to illustrate the difference,
what I also want to do here is turn on
| | 00:51 | the Clipping Indicator
icons here, or click on those.
| | 00:54 | This shows me I have loss of
detail in this area of the snow.
| | 00:59 | In order to update the process version,
we will go ahead and click on this
| | 01:02 | exclamation point, and it I will update
this to latest version of Camera RAW.
| | 01:07 | Now in doing that, all of a sudden
all of that area, all of that loss
| | 01:11 | of detail, well it's gone.
| | 01:13 | You also may have noticed that it
changed all of these controls and settings.
| | 01:18 | Well, what's the deal? What's happened here?
| | 01:20 | Well, let's look at that other image and
let's deconstruct this a little further.
| | 01:25 | This is a photograph, by the way, when
we went to visit Truckee in California.
| | 01:29 | We were playing in the snow.
| | 01:30 | I like the emotion of this picture,
but we have this loss of detail.
| | 01:34 | Well, with the default settings, you can
see I have Recovery, Fill Light, Blacks,
| | 01:40 | and really these settings are all over the map.
| | 01:43 | Once you click on this exclamation point,
it updates that to the most recent
| | 01:47 | process version and it changes these controls.
| | 01:51 | It also zeroes everything out.
| | 01:54 | So again, this image just by
default is at a better place.
| | 01:58 | Now if we wanted to further modify this--
I think this photograph could use a
| | 02:02 | little bit of contrast, also might want
to bring my highlights down. I might want
| | 02:06 | a little bit more in the snow
there as well as with my whites.
| | 02:09 | And then I might want to darken up
some of those shadows just a touch here.
| | 02:13 | Again, just modifying a few of those settings.
| | 02:16 | So, once you've updated the process
version, what happens is the way this image
| | 02:21 | is processed has changed.
| | 02:23 | Then you may need to make some other
adjustments, because these controls, well,
| | 02:27 | they work in a different way.
| | 02:30 | Let's go ahead and apply some
adjustments to the other image as well.
| | 02:33 | With this one I'll go ahead and bring
my highlights down, add a little bit of
| | 02:37 | contrast, again just make some
adjustments so that this image looks visually
| | 02:41 | interesting to my eye.
| | 02:43 | And really, I'm interested in just
trying to have a nice photograph here.
| | 02:48 | To view the preview of the before and after--
you remember the shortcut. It's the P key.
| | 02:53 | So here's our before; now here is our after.
| | 02:57 | After having clicked on the exclamation
point to update the process version, and
| | 03:01 | then after having made any needed
adjustments, all that we need to do is to
| | 03:05 | simply click Done in order to apply
those adjustments to these images.
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| Adding midtone contrast with a better Clarity control| 00:00 | Another much welcomed new feature in
Adobe Camera Raw has to do with clarity.
| | 00:05 | And here we will be working with two
images, and we will explore how we can use
| | 00:08 | the Clarity slider in Adobe Camera RAW.
| | 00:11 | We will be working with this file,
gray.jpg, and also rincon_surfer.dng.
| | 00:17 | So hold down Command or Ctrl
and click on both of those images.
| | 00:21 | And then open these up in Camera RAW by
pressing Command+R on a Mac, or Ctrl+R on Windows.
| | 00:28 | Let's start off with this demo file.
| | 00:31 | This is a file that I created in Photoshop.
| | 00:33 | I simply made a few shapes, filled
those with a gradient, and posterized one.
| | 00:38 | And I did that because it creates a
nice way to kind of see how clarity works.
| | 00:42 | Here I will go ahead and zoom in on this so
we get a little bit more of a close-up view.
| | 00:46 | Well, the Clarity slider is interesting.
| | 00:50 | What it allows us to do
is to add midtone contrast.
| | 00:53 | Let me show you what I mean.
| | 00:54 | Click and drag this to the right, we see that
we have this nice texture in this midtone area.
| | 00:59 | We can also see that in these other
grayscales as well. Here is that before
| | 01:04 | and then the after.
| | 01:05 | And one of the things that's great
about clarity is that now it deals with
| | 01:10 | artifacts and halos in a much better way.
| | 01:12 | In other words, in the previous version
of Adobe Camera RAW, with 100 points of
| | 01:17 | clarity, you would have this
drastic halo around the edge.
| | 01:20 | Well, here you can see it's really tight,
it's really small, and it's not that problematic.
| | 01:25 | In the previous version it really was.
| | 01:28 | So clarity works much more effectively.
| | 01:30 | All right. Well, what about Negative Clarity?
| | 01:33 | You might want to use Negative Clarity
if you have a close-up beauty shot and if
| | 01:36 | you just want to soften it a little bit.
| | 01:38 | Again, this is going to remove or
reduce texture or midtone contrast.
| | 01:43 | Okay, let's then take a look at a photograph.
| | 01:46 | Let's look at this picture here, and
what I want to do is zoom in on this
| | 01:49 | picture a little bit.
| | 01:51 | With this photograph, let's
exaggerate first Negative Clarity.
| | 01:55 | Everything becomes soft and weird.
It doesn't really work.
| | 01:58 | When it comes to Negative Clarity, you
have to be careful. You don't want to go
| | 02:02 | too low, but if you want to slightly soften it,
perhaps you could apply a -10 or 15.
| | 02:08 | Again, that could create a flattering look on
the right picture. This isn't the right picture.
| | 02:13 | For this photograph we want
the texture and the detail.
| | 02:16 | So I am going to increase the clarity.
| | 02:18 | Now this photograph, I imagine, will look
well with maybe 15 or 20 points of clarity.
| | 02:23 | Right about there.
| | 02:24 | Nice detail. And we can see all the
texture on the rocks and everything
| | 02:28 | that looks really good.
| | 02:30 | Yet, one of things that happens here
that we need to pay attention to is that
| | 02:34 | it's actually changing
the color of the photograph.
| | 02:38 | Let me exaggerate and show you what I mean.
| | 02:40 | If we crank this up to 100, well,
we can really see it now, right?
| | 02:45 | The picture, it's kind of muted--
| | 02:48 | it looks almost like an HDR photograph.
| | 02:51 | I will double-click the Hand tool which
will zoom out to Fit in view, so you can
| | 02:55 | see that in the entire image, here is
the original photograph. And then here it
| | 03:00 | is with 100 points of clarity.
| | 03:02 | Now for certain pictures, desaturating
when you're adding clarity or this midtone
| | 03:06 | contrast, it could help out. It could
kind of offset that oversaturation which
| | 03:12 | sometimes happens when you increase contrast.
| | 03:14 | Yet with some images, let's say you
don't want this HDR type of a look.
| | 03:20 | What you might need to do is to dial in
just the right amount of clarity, let's
| | 03:24 | say 15 or 20 points and then bring up
the vibrance and a little bit of the
| | 03:28 | saturation to kind of offset for
that desaturation which happens when you
| | 03:34 | introduce or when you add
clarity to your photographs.
| | 03:37 | You want to really experiment with
this Clarity slider, because it's a lot
| | 03:41 | stronger than it was previously.
| | 03:43 | In the previous version when I would
teach about it, I would say, "You know what,
| | 03:46 | be careful with this. Apply a low amount."
| | 03:48 | Well, now as you can see with this picture, you
can really get away with adding a lot of clarity.
| | 03:54 | And with some photographs this can
help you create a really distinct
| | 03:57 | or distinguished look.
| | 03:59 | So again, experiment with this control and
try to find out right spot for your photographs.
| | 04:04 | And once you've found that spot and
perhaps added a little bit of vibrance or
| | 04:07 | saturation--or made any other needed
adjustments--in order to apply them, all that
| | 04:12 | you need to do is to simply click Done
to exit out of Camera RAW and to apply
| | 04:17 | those adjustments to your photographs.
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| Utilizing the new Adjustment Brush features| 00:00 | Here we are going to take a look at
how we can use the Adjustment Brush in
| | 00:03 | order to paint in new adjustments that weren't
available in previous versions of Camera RAW.
| | 00:09 | I will be working with these two files here.
| | 00:12 | Let's go ahead and open them up in Camera RAW.
| | 00:14 | You can do so by pressing Command+R
on a Mac, or Ctrl+R on Windows.
| | 00:19 | With this first photograph, I am going to
go ahead and click on it a few times in
| | 00:22 | order to zoom in and press
the spacebar key to reposition.
| | 00:26 | Next, what I want to do is work on the
exposure on the left side of the image.
| | 00:31 | I'll go ahead and click on the Adjustment
Brush icon, or press the K key to select it.
| | 00:36 | And here you'll notice we have
many more options: Exposure, Contrast,
| | 00:41 | Highlights, so on and so forth.
| | 00:43 | What we can do is select an option.
| | 00:46 | Let's say I want to work on the highlights. I
want to decrease the brightness of the highlights.
| | 00:51 | I'll choose a low highlight value and then
for my brush go ahead and scroll down here.
| | 00:56 | I want to have a relatively small
brush size with a lot of feather and then
| | 01:00 | my Flow pretty low.
| | 01:02 | This allows me to paint these
adjustments in successively.
| | 01:06 | In other words, I can make one
adjustment or one brush stroke and then I can go
| | 01:10 | back and paint back over that again.
| | 01:12 | And so, again, all that I'm interested in doing
is trying to darken up this side of the face.
| | 01:17 | And I am doing so by using this slider
here, which in this case is our highlights.
| | 01:21 | As you're making these adjustments, you
shouldn't see anything really dramatic
| | 01:26 | until you click the preview.
Here is before and then after.
| | 01:30 | So we are really diminishing the
brightness value, or these brighter whites over
| | 01:34 | here on this side of the face.
| | 01:36 | If you want to bring these out even more,
well, by all means change this slider.
| | 01:40 | Here you can see we can control those
whites, and you can see I can either darken
| | 01:44 | them or brighten them up.
| | 01:45 | And what I'm looking for here is
something which is relatively subtle.
| | 01:49 | I'll go ahead and decrease the exposure
just a little bit there as well to try
| | 01:54 | to get this a little bit more
close in regards the overall exposure.
| | 01:58 | Now let's say we want to make
another type of adjustment. Perhaps we want
| | 02:02 | to work on the eyes.
| | 02:03 | Let's double-click the zoom tool that
will take us right up close to the face, here.
| | 02:09 | To make another adjustment, click on
the Adjustment Brush tool. And then I want
| | 02:13 | to choose an option.
| | 02:14 | In this case I am going to go for
contrast and maybe some sharpness, so I'll
| | 02:18 | click on the plus icon for contrast.
| | 02:21 | That creates an adjustment
with an increased contrast,
| | 02:24 | also increase my clarity, my saturation;
| | 02:27 | my sharpness. Why don't we add a
little bit of brightness as well?
| | 02:31 | Once we've done that, we can go ahead
and hover over the eyes. And I'll increase
| | 02:36 | the Flow so you can see this a
little bit more dramatically.
| | 02:38 | I am just going to paint
over this area of the image.
| | 02:42 | As I'm painting, I'm careful not to
paint on any other part of the image.
| | 02:46 | I also don't want to go over the top
so that the eyes look unnatural.
| | 02:50 | In other words, if we increase the
exposure too much, you can see how things
| | 02:54 | start to look a little bit strange.
| | 02:56 | So we want it to look bright, nice,
adding all this clarity, saturation and
| | 03:02 | contrast and sharpness--again, just increasing
these amounts until we have a nice look there.
| | 03:07 | Click on the Preview icon. Here
we have our before and then after.
| | 03:12 | And with those eyes you can really
see how we brought those to life.
| | 03:16 | So all of these controls
give us this new flexibility.
| | 03:20 | All right. Well, what about those
situations, say, like this next image here?
| | 03:25 | I'll go ahead and click on it,
| | 03:26 | then I'm going to zoom into the
face area here or just double-click the
| | 03:29 | Zoom tool to go to 100%.
| | 03:31 | Well, when I do that and when I go to
the Adjustment Brush, all of a sudden all
| | 03:38 | of those other options are gone.
| | 03:40 | I have limited controls that I can
paint into this image. Why is that?
| | 03:45 | Well, that's because this photograph has been
processed by a previous version of Photoshop.
| | 03:51 | To change this or to update the
process version--which you'll need to do in
| | 03:55 | order to use this tool--you have to
click on this exclamation point icon.
| | 03:59 | Once I do that, watch these controls right here.
| | 04:02 | I'll go ahead and click on that, and
then all of a sudden--well, now I have this
| | 04:06 | whole huge new range of controls.
| | 04:09 | I can paint in noise reduction
to a specific area.
| | 04:13 | So if I want to work on a particular
part of the image, well, I'll go ahead
| | 04:17 | and click on that option, and then I
could paint away the noise in a particular
| | 04:20 | part of my photograph.
| | 04:22 | As you can imagine, this really all of a
sudden makes this Adjustment Brush tool
| | 04:27 | that much more versatile and powerful
because it gives you more specific control
| | 04:32 | about what you want to paint into an image.
| | 04:35 | The last thing I want to highlight
here is that if ever you're making an
| | 04:38 | adjustment and you need to make a new
adjustment, well, just click on this
| | 04:43 | New button here that allows you to create
a new adjustment with different settings,
| | 04:46 | which you can then paint into your photograph.
| | 04:49 | After you've modified your image,
all that you need to do to apply those
| | 04:53 | settings is to click Done.
| | 04:55 | That will then apply and save
those settings with these files.
| | Collapse this transcript |
| Painting away moiré patterns | 00:00 | In order to further illustrate or
highlight how we can work with the Adjustment
| | 00:04 | Brush and the new settings that we have
in this tool, we are going to be working
| | 00:08 | with this file here, it's titled moire.jpg.
| | 00:11 | This image has a moire pattern, and we
are going to look at how we can use the
| | 00:15 | Adjustment Brush in order
to paint away this problem.
| | 00:19 | Let's open this up in Camera RAW.
| | 00:21 | To do so, press Command+R
on a Mac, Ctrl+R on Windows.
| | 00:24 | Next I am going to double-click the Zoom
tool, which will take this to a 100% view.
| | 00:30 | The moire pattern kind of looks like
this watery strange pattern which is on top
| | 00:35 | of the fabric. That pattern, it isn't
part of the fabric, but it's something that
| | 00:40 | happens sometimes in digital capture,
especially when we're photographing
| | 00:44 | different materials.
| | 00:45 | So what we can do in order to remove
that is we can select the Adjustment Brush.
| | 00:50 | Next, we'll go down to the Moire Reduction
options here, and I am going to go
| | 00:54 | ahead and click on the plus icon.
| | 00:56 | Next, after I've chosen that, I'll increase
my brush amount and also my brush Size.
| | 01:03 | Then I am going to go ahead
and paint over the image.
| | 01:05 | Now as I do that, you can see
that this image is changing.
| | 01:09 | I am going to decrease the brush
size by pressing the left bracket key.
| | 01:13 | Next, I'll go ahead and paint over this
edge here. I am just going to paint away
| | 01:17 | this problematic moire pattern that
we can see on top of the photograph.
| | 01:21 | And we could make our way through the entirety
of the image, painting away all of this problem.
| | 01:26 | Now it's not going to be perfect.
It's not going to be able to remove
| | 01:29 | everything, but it's doing a great job
at removing those distracting lines and
| | 01:34 | all of those colors.
| | 01:35 | Let's take a look. Here we have
that before and then now the after.
| | 01:41 | One of the things, though, that I am noticing
is that the color is a bit more muted.
| | 01:46 | It's almost like I lost
a little bit of saturation.
| | 01:50 | Well, no big deal. After the fact,
after we've painted away that adjustment,
| | 01:54 | we can go ahead and increase the color
saturation in order to bring back some of
| | 01:59 | the original life or vitality of that color.
| | 02:01 | Of course with this image what we'd
want to do is after we dialed in those
| | 02:05 | settings is we want to change our
brush size and make sure we get all of this
| | 02:09 | out, and we'd want to move around the image
so that we could successfully remove it all.
| | 02:14 | Initially, though, what I like to do is
to paint away a large area just to make
| | 02:19 | sure that this is going to work
and then get into all those details.
| | 02:23 | As you progress, you almost always
want to press that P key to look at your
| | 02:27 | before and after to make sure that
you're going in a good direction.
| | 02:32 | And as this illustrates, we can use the
Adjustment Brush in order paint in some
| | 02:35 | really interesting corrections or
enhancements to our photographs.
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| Making precise adjustments with the Point Tone Curve panel| 00:00 | Here we are going to take a look at
how we can use the Point Tone Curve in
| | 00:04 | order to make precise adjustments to
our photographs in Adobe Camera RAW.
| | 00:08 | We'll be working with this file,
photographer.dng, so let's open it up in
| | 00:13 | Camera RAW by pressing Command+R
on the Mac, or Ctrl+R on Windows.
| | 00:18 | We want to navigate to the Tone Curve panel.
| | 00:20 | To do so, you can click on the tab up here.
It's the second tab in the list, and
| | 00:25 | you want to click on the sub-tab,
not Parametric but Point.
| | 00:29 | The Point Tone Curve panel is actually
really powerful, and this is a new feature
| | 00:34 | which gives us the ability to make
curve-like adjustments that we have done
| | 00:38 | previously in Photoshop now
in Camera RAW. Let me explain.
| | 00:42 | Here you see this curve line.
| | 00:44 | To add a point, simply click and
then drag. Drag up it becomes brighter;
| | 00:48 | drag down it becomes darker.
| | 00:50 | If ever you want to remove a point,
well, you can just click and drag that off,
| | 00:54 | and it will reset that curve
or reset that area of the curve.
| | 00:58 | You can also work with your endpoints,
which can be really helpful when it comes
| | 01:03 | to recovering detail.
| | 01:04 | Here I could darken that up
or also brighten this.
| | 01:07 | And you can see how these brighter
areas are becoming pure white, or I can bring
| | 01:11 | in some detail onto those areas.
| | 01:13 | Again, it's very similar to
working in Curves in Photoshop.
| | 01:18 | So what do we want to do with this image?
| | 01:20 | Well, let's say with this photograph,
what I want to do is just darken up some of
| | 01:24 | these brighter tones and then, perhaps,
modify some of my darker tones as well--
| | 01:28 | just a subtle little adjustment.
| | 01:30 | But then I decide I also want to
change the color, the feel of this image.
| | 01:35 | Well, to do that, you can go to your
Channel pulldown menu, and here we can
| | 01:40 | navigate to our various channels.
Let's start off with Red.
| | 01:43 | Well, just to illustrate, what you can
do here is click and drag up. By dragging
| | 01:49 | towards the word Red, you're
increasing the amount of red in the photograph.
| | 01:54 | Drag away from that word, and then we'll add
the other complimentary color, which is cyan.
| | 02:00 | You also notice that we have this curve which
stretches across the spectrum of this image.
| | 02:05 | Well, if I just want my brighter colors
or brighter tones to be a color and my
| | 02:10 | darker ones to be something different,
you can see how we can start to do that.
| | 02:15 | We can map these adjustments
into specific areas of our image.
| | 02:20 | Okay, well, this doesn't look very good.
| | 02:22 | Let me remove these points.
How do we do that?
| | 02:25 | You remember, right? Just click
and drag them off to the side there.
| | 02:29 | And with this photograph, what I want to do
is just bring in some nice warm red here.
| | 02:33 | I don't want it so much though in the
shirt, so I'll go ahead and click and
| | 02:37 | drag this down for my brighter tones, so it's
primarily in the deeper colors in this picture.
| | 02:43 | Next, I want to add a little bit of
yellow as well, so to do that we'll go to
| | 02:48 | the Blue/Yellow channel.
| | 02:50 | We know that if we drag up we are going to
add blue, drag down we are going to add yellow.
| | 02:54 | Now we need to be subtle with this
adjustment, so I'll go ahead and just simply
| | 02:59 | add a little bit of yellow there. Again,
just changing the overall look and feel or
| | 03:03 | mood of this picture. It's subtle and
precise, but that's exactly why I came
| | 03:07 | here: to make those types of
adjustments using these controls.
| | 03:10 | All right. Well, let's look at our preview.
| | 03:13 | Here we have it. There is
before and then here is after.
| | 03:16 | If ever after you've made some color
adjustments--let's say you want to go back
| | 03:21 | to the overall contrast or tone--well,
just go back to the Composite RGB view
| | 03:27 | and then here we could make those
changes. We could go ahead and brighten these
| | 03:30 | up if we wanted to have a little bit
more brightness in this photograph.
| | 03:33 | And then of course, click on this
icon or press the P key to look at
| | 03:37 | your before and after.
| | Collapse this transcript |
| Using lens corrections to remove color fringing| 00:00 | This will be a quick movie as we
briefly take a look at how we can use
| | 00:04 | lens corrections in order to
correct different parts of our image.
| | 00:07 | In particular, I want to focus in on
chromatic aberration, or that color fringing
| | 00:12 | that you see in your images sometimes.
| | 00:14 | Let's go ahead and open this file up
in Camera RAW, press Command+R on
| | 00:17 | a Mac, Ctrl+R on Windows.
| | 00:19 | Next, what I want to do is
navigate to the Lens Corrections tab.
| | 00:24 | You can do so by clicking on this icon here.
| | 00:27 | Now one of the things that's great
about Lens Corrections is that it allows you
| | 00:30 | to choose this option which
enables the Lens Profile Corrections.
| | 00:34 | It taps into this database, figures
out your camera and your lens combination,
| | 00:38 | and then tries to make any needed adjustments.
| | 00:41 | And here you can see it did a pretty good job.
| | 00:43 | Here is our before and then our after.
| | 00:46 | And if I select the Zoom tool and go
ahead and zoom on in on one of these
| | 00:50 | areas--say, around the edge of the photograph--
you can see that I have this real distinct problem.
| | 00:56 | I have this color fringing.
| | 00:58 | It's red on one side, cyan on another.
| | 01:01 | In the previous version of Adobe
Camera RAW, we had controls in order to dial
| | 01:06 | away the chromatic aberration.
| | 01:07 | Well, in this version it's gotten a lot better.
| | 01:10 | Now we only have a check box, and in
order to remove the chromatic aberration--
| | 01:15 | literally all that we need to do is to click
on that check box, and now it's gone.
| | 01:20 | It's taken care of.
| | 01:22 | In other words, it's taken out the guess work
so that we no longer need to use these sliders.
| | 01:27 | It's doing all of this for us behind the scenes.
| | 01:30 | And this is yet another example of
how the Camera RAW engine--well,
| | 01:34 | it's just gotten better.
| | 01:35 | So as you work with your photographs, be
sure to turn this option on so that you
| | 01:40 | can take advantage of that new way to
process and to clean up your photographs.
| | 01:44 | After you've made that adjustment,
you'll want to double-click, perhaps,
| | 01:47 | the Hand tool to zoom out just to
evaluate the image in its entirety.
| | 01:51 | Take a look at your preview.
Here is our before and after.
| | 01:56 | The image is now in a much better place.
| | Collapse this transcript |
|
|
4. Increased Flexibility with the Layers PanelApplying layer style effects to a group| 00:00 | Here in this chapter we're going to
explore some of the new ways that we can
| | 00:03 | work with layers in the
Layers panel in Photoshop CS6.
| | 00:08 | And here, in this movie I want to focus
in on how we can work with groups and
| | 00:12 | layer style effects.
| | 00:14 | You'll notice that I have this
Background layer, then two text layers above it.
| | 00:19 | Let's say that I want to apply a layer
style effect to both of these layers.
| | 00:24 | On the previous versions of Photoshop, this was
really impossible to do this at the same time.
| | 00:30 | We could obviously work on one layer at
a time, but let's say we want to apply
| | 00:34 | these effects to both of
these layers at the same time.
| | 00:37 | Only one layer style effect
applied in multiple places.
| | 00:41 | Well, to do that in CS6, you can
take advantage of using groups.
| | 00:46 | You can go ahead and click on this Group
icon here, and to add layers to a group,
| | 00:51 | just click, drag and drop, and here
you can now see both of these text layers
| | 00:56 | are applied to this or a part of this group.
| | 01:00 | If I click on the Visibility icon of
that group, well, it hides both layers.
| | 01:05 | Click on it again and it
shows both of those layers.
| | 01:07 | Well, if I want to apply a layer style effect
to both layers, all that I need to do--
| | 01:13 | or all that you need to do--is to
click on the group there, go the fx icon,
| | 01:18 | and then choose the effect. In
this case I'll select Drop Shadow.
| | 01:22 | And I'll go ahead and customize the drop
shadow just a little bit here, so you can see that.
| | 01:27 | And you can see below that this
effect is being applied to both layers.
| | 01:31 | Let's click OK in order to be able to see that.
| | 01:35 | Again, because the effect is applied
to the group, whatever is inside of this
| | 01:40 | group, well, then it has that layer style effect.
| | 01:43 | Even more we can do is we
can further customize things.
| | 01:48 | Let's say, for example, that we really
want a brush stroke around this layer
| | 01:52 | but not the other one.
| | 01:54 | We'll just target that layer, go
back to that fx icon, and then choose,
| | 01:59 | perhaps, brush stroke here.
| | 02:01 | We'll go ahead and add that brush stroke
to the outside of those letters there to
| | 02:05 | this layer and then click OK.
| | 02:07 | In other words, you can stack up these
effects so that you can have effects on
| | 02:12 | particular layers which just apply to those
layers, or you can apply an effect to a group.
| | 02:19 | That effect then is applied to all
of the layers inside of that group.
| | Collapse this transcript |
| Working with groups and filtering| 00:00 | As a photographer there are a
number of different situations where it's
| | 00:04 | helpful to know how to work with
multiple layer types, whether you have a
| | 00:08 | photograph or a text layer.
| | 00:10 | And also, how you can work with layer
style effects and how you can organize all
| | 00:15 | of your layers into groups, and perhaps
how you can add color layers, or maybe
| | 00:19 | how you can work with creative blending.
| | 00:22 | Well, here in this movie we're
going to look at all of that.
| | 00:24 | Well, first what I want to do is open
up some more space for my Layers panel.
| | 00:29 | To do that, you can double-click on the
tab group name or the panel group name in
| | 00:34 | order to collapse it, as I'm doing here.
| | 00:37 | Okay, well, in the Layers panel
you can see we have a few layers.
| | 00:41 | Each of the layers has a layer style effect.
| | 00:44 | We know that we can hide or show this
effect by clicking on these icons here.
| | 00:50 | Well, a lot of times you
want to do this more quickly.
| | 00:53 | Well, now in Photoshop CS6 what you can
do is click on one layer, hold down the
| | 00:57 | Shift key, then click on another, and if
you have multiple layers selected, all
| | 01:03 | that you have to do is to click on
one Layer Style Effects icon here and it
| | 01:07 | will either reveal or show all of those
effects. Click again and you can hide all of those.
| | 01:12 | What about those situations where you
have layers kind of interwoven throughout
| | 01:17 | all of the layers you have in your panel?
| | 01:19 | You don't want to click on all of those in
order to collapse or to show those effects.
| | 01:25 | You can use a modifier shortcut to do that.
| | 01:27 | Here let's go ahead and click off of
those layers, then if you press Option on
| | 01:31 | a Mac--Alt on Windows--and then
click on this icon, it will then expand or
| | 01:36 | collapse all of the effects
that you have in your Layers panel.
| | 01:40 | This can be really handy, because
sometimes seeing all those effects, well, it
| | 01:44 | can just be a little bit
confusing. It can be too much.
| | 01:47 | So again, it's Option or Alt--Option on a Mac,
Alt on Window--and then click on that icon.
| | 01:53 | Another way that we can work with our
layers is to add what are called Color Labels.
| | 01:59 | If you click on the one layer, you can
go ahead and right-click or Ctrl-click
| | 02:03 | it, this will open up this contextual menu.
| | 02:06 | Now there's a lot here, but what I'm
looking for is the layer or the layer color here.
| | 02:11 | I'll give this layer a red label.
| | 02:14 | You can use these labels in
order to organize your Layers panel.
| | 02:18 | You can also do this to
more than one layer at a time.
| | 02:21 | Hold down Command on a Mac, Ctrl on
Windows, and click on multiple layers and
| | 02:26 | then right-click or Ctrl-click, and here
you can choose a label color in order to
| | 02:31 | add that label color to your layers.
| | 02:33 | All right. Well, let's take a look at
also how we can work with blending and some
| | 02:38 | other creative aspects of working with layers.
| | 02:40 | Well, here I have this leaf layer.
| | 02:43 | I want to duplicate this leaf layer,
and there's a great shortcut to do that.
| | 02:48 | On a Mac it is Command+J. On Windows
that's Ctrl+J. You can see I've just
| | 02:53 | duplicated or copied that leaf layer.
| | 02:56 | Next, with the Move tool selected,
what I'm going to do is go ahead and just
| | 03:00 | click and drag this off to the side.
| | 03:02 | Next I want to copy that again, so
I'll press Command+J, or Ctrl+J, and then
| | 03:07 | click and drag this off to another position.
| | 03:09 | Well, now that I have this, what I want
to do is I want to apply a Blending mode
| | 03:14 | to each of these layers. Well, rather
than doing this one layer at a time by
| | 03:20 | going to the Blending mode option and
selecting that, what you can now do in
| | 03:24 | Photoshop CS6 is select two or more
layers and apply Blending mode to all of
| | 03:29 | those layers at once.
| | 03:31 | Let me show you what I mean.
| | 03:32 | Well, here we'll go ahead and click on
these other layers, hold down the Command
| | 03:36 | key on a Mac, Ctrl key on Windows,
and click on those other layers there.
| | 03:41 | Next, navigate to your Blending mode
pulldown menu and choose the blending mode
| | 03:46 | that you want to try.
| | 03:47 | I'll try Soft Light or maybe Overlay.
| | 03:50 | This gives me kind of an
interesting texture or background.
| | 03:53 | All right. Well, let's say that
we want to take this even further.
| | 03:57 | Well, right now all of these layer
style effects are just kind of getting in
| | 04:01 | my way. So you remember the shortcut
to hide those, hold down Option or Alt
| | 04:05 | and click on this icon.
| | 04:07 | All right. That's much easier to look at.
| | 04:09 | Next, I'm going to group these layers together.
| | 04:12 | So while they're still selected, I'll
press a shortcut to create a group--
| | 04:17 | that's Command+G on a Mac, Ctrl+G on Windows--
and I'm going to name this group leaves.
| | 04:23 | Well, now that I have this group, I want
to duplicate the entire group, and this
| | 04:28 | is new inside of Photoshop CS6.
| | 04:30 | We can use that same shortcut that we had
previously used in order to duplicate a layer.
| | 04:36 | You remember that one, right?
| | 04:37 | It's Command+J or Ctrl+J, think jump
these contents to another layer, or in
| | 04:42 | this case, jump the entire
group to another group here.
| | 04:44 | We have now to versions of this group.
| | 04:47 | We could then use our Move tool and
click and drag and reposition this.
| | 04:51 | Say we wanted to create kind of an
interesting texture in the background.
| | 04:55 | Press that shortcut again, Command+J
or Ctrl+J. You can press this multiple
| | 04:59 | times, and you can see, how what we can
do is we can start to build up this effect.
| | 05:04 | And again, what's interesting about
this is this gives us the ability to work
| | 05:09 | with these layers in
some really fascinating ways.
| | 05:11 | Well, let's say then that what I want to
do is I want to expand all of these and
| | 05:15 | I've realized that I want to try out
some different blending modes, right?
| | 05:19 | But now they're inside of all of
these groups, and let's even say we open up
| | 05:24 | the Layer Style Effects and we're scrolling
through all this and it just looks confusing.
| | 05:28 | Well, there is a great new feature
inside of the Layers panel, and it's
| | 05:34 | a feature which allows us to
filter what we're seeing.
| | 05:38 | If you look up at the top of the
Layers panel, you can filter by kind, and you
| | 05:42 | can click on these different icons.
| | 05:44 | One of the icons you might
want to try is this one here.
| | 05:48 | This allows us to filter
based on pixel-based layers.
| | 05:52 | Now in this case, it's going to show us all of
the leaf layers. So let's click on that option.
| | 05:58 | Now here what you can see is it removed all
of those groups. I no longer see the groups.
| | 06:02 | It also removed the two text layers.
| | 06:06 | Let's collapse the Layer Style Effects
so we can see this even more clearly.
| | 06:09 | I'll go ahead and collapse those effects.
| | 06:11 | Did you notice that all
the groups are now hidden?
| | 06:14 | Let's click on the icon again. Well, here
they are all back. Click on this again,
| | 06:18 | and you can see, well, it kind of
removed temporarily all of the grouping.
| | 06:23 | What's great about this is it gives me
access to these layers. So I could click
| | 06:28 | on one, hold down the Shift
key, and then click on another.
| | 06:32 | In this way I could experiment, I
could say, well, I want to try different
| | 06:36 | blending mode, perhaps Exclusion.
| | 06:38 | Well, that doesn't look very good.
| | 06:40 | I could keep going through this until I
find something that I think looks interesting.
| | 06:44 | Maybe we'll just try Soft Light, a
little bit more of a subtle effect.
| | 06:48 | Also, let's say that I want to lower
the opacity of all of these layers.
| | 06:53 | Well, now that I have them all selected,
I can go ahead and decrease their opacity.
| | 06:58 | In other words, we can use this
Filtering view in order to access layers,
| | 07:03 | even layers which are nested
inside of different groups.
| | 07:07 | Now once we've finished making our
adjustments, all that we need to do is to
| | 07:11 | click this icon again and it will
bring everything back to normal.
| | 07:15 | So as you can see here, there are some
really fascinating and powerful ways that
| | 07:20 | we can start to work with layers.
| | 07:23 | And if you didn't catch any of these
little tips, it may be worthwhile to
| | 07:26 | go back and to re-watch this movie,
because layers in Photoshop, well, they're huge.
| | 07:32 | As photographers we spend so
much time working in layers.
| | 07:36 | Learning how to more effectively work
in these layers and also how to more
| | 07:40 | effectively organize them and manage
them and modify them--whether for creative
| | 07:44 | or just corrective purposes--well,
it can really help out your workflow
| | 07:48 | by leaps and bounds.
| | Collapse this transcript |
| Blending and renaming layers| 00:00 | In the next few movies, we'll be
working with this document here.
| | 00:03 | This document is the beginning of
a creative project from one of my
| | 00:07 | other training movies.
| | 00:09 | Yet here what we're going to focus
in on is how we can work with layers
| | 00:12 | inside of Photoshop CS6.
| | 00:14 | In particular, in this initial movie
we're going to take a look at how we can
| | 00:18 | do some blending, how we can use those
Blend If sliders, and also how we can more
| | 00:22 | effectively rename our layers.
| | 00:25 | Well, let's start off by taking a
look at the layers in this document.
| | 00:29 | You'll notice we have a
number of different layer groups.
| | 00:32 | The group that I want to focus in
on is this one, Creative Adjustments.
| | 00:36 | So go ahead and click on this triangle
icon in order to expand that layer group.
| | 00:41 | One of the top layers is titled dandelion.
| | 00:44 | I'll go ahead and turn on the
visibility of this layer and then target it,
| | 00:49 | and what I want to do is I want to
blend this in into the background.
| | 00:53 | There are a number of different ways to do this.
| | 00:56 | One of the techniques that we can
use is to use advanced blending using
| | 01:01 | the Blend If sliders.
| | 01:02 | Now we've had this technique in
previous versions of Photoshop, but what's new
| | 01:07 | is that when you apply this technique to
a layer, there's a new icon which shows
| | 01:11 | up in your Layers panel.
| | 01:13 | Let me show you what I mean.
| | 01:15 | Well, in order to access the Blend If sliders,
you double-click to the right of the layer name.
| | 01:21 | This opens up our blending options here.
| | 01:24 | We can use these Blend If controls
by simply clicking and dragging.
| | 01:28 | As I click and drag, you can see it's
revealing more of the image in the background.
| | 01:33 | If you want your edges to be softer
with this type of blending, well, you hold
| | 01:37 | down Option or Alt and then click on
this little icon and it splits this icon
| | 01:44 | and again creates smoother transitions.
| | 01:47 | Okay. Well, let's go ahead and click OK.
| | 01:49 | Let's apply that layer blending.
| | 01:52 | Again, here you can see there's a new
icon. And really the whole point of this is
| | 01:56 | just to illustrate that we now have
this new icon showing us that we've applied
| | 02:00 | this type of blending.
| | 02:02 | If ever you want to change that,
we'll just double-click again.
| | 02:05 | It opens up your blending options, and
then here, again, you can make further
| | 02:09 | changes to the type of blending
that we have with this layer.
| | 02:13 | Next, let's go ahead and
click OK in order to apply that.
| | 02:18 | Another thing that we can do with a layer
is we can change its blending mode.
| | 02:22 | We've seen this before, right?
| | 02:24 | You can do this one layer at a time
by going to your Blending mode pulldown
| | 02:28 | menu and choosing the blending mode,
say, like Soft Light.
| | 02:31 | But let's say that we have a group of
layers that we want to apply this to.
| | 02:36 | In this case, I have this layer branches here.
| | 02:39 | I also have some other layers, texture
layer, underneath that, this one that has
| | 02:44 | some kind of grass and leaves there,
another layer which has a tree branch on
| | 02:48 | the left, and then finally the bottom
layer which has these coffee stains.
| | 02:53 | Again, all of these different layers
might be nice to have some blending on them.
| | 02:58 | I also, perhaps, want to name these layers
| | 03:01 | so that I don't always have to guess
and try to figure out which layer is what.
| | 03:05 | Well, there is a great technique that
you can use in order to rename your layers.
| | 03:10 | Let me show you what it is.
| | 03:12 | Well, remember that here on this
top layer we have these scratches.
| | 03:16 | Next, underneath that we have the grass,
and then finally we have the tree branch
| | 03:20 | and the coffee stains.
| | 03:21 | Well, if you double-click the layer
name of one of your layers, you can go
| | 03:25 | ahead and rename it.
| | 03:26 | Here I'll name this scratches.
| | 03:28 | Well, next, if I want to rename the
layer underneath this one, all that I've
| | 03:33 | got to do is to press the Tab key.
| | 03:35 | This then allows me to get access to
that field and I can rename that layer.
| | 03:40 | Press Tab again, go ahead and rename
that layer, and then press it one more time,
| | 03:45 | and I'll name this one coffee stains.
| | 03:47 | Well, if ever you want to go back up
and rename one of the layers that are
| | 03:52 | above, all that you have to do is to
press the Shift+Tab and that will give you
| | 03:57 | access to that field, and
you can go ahead and add that.
| | 04:01 | In order to exit this field,
you can press the Escape key.
| | 04:05 | Okay, well, now that we've organized
our Layers panel--and now that we have all
| | 04:09 | of these different layers--what I want
to do is apply a blending mode, say,
| | 04:13 | to all of these layers here.
| | 04:14 | Well, one way to do that would be to
click on one of the layers, hold down the
| | 04:19 | Shift key, then click on another.
| | 04:21 | Here we're selecting layers which are
touching each other, and we've seen this
| | 04:26 | before, that what we can now do is we can
go to our Blending mode option and here
| | 04:31 | we can choose the blending mode that
we can apply to all of these layers.
| | 04:35 | If we don't like the blending mode, well,
we can just go back and choose another
| | 04:39 | one until we find the blending
mode that will work for our project.
| | 04:42 | Well, in this case, the opacity or the
intensity of these layers, it's just too much.
| | 04:49 | Or with all of these selected, as we've
seen before, we can change their opacity
| | 04:54 | by simply clicking and dragging this
Opacity slider in order to diminish it.
| | 04:59 | If ever you want to work on just one
layer, well, just click on it and then
| | 05:03 | here we can go ahead and take that one down so
that the texture is a little bit more subtle there.
| | 05:08 | What I'm really interested in having
here with these layers is just a little bit
| | 05:12 | of texture or feeling.
| | 05:14 | I can also lower the overall group
by clicking on the group name and
| | 05:18 | then lowering that.
| | 05:20 | Again, we're looking to make some subtle
adjustments here, just trying to build
| | 05:23 | up a little bit of texture or mood with
all of these layers. Let's take a look.
| | 05:28 | We'll click on this eye icon. Here is our
before, and then now here's our after.
| | 05:34 | Subtle, yet perhaps some significant
or just kind of fun and creative adjustments.
| | 05:39 | All right. Well, now that we've made
these adjustments, let's continue to work
| | 05:42 | with this project, and
let's do so in the next movie.
| | Collapse this transcript |
| Free transforming a layer with the Bicubic Automatic interpolation option| 00:00 | Here in this movie we are going to
take a look at some of the new options that
| | 00:03 | we have when it comes to free transforming
a layer. And these options are great
| | 00:08 | for photographers, because we know
that whenever we change the size of a
| | 00:13 | photograph, we need to choose an
appropriate image interpolation in order to
| | 00:18 | maintain that layer's or that image's integrity.
| | 00:21 | Well, let's take a look
at how we can do that here.
| | 00:23 | Well, here you can see I
have this branches layer.
| | 00:27 | Let's work with a duplicate copy of this layer.
| | 00:30 | To do that, that press Command+J or
Ctrl+J. Next, I want you to change the
| | 00:35 | Blending mode to Normal and the Opacity to 100%.
| | 00:39 | Let's go ahead and do that by going to
the Blending mode pulldown menu and then
| | 00:43 | selecting Normal. And it will take that
Opacity all the way up to 100, and here
| | 00:49 | you can see we have these tree branches.
| | 00:52 | We can see through the branches in this
case because it's inside of this group
| | 00:56 | and this group, well, it has a lower opacity.
| | 00:59 | Well, after we have made those changes,
if you simply click and drag this around,
| | 01:04 | you'll notice that this is a really
big image. We are just seeing part of it.
| | 01:07 | Well, let's say that I want to make
this image smaller, and I want to do so by
| | 01:12 | free transforming it.
| | 01:14 | Well, one of the ways that we can
access free transform is by going to the
| | 01:19 | Edit pulldown menu, and here we
can select Free Transform.
| | 01:23 | There's also a shortcut, that's
Command+T on a Mac, or Ctrl+T on Windows.
| | 01:28 | And again, when it comes to working
with photographs and layers, we are
| | 01:31 | using this command a lot.
| | 01:34 | Yet, when you trigger this, one of
things that you'll notice is you have changes
| | 01:37 | in the options bar and you have something new.
| | 01:41 | We now have Image Interpolations options.
| | 01:44 | If you click on this pulldown menu, you
can see these options Bicubic, we have
| | 01:48 | Smoother, Sharper, and Automatic.
| | 01:51 | Automatic is new to Photoshop CS6.
| | 01:54 | This will choose the Bicubic Interpolation
which will work best for your transformation.
| | 02:00 | We will be talking about this more
later when we take a look at image resizing.
| | 02:05 | The other different options--well, it's
a little hard to know what these do.
| | 02:09 | Yet, what I wanted to here is show you a
place where you can get some information
| | 02:14 | about which one will work
best for your situation.
| | 02:18 | So before we free transform this layer,
let's go ahead and click off of that and
| | 02:22 | just click this check box here in
order to exit the free transformation.
| | 02:26 | Well, next let's go to the Image
pulldown menu, and here we are going to
| | 02:30 | temporarily open up our Image Size dialog
and we are doing this just to gain
| | 02:35 | some information. We are not going to
be using this dialog, rather, we're just going
| | 02:39 | to be looking at this menu here.
| | 02:41 | Well, in this menu we have these same
controls, yet now they tell us which
| | 02:47 | control works best for different situations.
| | 02:51 | In this case Bicubic Smoother, well,
it's best if we are going to free transform
| | 02:55 | or make something bigger.
| | 02:56 | Bicubic Sharper on the other hand,
well, that will be best of we are going to
| | 03:00 | make something smaller.
| | 03:01 | Bicubic Automatic, we will
choose the option for us.
| | 03:04 | Well, now that we know this and now
that we are little bit more educated with
| | 03:08 | these options, let's go ahead and
cancel out of this dialog and go back to
| | 03:12 | free transforming this layer.
| | 03:14 | All right. Well, here we will go to our
Edit pulldown menu. We will go ahead and
| | 03:19 | select Free Transform.
| | 03:20 | Well, in this case, because this
image is really big, we can't see the
| | 03:25 | free transform handles.
| | 03:27 | So what you can do is zoom out.
| | 03:30 | An easy way to zoom out is to press
Command+Minus on the Mac, Ctrl+Minus on Windows.
| | 03:35 | As we do that we can eventually see,
well, all of these free transform handles.
| | 03:40 | Well, here, before I start dragging these
handles, what I want to do is choose an
| | 03:45 | Image Interpolation.
| | 03:47 | In this case, because this file is
going to become smaller, what I could do is
| | 03:52 | choose Bicubic Sharper or Bicubic Automatic.
| | 03:55 | I will go ahead and select Bicubic
Automatic and then go ahead and hold down the
| | 03:59 | Shift key and click and
drag these corner points.
| | 04:02 | I am just going to make this much smaller,
so I have this texture in the layer
| | 04:06 | sitting on top of the image.
| | 04:08 | And again, by choosing one of these
options, what it will do is it will help
| | 04:12 | maintain the integrity of that file.
And when it comes to working with
| | 04:17 | photographs on layers, this is paramount.
It is so important. It can really
| | 04:21 | change the difference of the way
that you work with your photographs.
| | 04:25 | All right. Well, to apply that, press
Enter or Return and the press Command+Plus
| | 04:30 | or Ctrl+Plus to zoom back in.
| | 04:31 | All right. Well, with this layer we
can now see that we free transformed it.
| | 04:36 | We have made these changes. But you know
what? In regards to my overall creative
| | 04:41 | project, I don't really like this layer.
| | 04:45 | And a lot of times what happens in our
layer workflows is we make changes and we
| | 04:49 | hide the visibility of a layer.
| | 04:52 | Yet this layer is still inside the file.
It's still taking up file size.
| | 04:58 | Many times we will have these layer
documents and we will have tons of layers
| | 05:03 | that we are not using because we decided
along the way that it wasn't the best adjustment.
| | 05:08 | Well, in the next movie, let's take a
look at how we can deal with layers like
| | 05:13 | this and also how we can start to filter
and find other layers. And let's take a
| | 05:17 | look at how we can do that in a completely
new way inside of Photoshop CS6.
| | 05:22 | So go ahead and leave this document
open, because we will continue to work with
| | 05:26 | it in the next movie.
| | Collapse this transcript |
| Filtering and finding layers| 00:00 | Here we're going to take a look at,
perhaps, one of the most powerful and helpful
| | 00:03 | features in the Layers panel, and it's a
feature which allows us to filter in to
| | 00:08 | find our Layers panel.
| | 00:10 | You know, one of the problems with
Photoshop is that it's just a ton of fun.
| | 00:14 | It's easy to get carried away and to
create all of these different layers.
| | 00:18 | Well, this new filtering feature can
help you find and manage your layers
| | 00:23 | in a really fascinating way.
| | 00:24 | You may remember in the previous movie
we created this new layer, branches copy.
| | 00:30 | Yet at the end we decided not to use
this layer, and you know this happens all
| | 00:35 | the time in our workflows.
| | 00:36 | We get carried away, and at the end of
our workflow we have all of these layers
| | 00:41 | that we're not using.
| | 00:43 | All the visibility has been turned off.
| | 00:45 | Well, it might be helpful to get rid of
those layers in order to clean up our
| | 00:49 | Layers panel and also in order to
decrease our file size for a document.
| | 00:54 | Well, we can now do that with the layer filtering.
| | 00:58 | If you go to the top of the
Layers panel, you'll notice you have
| | 01:01 | a Filtering pulldown menu.
| | 01:02 | I'm going to start off by
navigating to Attribute.
| | 01:06 | When we do that, we'll see
some options on the right.
| | 01:09 | We can choose different attributes here.
| | 01:11 | In this case we'll choose
the attribute Not Visible.
| | 01:15 | This will then show me all of the
layers in my document which have the
| | 01:19 | visibility turned off.
| | 01:21 | What you could do is you could then select
those layers, then press Delete or Backspace.
| | 01:26 | This would clean up your file
and also decrease your file size.
| | 01:29 | Well, how else can we filter or find layers?
| | 01:33 | Let's go back to this pulldown menu.
| | 01:35 | Well, with this image, one of the things
that I realized at this point is while
| | 01:39 | I've cleaned up my Layers panel, I want
to make a few more creative adjustments,
| | 01:44 | and I know that somewhere inside of
all of these groups I have some sort of a
| | 01:48 | color adjustment, but I just can't find it.
| | 01:51 | Well, you can filter by Kind. And
let's say with this image I want to make
| | 01:56 | this more red, and I could go and select this
icon which allows me to see my adjustment layers.
| | 02:02 | There is my Color Balance adjustment.
| | 02:04 | Double-click it, make the needed adjustment--
in this case to increase the red--
| | 02:09 | and then I can close this panel and be on my way.
| | 02:12 | In other words, this filtering, it
allows me to see specific layers.
| | 02:17 | Once I'm done with this filtering--or
you can either flip the toggle switch to
| | 02:22 | disable this or turn it off, or you
can click on the icon or the type of
| | 02:26 | filtering that you applied.
| | 02:28 | There are other types of filtering
which might be helpful as well.
| | 02:31 | For example, let's go down to Blending mode.
| | 02:34 | Remember when we previously
applied a blending mode of Soft Light?
| | 02:37 | Well, here we could choose a blending
mode and then filter based on that type
| | 02:42 | and this will show us all of our
layers with this blending mode.
| | 02:45 | Here we might decide to click on
one of these and perhaps increase the
| | 02:48 | opacity of those layers.
| | 02:50 | Or we could also change the blending mode.
| | 02:53 | So again, this gives us this control to
access these files or these layers, rather
| | 02:58 | than having to click through and find them.
| | 03:01 | Another way that's really helpful to do
some filtering is to search by the layer name.
| | 03:06 | Here I'll go ahead and highlight that briefly.
| | 03:09 | If you click on Name, you
can then type in a layer name.
| | 03:13 | Here I know I have a layer named sky.
| | 03:15 | I could type that in, or we
could search for other names.
| | 03:19 | For example, you can just
start to type out some words.
| | 03:22 | In this case I'll type out B for branch.
| | 03:25 | Notice that it shows you all of the
different layers which start off with this letter.
| | 03:30 | Then I'll go ahead and continue to
type out, and eventually it's going to get
| | 03:34 | down to show me just this particular layer.
| | 03:37 | The advantage of this is that, again, it
gives you really quick access to your layers.
| | 03:42 | Once you're done with any of this filtering,
well, you can just flip the toggle switch
| | 03:46 | to go back to an unfiltered view of your layers.
| | 03:49 | So as you can see here, this new
layering functionality can be really helpful.
| | 03:55 | It can allow you to access and to find
different layers, and this can be helpful,
| | 03:59 | whether you're looking to clean
something up or make a change or correction to
| | 04:03 | your file, or if you just want to
creatively explore different options.
| | 04:07 | So if you haven't experimented
with the layer filtering, I definitely
| | 04:10 | recommend you do so, because I think
it has the potential to be a great help
| | 04:14 | to your workflow.
| | Collapse this transcript |
| Using a shortcut to change the fill and opacity of a layer| 00:00 | Here in this brief movie, I want to
share with you a few shortcuts which are
| | 00:03 | helpful when it comes to changing the
opacity and the fill of a layer.
| | 00:08 | And these shortcuts are new
inside of Photoshop CS6.
| | 00:11 | We are going to be working with a Type layer.
| | 00:14 | Well, now that we know little about
filtering, rather than searching around in our
| | 00:18 | Layers panel to try to find this
type layer, what I want you to do is to
| | 00:22 | navigate to the top of the Layers panel
and to go to Kind and then just to click
| | 00:27 | on the icon for finding all of your type layers.
| | 00:30 | Well, here you can see we have
the one type layer in our document.
| | 00:34 | Let's turn on the visibility of this layer.
| | 00:36 | This is made up of a few lines of text.
| | 00:39 | Let's take a look at how we can modify
the opacity and the fill of this layer.
| | 00:44 | First, we will do this by using the sliders.
| | 00:46 | Well, we know that the Opacity slider,
what it will do is it will decrease
| | 00:51 | the intensity or the opacity of the
text and also the layer style effects
| | 00:56 | that we can see here.
| | 00:57 | This basically diminishes everything,
or it increases it and we can see it all.
| | 01:02 | The Fill on the other hand, what that
allows us to do is to just change the
| | 01:07 | pixel content of the layer.
| | 01:09 | In other words, this amount will not
affect these two layers style effects.
| | 01:14 | As I decrease my fill, I'm just removing
the type and then now all that I see are
| | 01:19 | these layer style effects.
| | 01:21 | I can turn these effects on and off,
or I can have them both visible.
| | 01:25 | All right. Well, how can we make
these same adjustments by using shortcuts?
| | 01:30 | Let's go ahead and take this back to 100%.
| | 01:33 | Well, in regards to opacity, what you can do
is you can press a number on the keyboard.
| | 01:38 | If you press the 4 key, it will go to 40%.
| | 01:41 | If you press 44, it will go to 44%.
| | 01:45 | Yet, give us the ability to change the
Opacity and the Fill all the way from 0 to 100.
| | 01:51 | If we press 0 on the keyboard,
it will go to 100%.
| | 01:54 | Press 0 twice and it will go to 0%.
| | 01:58 | So again, let me repeat that because
you will want to write that down, 0 goes
| | 02:02 | to 100, 00 goes to 0%.
| | 02:05 | All right. Well, what about the fill?
| | 02:08 | Well, the fill works the same way.
| | 02:10 | If you hold down Shift and then press
a number like 6 or 8 or 4, it changes
| | 02:15 | the fill to that amount.
| | 02:17 | If you press Shift+0, it goes to 100%,
Shift+00 that takes this back to 0%.
| | 02:25 | And here we could then modify this. Perhaps
we want to remove that drop shadow just
| | 02:29 | so that we have this text on top of this image.
| | 02:33 | Now let's say we want to decrease the
opacity of this layer style effect that we have.
| | 02:38 | We will let go of the Shift key
and press one of the number keys.
| | 02:42 | For example, let's try 3 for 30%. Here
you can see we have this much more pull
| | 02:47 | back or maybe even 2 or 1 for 10% or 20%.
| | 02:52 | Again, just to have a little bit
of a texture or element there.
| | 02:56 | So as you can see, these new shortcuts,
well, they finally give us this full
| | 03:00 | range of flexibility, allowing us to change
the opacity and the fill by way of a shortcut.
| | Collapse this transcript |
|
|
5. Working with the Blur GalleryAdding Field Blur| 00:00 | Here I want you to introduce you to
three new blur filters which are located
| | 00:04 | in the Blur Gallery.
| | 00:06 | Now you have to pardon my
enthusiasm here, because I am really excited
| | 00:10 | about these new filters.
| | 00:12 | We will be working with this image here, and
here you can see this document, it has two layers.
| | 00:18 | Click in the topmost layer titled blur,
because I want to apply the filters to
| | 00:23 | this layer so that we can compare it to
the original, or to the background layer.
| | 00:27 | Well, the first thing that we need to do
is to navigate to the Filter pulldown menu.
| | 00:33 | Once you do that, you'll
notice that this menu has changed.
| | 00:37 | It's been cleaned up or re-organized
so that it's organized a bit more
| | 00:40 | effectively in regards to the
different filters that we have here.
| | 00:44 | Well, what we want to do is select Blur.
The next thing we are going to do is
| | 00:49 | click on one of these three Blur options.
| | 00:52 | When you do that, it will change the
Photoshop interface, and it will launch
| | 00:56 | what's called the Blur Gallery.
| | 00:58 | You will now notice that we have
different panels and different options.
| | 01:02 | Well, how can we work with this Blur Gallery?
| | 01:05 | Well, for starters, we are
starting off with Field Blur.
| | 01:09 | We have this check box turned on to
activate this tool. If we turn this off,
| | 01:14 | well, then that blur disappears.
| | 01:15 | Well, how could we work with
Field Blur? And what is Field Blur?
| | 01:20 | What Field Blur allows us to do is to set
different points of blur in our photograph.
| | 01:25 | Let's say, for example, that we want the
hair up here to be a little bit blurry.
| | 01:29 | We can control this either by clicking
and dragging around this area, and we can
| | 01:34 | reposition this by simply
clicking on the middle point.
| | 01:38 | We can also use the slider
to control the blur amount.
| | 01:40 | Well, up there this is very blurry.
| | 01:43 | But it's also affecting all of the photograph.
| | 01:46 | I want the eyes to be sharp.
| | 01:49 | We can then click in this area and
then go ahead and click and drag down
| | 01:53 | to remove that blur altogether.
| | 01:55 | In other words, this point acts to
protect that area so that that area is now in
| | 02:00 | focus and so that the
hair up top is out of focus.
| | 02:04 | Well, what about the shoulder?
The bottom right corner of the picture?
| | 02:09 | Click to add another point and then
again increase or decrease the blur amount,
| | 02:13 | and we can click multiple
points throughout the photograph.
| | 02:16 | You can see here, I'm simply blurring
out more areas of the picture. And again,
| | 02:21 | with all of these points, we can
click and drag the overall blur amount.
| | 02:26 | If ever we want an area in focus like
say, the mouth, click on it and then just
| | 02:30 | decrease the amount of blur either by
using this heads-up display icon here or
| | 02:35 | the slider in the right-hand side.
| | 02:37 | Well, now that I have all of these
Field Blur dots around my picture, it's a
| | 02:43 | little bit distracting, and it's hard to see.
| | 02:45 | Well, if you press and hold the H key,
it will temporarily hide all of
| | 02:51 | those little nodes.
| | 02:53 | This way I can focus in on the image.
| | 02:55 | Then I can go ahead and click on the
Preview check box to look at my before
| | 03:00 | and then now after.
| | 03:02 | So Field Blur, it gives us the ability
to really specify where and what type
| | 03:07 | of blur we have or what amount of blur we
have in different areas of our photograph.
| | 03:12 | Okay. Well, let's compare that say to the
next blur we have here which is Iris Blur.
| | 03:18 | Let's take a look at how we can work
with that Blur filter, and let's do that
| | 03:22 | in the next movie.
| | Collapse this transcript |
| Working with Iris Blur| 00:00 | Here we are going to take a look at
how we can work with Iris Blur. So let's
| | 00:04 | go ahead and turn off the check box for Field
Blur and then turn on the check box for Iris Blur.
| | 00:11 | Let's open up the dialog, and what
this will allow us to do is to create
| | 00:15 | a different type of a blur.
| | 00:17 | Well, what Iris Blur does for us is it gives
us this interesting interactive icon here.
| | 00:22 | You can go ahead and click on one of
the edge points to drag it. Here you can
| | 00:26 | see I am changing the shape of this.
| | 00:28 | I can also rotate this by clicking
and dragging one way or another.
| | 00:33 | Click on the middle point to reposition.
| | 00:36 | What about these outer dots here?
What do those stand for?
| | 00:40 | Well, those determine how far
or how enclosed the blur area is.
| | 00:45 | In other words, if I want to push
it out, I can drag those to the edge.
| | 00:50 | I can also click on the
square icon to change the shape.
| | 00:54 | Here you can see this is more of a
rectangle, or I can make this more of an oval.
| | 00:59 | We can control the blur amount the same
way that we controlled it with Field Blur.
| | 01:03 | Again, you can click on the slider in
order to increase this so that there is
| | 01:08 | more blur, or you can decrease
this so there's less blur.
| | 01:11 | You can also click on the slider,
here, that you'll find on the icon.
| | 01:15 | Well, what about adding more Iris Blur?
| | 01:19 | Can you do that same thing that we did
with Field Blur? Well, sure. Again, just
| | 01:23 | simply click to add a point and then
you can use all those controls again.
| | 01:27 | Well, let's say that you don't want a point
either with Iris or a Field, what do you do next?
| | 01:34 | Well, in order to remove a point,
all that you need to do is just simply
| | 01:38 | click on it then press the Delete key. That
will then remove the blur that you've added.
| | 01:43 | If you want to reactivate one of the
blur points, well, just click on it, and
| | 01:47 | then you can modify the controls.
| | 01:50 | Another way to take things back to the
default settings, or to remove a blur, is
| | 01:55 | to click on this icon here. And this is
really helpful, because when it comes to
| | 02:00 | blur and to focus, sometimes things will
just get a little bit out of control.
| | 02:05 | Perhaps you will need to
reset the image altogether.
| | 02:07 | We will click on this icon, and it will
remove all of those blurs altogether.
| | 02:12 | Then to re-add a blur point again
just click, you can then modify these
| | 02:17 | controls--as we've seen here. Modify the shape
and the space and where this blur is located.
| | 02:22 | Okay. Well, here I am going to go
ahead and reposition this and then decrease
| | 02:26 | the blur amount just a little bit
here, and make this perhaps a bit bigger.
| | 02:30 | Just a subtle blur amount, so it's
subtly blurring out some of the other
| | 02:34 | elements of the picture.
| | 02:36 | Again, all of these graphics here are
helpful because they're interactive but
| | 02:40 | they're also distracting.
| | 02:41 | I can't focus on the image.
| | 02:43 | Well, to do that, press that H key, it
hides that temporarily, and then you can
| | 02:48 | click on the Preview button
to see your before and after.
| | 02:51 | You can also press the P key that allows
you to see the before and after as well.
| | 02:56 | Well, once you've dialed in the blur
that you think might work in order to apply
| | 03:01 | it, simply go ahead and click OK.
| | 03:04 | Let's do that here with this blur so that
we can compare this to the background layer.
| | 03:09 | This will then render or apply that
blur. And the great thing about that
| | 03:13 | process that I want to highlight here
is that while we're working with the
| | 03:16 | blur, it was all live.
| | 03:18 | We are making changes and seeing it
instantaneously, and then to render it, we
| | 03:22 | simply click OK. It takes a
little bit of time to apply that.
| | 03:26 | Well, here now we can see the before and after.
| | 03:28 | If we turn off the visibility. Here
is our before, and then here is our after.
| | 03:32 | Let me zoom in a little bit closer so
that you can see some of those details.
| | 03:36 | Again, before. And then now after.
| | 03:39 | So as you can see, these Blur filters
are indeed really powerful, and they can
| | 03:43 | help you come up with some really
interesting and creative results.
| | 03:46 | Well, there's one more blur filter to
look at and that's the Tilt-Shift blur.
| | 03:50 | Let's go ahead and take a look at how
we can work with that in the next movie.
| | Collapse this transcript |
| Enhancing photographs with the Tilt-Shift Blur tool| 00:00 | Here we are going to take a look at how
we can work with the new Tilt-Shift Blur
| | 00:04 | and also how we can combine that with
some of the other blur techniques that
| | 00:08 | we've looked at previously.
| | 00:10 | Well, let's start off by
duplicating our background layer.
| | 00:13 | We can do this by clicking on the
background layer and then by pressing
| | 00:16 | Command+J on the Mac, Ctrl+J on Windows,
and let's name this new layer blur.
| | 00:22 | The next step is to navigate to our
Filter pulldown menu, and here we're going to
| | 00:26 | choose Blur and then Tilt-Shift.
| | 00:29 | Tilt-Shift is a really fascinating
blur which comes from a traditional
| | 00:33 | photographic practice of using a large
format camera. And here you can see what
| | 00:38 | we can do is dial in a
similar effect in post-production.
| | 00:41 | What you can do is hover over these
graphics, and you can change this type of blur.
| | 00:46 | The way that you can change it is you
can rotate the blur, and you can also
| | 00:50 | change what's in focus and what's out of focus.
| | 00:54 | You can do that by clicking and
dragging to reposition this. You can also
| | 00:58 | hover over these lines.
| | 01:00 | The further out these lines go,
will further the transition.
| | 01:04 | It's in focus and then
slowly becomes out of focus.
| | 01:08 | The closer this is, the less
the area of the transition.
| | 01:12 | You can now see that it's much more
dramatic. And what's great about this is we
| | 01:16 | can control each side of this blur.
| | 01:18 | In other words, we could have one which
is a bit more dramatic and then another
| | 01:22 | which is a bit more diffused or
soft in regards to its transition.
| | 01:26 | We can change the overall blur here as well.
| | 01:29 | We can increase the amount of blur or
decrease it either by using the slider or
| | 01:34 | by using this interactive icon here
which allows us to change the blur amount.
| | 01:39 | What about this other control, Distortion?
| | 01:41 | In order to understand how Distortion works,
take a look at the sidewalk here.
| | 01:46 | As I change this Distortion amount,
what you can see is it's changing the
| | 01:50 | overall shape of that area of the sidewalk.
| | 01:53 | Sometimes as things become more out of
focus, you are going to have a little bit
| | 01:56 | of distortion, so they almost fan out.
| | 01:59 | It makes that blur look a
little bit more believable.
| | 02:02 | Now you can use this Tilt-Shift blur in
order to come up with creative effects,
| | 02:07 | or miniature effects.
And it's really quite fascinating.
| | 02:09 | Well, here with this photograph, let's
go ahead and make this blur a little bit
| | 02:13 | more straight. So I am going to go
ahead and straighten this out so it's going
| | 02:15 | top to bottom, and I am going to bring
these two points in so that we were are
| | 02:19 | really focusing in on this car here.
| | 02:22 | Now, so far I am liking the
way that this blur is looking.
| | 02:25 | I will increase the blur amount
and also my transition area.
| | 02:28 | Except one of the problems that I'm
having is that I really want to have a few
| | 02:32 | other elements out of focus as well.
| | 02:35 | In order to do that, I am going
to add a few more blur points.
| | 02:38 | Now we can add these points either
using the Iris or the Field Blur.
| | 02:43 | Let's try Field Blur.
| | 02:44 | Here I will go ahead and click on
this check box and open up this option.
| | 02:48 | This now adds this Field Blur point.
| | 02:51 | Well, currently it's blurring
everything out. It's overpowering all of the
| | 02:55 | Tilt-Shift that I applied.
| | 02:57 | So what I need to do is to zero out this blur.
| | 03:00 | In other words, just create an area that
I'm going to protect, in this case the car.
| | 03:05 | Then I can add another point, say, over here.
| | 03:09 | This now allows me to blur this side
of the frame. And you can see that by
| | 03:13 | combining these two, it really helps me
zero in on and focus on the car in the
| | 03:18 | middle of the frame.
| | 03:19 | Let's add another point over
here on the right side of the frame.
| | 03:23 | Again, you can see how we can
really get specific and kind of stack up
| | 03:27 | these different effects.
| | 03:29 | Also, perhaps one right behind the car
here. We will go ahead and change the blur
| | 03:33 | amount just by dragging this around.
| | 03:35 | So you can get really creative here
and have just a ton of fun with how
| | 03:39 | you create this blur.
| | 03:41 | What's interesting about this is that
it's the combination of these different
| | 03:45 | blur effects which help us create
really this distinct mood on this picture.
| | 03:49 | Well, if ever we want to change one of
these points as we've seen before, we can
| | 03:53 | click in and drag these amounts.
| | 03:56 | What about the Tilt-Shift blur,
can we modify that?
| | 03:59 | Same thing here, just click on it
and then by default it will go to that
| | 04:03 | Tilt-Shift dialog. We can open that up
and what we can do then is change the
| | 04:07 | overall blur that we are seeing
in other areas of the picture.
| | 04:11 | Now as we have seen before, a lot of
times having all of these interactive
| | 04:15 | graphics on top of our image, well, it
just becomes a little bit distracting.
| | 04:19 | To hide those, press the H key. That will
then temporarily hide all of those graphics.
| | 04:25 | And of course, if ever you want to make
other changes, just jump to those other
| | 04:29 | fields, set another point. And here with
this point, let's bring back some focus,
| | 04:33 | say, on this guy who is
crossing the street over here.
| | 04:36 | So we can dial that in by simply
repositioning that and then removing the
| | 04:41 | blur from that area.
| | 04:42 | And in this way you can create effects
that would literally be impossible to
| | 04:46 | create on camera. And what's fun about
this is that it really can kind of excite
| | 04:51 | your imagination in regards to how
you work with blur in focus in order to
| | 04:55 | create a particular photographic
story using your pictures.
| | 04:58 | Okay. Well, let's go ahead and apply
these effects. We can do so by clicking OK.
| | 05:03 | Once we do that, it will then render that
blur out so that we now have these two layers.
| | 05:09 | Here's the background and
then our top blur layer.
| | 05:12 | To see the before and after, we'll
click on the icon. Here is before and
| | 05:16 | then now here is after.
| | Collapse this transcript |
|
|
6. Using the New Content-Aware ToolsMaking content-aware corrections with the Patch tool| 00:00 | Here with this photograph I want to
take a look at how we can use some of the
| | 00:04 | new features with the Patch tool and
also, eventually, how we can use the
| | 00:08 | Content-Aware Move tool in order to make
some changes to this photograph.
| | 00:12 | Well, first let's take a look at how we
would use the Patch tool traditionally.
| | 00:16 | Traditionally, what we will need to do
would be to select the Patch tool. You
| | 00:20 | can do so by clicking on one of the
Healing tools and then selecting Patch.
| | 00:24 | And to use this tool in the way that we
have traditionally in previous versions of
| | 00:28 | Photoshop, we would select Normal, and
in this case I'm going to use source.
| | 00:33 | In order to use the Patch tool in
this way, we need to have a layer.
| | 00:37 | So here we can see we can have the
duplicate layer, and what I want to do is try
| | 00:41 | to retouch out some of these trees.
| | 00:43 | I want to remove some of them, say,
because this image is going to be used for an
| | 00:47 | ad and we need to clean up this area.
| | 00:49 | Well, to do that with the Patch tool,
we could simply click and drag around an
| | 00:53 | area of our photograph, say this here,
and then go ahead and drag to a new clean
| | 00:58 | area and then let go.
| | 01:00 | Yet, when I do this, the results--they
don't really look that good because we
| | 01:04 | have all of this bleeding in of those edges.
It looks smudgy and just kind of strange.
| | 01:10 | But still I could try to
continue to work with this.
| | 01:13 | The next step, of course, would be
to make another patch selection.
| | 01:16 | I will try selecting these trees over
here and then dragging this over to a nice
| | 01:20 | clean area, the photograph.
| | 01:21 | Well, here you can see that the Patch
tool, it allowed me to work with a large
| | 01:26 | area, but the results just
didn't really work for me.
| | 01:29 | Well, let's compare this to the new
feature which we have in this tool.
| | 01:33 | This new feature allows us
to work on a separate layer.
| | 01:37 | The advantage of this is that it's
going to increase our file by less size.
| | 01:41 | In other words, it's going to take up less
space, and this is definitely important
| | 01:45 | when it comes to retouching or
cleaning up especially high-resolution files.
| | 01:50 | So let's click on the New layer
icon to create a new layer.
| | 01:52 | I am going to go ahead and name this patch-new.
| | 01:56 | Next, with the Patch tool selected,
let's go to this pulldown menu
| | 02:00 | and this time choose Content-Aware.
| | 02:02 | You will notice that we have different
options, Adaptation options, as well as
| | 02:07 | the ability to Sample All Layers.
| | 02:09 | So what this means for us is that we
can then make a selection. Again, let's
| | 02:14 | make a similar selection to what we did
before, and we can use this Patch tool in
| | 02:18 | a similar way, but it's going
to give us different results.
| | 02:21 | Here you can see the results,
well, they are much cleaner.
| | 02:24 | Let me go ahead and work on this area
of the photograph and then bring these
| | 02:28 | down to this nice area of snow
here and then let go of that.
| | 02:32 | And again, the results are significantly
different, and even after the fact you
| | 02:37 | can modify the adaptation.
| | 02:39 | If you want something that's really loose,
it just makes it look good, well, you
| | 02:43 | can choose that option.
| | 02:44 | If you have content that you don't want
to have change in any way shape or form,
| | 02:49 | well, the adaptation you choose is very strict.
| | 02:52 | Well, here for this image, very Loose
works well because it's just snow, and we
| | 02:56 | don't really need this to
look right proportionally.
| | 02:59 | Now of course, there are some other
areas I might want to clean up or work on,
| | 03:02 | especially these little edges over here,
but the difference is really quite stunning.
| | 03:07 | Let's compare those two.
| | 03:08 | Now if we turn this off, you can see
Patch tool without Content-Aware and then
| | 03:13 | now Patch tool with Content-Aware.
| | 03:16 | So this allows us to remove large areas,
and it pays attention to the surrounding
| | 03:21 | areas and really tries to blend it all
in together. And so by using this tool in
| | 03:27 | this way, not only does it work better
in situations like this, but also it's
| | 03:32 | just applying this to one area of a layer.
| | 03:36 | In other words, if I turn off the
visibility of my background layer, well,
| | 03:40 | this is all that I've done.
| | 03:41 | These are all the pixels that I've
added to my image. Rather than having to add
| | 03:46 | an entire layer which would
increase the file size significantly,
| | 03:50 | I just have this small little area
which I have cleaned up and patched and
| | 03:54 | healed right here using that tool.
| | 03:57 | So you can imagine, using this
tool, well, it can really help you out.
| | 04:01 | Let's say, for example, we wanted to do
something else, like remove this tree.
| | 04:04 | Again, just make a rough selection
around that area--and you want to try to
| | 04:08 | select an area which has similar
tonality and texture that will then bring
| | 04:13 | that into this area. And in this case
that looks really good. It helped us
| | 04:18 | deal with those situations.
| | 04:19 | Well, let's continue to work with this
image. In the next movie, let's take a look
| | 04:24 | at how we can also use another new tool.
| | 04:26 | This new tool allows us to move content
from one location of our frame to another.
| | Collapse this transcript |
| Using the Content-Aware Move tool | 00:00 | Here we're going to be working on
a few different images in order to
| | 00:03 | understand a brand-new tool.
| | 00:05 | It's called the Content-Aware Move tool.
| | 00:08 | This tool is really powerful.
| | 00:11 | Let's go ahead and take a look
at how we can work with this tool.
| | 00:14 | You'll find this in the same
area as your other healing tools.
| | 00:17 | If you click on your Patch tool, which
we used previously, you can go down to
| | 00:21 | select the Content-Aware Move tool.
| | 00:24 | And it's important to note that this
tool is located near these other tools, and
| | 00:29 | the reason is, is because sometimes
you're going to use this tool and it's going
| | 00:33 | to work perfectly by itself.
| | 00:35 | In other situations, you're going to
need to use this tool in combination with
| | 00:38 | some of your other retouching or healing tools.
| | 00:41 | Let's go ahead and select the tool.
| | 00:43 | Next let's take a look at the Options bar.
| | 00:45 | Well, here we have the ability
to choose two different modes.
| | 00:48 | We can either Move or Extend content.
| | 00:51 | Well, here what I want to do is Move content.
| | 00:54 | I want to move this subject over to the
right a little bit, because this image is
| | 00:58 | going to be used for an ad, and I
need some space for copy in this area.
| | 01:02 | We also have the ability to
choose different Adaptation styles.
| | 01:06 | If we choose Very Strict, what that means
is we want the content to stay the same.
| | 01:11 | Because I'm going to be moving a person,
this is paramount that I choose this option.
| | 01:16 | Next we have the ability to sample all layers.
| | 01:19 | And this is great because it allows
us to make this move on a new layer.
| | 01:25 | Let's go ahead and create the new layer.
| | 01:26 | We'll do so by clicking on the New layer icon.
I'll double-click the layer name
| | 01:31 | and name this hiker.
| | 01:32 | The next step is going to be to
use this tool in just to make a rough
| | 01:36 | selection around the subject.
| | 01:38 | And this tool, well, it works really well
when we're working with subjects which
| | 01:42 | are in a pretty similar environment.
| | 01:44 | In other words, we have
all of this white snow here.
| | 01:47 | So I can then simply click and drag
and then drop the subject into a new
| | 01:51 | location in order to move it.
| | 01:54 | And what it did here was something fascinating.
| | 01:57 | Let's deconstruct what happened.
| | 01:59 | So here I'm going to deselect.
| | 02:01 | To do so, press Command+D or Ctrl+D.
Next I'm going to turn off the visibility
| | 02:06 | of my other layers for a moment
so we can focus in on this layer.
| | 02:10 | Well, what you can see here if we
zoom in a little bit is that it took this
| | 02:14 | shape and it not only moved the
subject into this area, but it analyzed the
| | 02:19 | surrounding area, and then it built
this shape here which then covered up the
| | 02:24 | hiker in the Background layer.
| | 02:26 | So if we turn off the visibility of
this layer, well, the hiker is still there,
| | 02:31 | he still exists in this location,
| | 02:33 | it's just on this new layer that he is
then been moved--and also that this area
| | 02:38 | has been patched over.
| | 02:41 | And as I mentioned previously, sometimes
this tool, well, it's like a miracle worker.
| | 02:45 | It works incredibly well when you
have these textures or these areas that
| | 02:49 | are pretty similar.
| | 02:51 | Yet in other situations,
it doesn't work so well.
| | 02:54 | Let's take a look at one of those scenarios.
| | 02:57 | In order to do that, I'm going to click
on this tab here for this file, annika.jpg.
| | 03:02 | This is a photograph that one of my friends
captured of myself and my oldest daughter.
| | 03:08 | I was tossing her up in the air down at
the beach, and we're having a lot of fun.
| | 03:11 | And what I want to do is I want to
make it look like she is higher in this
| | 03:16 | frame, like I was throwing
her even higher in the air.
| | 03:19 | Well, we may think that we'll
use the same strategy as before.
| | 03:22 | We'll create a new layer.
| | 03:24 | We'll go ahead and click on the New layer icon.
| | 03:26 | We'll use our tool in order to make a
generous selection around the subject, and
| | 03:31 | then all that we need to do is to use
that Adaptation mode--of Very Strict
| | 03:35 | because it's a person--sample all layers, and
then click and drag up, and voila! We will be done.
| | 03:41 | Well, it's actually not that
easy, and let me explain why.
| | 03:45 | Here I'm going to go ahead and deselect.
| | 03:47 | Now this may be difficult to see on your
monitor, but if you look up close, what
| | 03:52 | you should see is that there is
really this distinct difference between the
| | 03:56 | brightness and the color of this area.
| | 03:58 | Let me zoom in even closer
there in of the actual background.
| | 04:03 | So it's like she is glowing.
| | 04:05 | There is this halo.
| | 04:06 | It just didn't work for me.
| | 04:08 | What can we do in situations like this
where it tried to do a good job but it
| | 04:14 | just didn't bring that in the right way?
| | 04:16 | Well, in situations like that, what
we're going to need to do is to take a
| | 04:21 | couple of different steps in
order to get this to look good.
| | 04:24 | For example, one of the things that we
could do is to create perhaps a new layer.
| | 04:29 | I'll go ahead and create a new layer
and I'm going to double-click this layer
| | 04:33 | name and I'm going to name this remove,
because on this layer I'm going to
| | 04:37 | remove the subject, and I'm going to
remove the subject using a technique that we
| | 04:41 | looked at previously, which is using
the Patch tool, Content-Aware, Very Loose,
| | 04:46 | Sample All Layers, again, make a
generous selection around the subject.
| | 04:51 | We could also remove the subject
different ways as well, but I just want to use
| | 04:55 | this one because I showed that recently.
| | 04:57 | I'll select this area over here, and that
will then remove the subject from this area.
| | 05:02 | Now let's deselect. Choose
Select and Deselect, or the shortcut.
| | 05:06 | Well, now that we've done that, we kind
of have this blank canvas so to speak.
| | 05:12 | This layer allowed us to remove
the subject from the background.
| | 05:15 | Well, on our layer that we used in
order to move the subject, what we now need
| | 05:21 | to do is some masking.
| | 05:23 | So let's go ahead and double-click
this layer, name it annika.
| | 05:26 | Here what I'm going to is
choose one of my selection tools.
| | 05:29 | I'll use the Quick Select tool.
| | 05:31 | This allows me to drag across the
image, so I'll go ahead and do that, drag
| | 05:36 | across the image, try to build up a nice
selection of Annie here, flying up in the air.
| | 05:42 | Next thing I want to do, of course, is
to refine this selection a little bit.
| | 05:46 | To do that, we'll go to Refine Edge.
| | 05:49 | In the Refine Edge dialog, you
want to turn on Smart Radius.
| | 05:53 | And then here we'll increase that
Smart Radius until we have a really good
| | 05:56 | selection of her there in the air.
| | 05:58 | Well, once you've created a nice
selection of that, what I'm going to do is
| | 06:03 | click OK, and then I want to
turn this selection into a mask.
| | 06:06 | Well, that's really easy to do.
| | 06:08 | All that we need to do is
to click on our Mask icon.
| | 06:12 | Well, now that I've done that, I can now
use this particular version of the photograph.
| | 06:18 | In other words, I can select the Move
tool, and I can reposition her in different
| | 06:22 | areas, because the background isn't a problem.
| | 06:25 | And so in this case, I kind of had to
use this multiple-tiered approach.
| | 06:31 | And the reason why I want to highlight that
here is because what you're going see is in
| | 06:35 | a lot of demos, you tend to find the
demo files where everything just works
| | 06:40 | perfectly, yet in real life,
it just isn't like that.
| | 06:44 | Yet that doesn't mean that this
isn't a really effective tool.
| | 06:48 | Rather, many times you're going to
need to combine this tool with your other
| | 06:52 | healing and retouching tools.
| | 06:54 | And then by doing that, well, it can
help you come up with some really fun
| | 06:57 | results like we have here of my
daughter Annika flying way up in the air.
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| Making effective selections for Content-Aware Move| 00:00 | In order to really understand how this
Content-Aware Move tool works, what I am
| | 00:05 | going to do is show you a few more
examples so that you can really understand
| | 00:08 | the ins and the outs of working with this tool.
| | 00:11 | Well, here you can see I have this
photograph, and this was captured in one of my
| | 00:14 | other training courses, Narrative Photography.
| | 00:17 | And one of the things that I want to do
is I want to center the subject right in
| | 00:21 | the middle of the Brooklyn Bridge.
| | 00:22 | Well, in order to do that, one of the
things that we might try to do is to make
| | 00:27 | a good selection of the subject,
rather than a really rough selection.
| | 00:31 | That isn't going to work here because
the background, well, it's too complicated.
| | 00:35 | So here what we could do is start off
with using one of our selection tools,
| | 00:39 | the Quick Select tool.
| | 00:40 | You can go ahead and click and drag
across your image with this tool, and it
| | 00:44 | allows you to build up a pretty nice selection.
| | 00:46 | If ever you get to detail area, well,
just press the Left Bracket key to create
| | 00:50 | a smaller brush. And I'm going to select
the subject as well as this white line
| | 00:55 | that he is standing on, because what
I want to do is move him and also move
| | 00:59 | that white line there.
| | 01:01 | After you've made your selection, you
of course want to go to Refine Edge.
| | 01:05 | This allows you to turn up the
Smart Radius amount and just get a nicer
| | 01:09 | selection and increase the contrast
a little bit as well. All right!
| | 01:14 | Well, the next step is to click OK.
| | 01:16 | So far, we have a good selection.
| | 01:18 | Well, how about moving him now?
| | 01:20 | Well, if we move him now we're going
to have really big problems because the
| | 01:25 | selection, it's too tight. It's too perfect.
| | 01:28 | Let me show you what I mean.
| | 01:30 | Here I'll click on the New layer icon,
and I'll go ahead and name this one move.
| | 01:35 | Next I'll select Content-Aware Move tool.
| | 01:38 | Here we're going to use Move rather
than Extend, Adaptation. Let's user Very
| | 01:43 | Strict and then Sample All Layers.
| | 01:45 | I'll go ahead and click and drag and
move him over to the right a little bit and
| | 01:49 | then let go and see what happens.
| | 01:52 | Again, what we're going to
discover is that it didn't really work.
| | 01:56 | Do you see all of this ghosting
or shadows around the edge?
| | 02:00 | It didn't work because our selection was
too tight, and it was bringing back some
| | 02:05 | of that original file
that was right on the edge.
| | 02:09 | So what we need to do is undo this.
| | 02:11 | Press Command+Z or Ctrl+Z. The next
thing we want to do is rather than have this
| | 02:17 | perfect selection, we want to go to our
Select pulldown menu, choose Modify, and
| | 02:23 | then Expand the selection.
| | 02:25 | Depending on the resolution of the
file, you might need to expand this 5,
| | 02:28 | 10, 15, or 20 pixels.
| | 02:31 | And by making this edge a little bit
bigger, what it can do for us is give us
| | 02:36 | some breathing room so that this tool
can work a little bit more effectively.
| | 02:40 | Now if it doesn't work the first time,
just go back and re-change how big you
| | 02:44 | modify that selection.
| | 02:46 | Let's try this one out.
| | 02:48 | Here I'll go ahead and move this over
to the left, and then I'll zoom out a
| | 02:52 | little bit so that we can evaluate the results.
| | 02:55 | Now with something like this, it will
never be perfect, yet this looks a lot better.
| | 02:59 | Let's deselect by pressing Command+D,
or Ctrl+D, and then look at the results.
| | 03:05 | Here's before, and then here's after.
| | 03:07 | You can see how we moved the subject
and also the line over to the left.
| | 03:11 | And as I evaluate this, in a lot of areas--
especially on the left-hand side--it looks good.
| | 03:17 | There are few areas I would need to
touch up, right here along the shoulder, a
| | 03:22 | little bit along the head, and then
also a little bit over here along the cuff
| | 03:27 | on the left side of the jacket there.
| | 03:29 | Yet those adjustments, they could be made
using the Healing Brush or the Clone Stamp tool.
| | 03:34 | We could zoom in and do our
typical retouching workflow.
| | 03:38 | Yet here, rather than do that, what I
wanted to illustrate was that whole idea of
| | 03:43 | how you can work with different type
of selections in order to increase your
| | 03:47 | odds of getting better results
when working with this tool.
| | 03:50 | Well, the last thing that I want to
highlight here is how you work with Adaptation.
| | 03:55 | I'm going to go over to this yoga file.
| | 03:58 | What I want to do is make a selection
of the subject here and move the
| | 04:01 | subject over in the frame.
| | 04:03 | So once again I'll create a new layer.
I'll go ahead and make a rough
| | 04:07 | selection--in this case, around the
subject--and I can make a rough selection
| | 04:11 | because the content in the background,
well, it's pretty similar to where I'm
| | 04:15 | going to be moving the subject.
| | 04:17 | Make sure I'm using my mode--
| | 04:19 | in this case, Very Strict--Sample All
Layers turned on, and I'll just click and
| | 04:23 | drag this over here.
| | 04:25 | Now when I do this, we'll
see how the results are.
| | 04:28 | For the most part, they're okay.
| | 04:30 | Yet one of the things that I'm noticing
is that if we zoom in a little bit,
| | 04:34 | well, there's a little bit of a
problem area around this part of the shoe.
| | 04:39 | Again, I could mask that off or correct
that after the fact, but I really like
| | 04:43 | how it brought the subject
over into this environment.
| | 04:46 | Yet that's because I chose Very Strict.
| | 04:49 | If I change this say to Very Loose,
let's compare the results.
| | 04:53 | Notice how the subject changes.
| | 04:55 | Also, notice how all of a
sudden we lost her bottom foot.
| | 04:59 | And the reason is, is that when you use
an Adaptation amount of Very Loose, it's
| | 05:05 | telling Photoshop, well
hey, you have some freedom.
| | 05:07 | Kind of figure it out on your
own and just make it look good.
| | 05:10 | Well, this edge right here, it looks a
lot better, yet the foot is gone, so I
| | 05:16 | lost something really important.
| | 05:18 | So we can change this after the fact.
| | 05:20 | We can go back and say choose Very
Strict, and that will then create a
| | 05:23 | better version here.
| | 05:25 | Well, after we've done that, we would
need to manually correct this area ourselves.
| | 05:30 | And that's really as simple as going
to Select and then Deselect and now what
| | 05:34 | you could do is zoom in on this area,
the picture, and you could create a mask
| | 05:38 | and mask that away. Or you
could do any number of things.
| | 05:41 | Here I'm going to go ahead, and let's
say that what I'll do is just click on the
| | 05:45 | Add layer Mask Icon, grab my
Brush tool, painting it with black.
| | 05:49 | I'll press the Left Bracket key
to make this a little bit smaller.
| | 05:53 | And what I'm going to do is just try
to paint away some of this darker blue
| | 05:57 | that we're seeing in the background which
was part of that wave that we can see there.
| | 06:00 | And with this type of cleanup work,
really it's just about your typical
| | 06:04 | retouching workflow, getting in there
and using all the detail tools that you
| | 06:09 | have in order to get that to look good
and try to blend that in a little bit so
| | 06:13 | it looks nice and natural
and you can bring that in.
| | 06:15 | And I think now for the
most part, it looks okay.
| | 06:18 | It's not perfect, but
it's good for demo purposes.
| | 06:21 | And here we can see, here's our before
and then now our after. And so what I
| | 06:26 | wanted to illustrate with this movie
was just how we can work with Adaptation
| | 06:31 | because I thought it would be remiss
not to really illustrate that so that
| | 06:34 | you can see how the adaptation that you'll use,
it really depends upon the subject matter.
| | 06:40 | If you are just trying to move, say,
this texture to another area, well, by all
| | 06:45 | means use Very Loose.
| | 06:46 | Yet, if it's a person--or if it's
something that's recognizable and you need to
| | 06:50 | maintain the shape--well,
then you need to use Very Strict.
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| Finishing the project and extending the canvas| 00:00 | Here we're going to take a look at how
we can finish this image off using the
| | 00:04 | Content-Aware Move tool. And we'll
explore for how we can use this tool with both
| | 00:08 | modes: Move and also Extend.
| | 00:11 | And one of the things that happens a
lot is that when you move a subject, you
| | 00:14 | really focus in on that area.
| | 00:16 | But every once in a while, you
need to zoom out or step back.
| | 00:20 | And here you'll discover--or as
I've discovered here--I have a problem.
| | 00:23 | I have the reflection in the
wrong location, so let's fix that.
| | 00:27 | We'll create a new layer by
clicking on the New layer icon.
| | 00:31 | Then with the Content-Aware Move tool
will just make a nice healthy generous
| | 00:35 | selection around this area, and
then this will be really simple.
| | 00:38 | Just click and drag and move this over
to this other spot here using the same
| | 00:43 | settings as we used previously.
| | 00:44 | This will then fix this issue. All right!
| | 00:47 | Well, that looks great.
| | 00:49 | Let's deselect by going to Select and Deselect.
| | 00:53 | The next that I want to do is I
want to extend the canvas size.
| | 00:57 | I want to have more of the picture,
and let's say we need to do this for some
| | 01:00 | reason for creating this image for
a cover of a book or maybe for
| | 01:04 | an advertisement, a publication.
| | 01:06 | Well, first let's extend the canvas.
| | 01:09 | To do so, we'll go to our Image
pulldown menu, then we'll select Canvas Size.
| | 01:14 | This allows us to change the canvas size.
| | 01:17 | We want to anchor it to the right
and add more space to the left.
| | 01:20 | I'll go ahead and change my Width to
about 5.5 inches there and click OK.
| | 01:24 | Now when I do that, we can see that
we have all of this space over here.
| | 01:30 | What I'm going to do next is make
a selection using the Marquee tool.
| | 01:33 | Here I'll go ahead and
select this part of the image.
| | 01:38 | Next thing I'm going to do is
grab the Content-Aware Move tool.
| | 01:42 | This time, rather than using the
mode Move here, we'll use Extend.
| | 01:46 | We want the Adaptation. We'll try out
Very Strict, see if that works, and Sample
| | 01:51 | All Layers, create a new layer, and then
simply click and drag and move this over.
| | 01:56 | We'll see how far we can get with that.
| | 01:58 | Perhaps right there.
And we'll see how this works.
| | 02:01 | If it doesn't work perfectly, what
you want to do is change the Adaptation.
| | 02:05 | Yet, here I think that looks pretty good.
| | 02:08 | Let's deselect by pressing Command+D, or
Ctrl+D, in order to deselect, and let's
| | 02:13 | move in on this area of the photograph
to take a look at the seam there.
| | 02:17 | Well, again, I think this looks pretty good.
| | 02:19 | We've extended the frame.
| | 02:21 | Next we need to trim off the edge.
| | 02:24 | To do that, you can go to your Image
pulldown menu and there's an option for Trim.
| | 02:30 | This gives you the ability to
define what you want to trim off.
| | 02:34 | In this case, well, the Top Left
Pixel Color--that white in the background--
| | 02:38 | we'll go ahead and click OK,
and it will then trim the image.
| | 02:41 | So as you can see, you can use this tool
not only to move your subjects around,
| | 02:46 | but you can also use it in those
situations where you need to extend your
| | 02:49 | overall image and extend
or expand your canvas size.
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|
|
7. Making General Image AdjustmentsUsing the Properties panel| 00:00 | Here I want to introduce you to
working with the Properties panel.
| | 00:04 | The Properties panel is where all of
our adjustments that we create in our
| | 00:08 | Adjustments panel will show up.
| | 00:10 | This is how we can modify the color and
tone of our pictures or also, where we
| | 00:14 | can work on our masks for
those particular adjustments.
| | 00:17 | Well, with this image, let's take
a look at how we can convert this to
| | 00:21 | black and white and improve the overall
look and feel of this photograph.
| | 00:24 | Well, here you can see the workspace
that I've chosen is for Photography.
| | 00:29 | You can do that by clicking on this
option here. This displays my Adjustments
| | 00:34 | panel, just above my Layers panel.
| | 00:36 | One of the things that I want to do
here is I want to click on this icon which
| | 00:40 | allows me to convert
this image to black and white.
| | 00:43 | Once I do that it then opens up this
adjustment here in the Properties panel.
| | 00:48 | In this case I have some controls
for this Black & White conversion.
| | 00:52 | I'll go ahead and increase the Reds,
the brightness of the Yellows as well.
| | 00:57 | The other thing that we can do in the
Properties panel is we can click on this icon here.
| | 01:02 | This then shows us our mask for this
particular adjustment, and also we have
| | 01:06 | further controls for working with that mask.
| | 01:09 | Well, let's say that we want
to make another adjustment.
| | 01:12 | We need to brighten this image up a little bit.
| | 01:14 | Well, perhaps we'll use an adjustment,
say like Levels. To do that just click
| | 01:19 | on the Levels icon.
| | 01:20 | Whenever you select or create a new
adjustment, well, by default, it will show up
| | 01:25 | in the Properties panel.
| | 01:26 | So here I'll go ahead and brighten
this image up a little bit.
| | 01:29 | See if I can find a nice way to process
this photograph, have a good amount of
| | 01:33 | contrast there, and just modify the
overall look and feel of this picture.
| | 01:37 | All right. Well, now that I've done that I
want to go back to my Black & White adjustment.
| | 01:43 | Well, how do we do that?
| | 01:44 | Well, it's as simple as clicking
on it in the Layers panel.
| | 01:48 | Notice that it then updates the Properties
panel so that I can then change these values.
| | 01:54 | I can also change the way that this appears.
| | 01:57 | In other words, let's go
back to Levels for a second.
| | 02:00 | Here you can see I have a visual
graph of the tone of this image.
| | 02:04 | Well, if I want that to be bigger,
just hover over the edge of this Property
| | 02:08 | panel here and click and drag.
| | 02:10 | Here you can see I'm seeing a more
detailed view of this particular graph.
| | 02:14 | I can also make this smaller if
I want to tuck it out of the way.
| | 02:17 | You can do the same thing with the
bottom of this panel as well, in order to
| | 02:21 | just focus in on those controls
that you want to work with.
| | 02:24 | All right. Well, let's say
that we're done with this image.
| | 02:27 | We've made our adjustments.
| | 02:29 | We've converted it to black and white.
| | 02:31 | How do we get rid of the Properties panel?
| | 02:33 | Well, that's as simple as
clicking on this double arrow icon.
| | 02:36 | To do that, it will then close the panel.
| | 02:39 | In order to re-open it, you can either
click on this icon here, or you can
| | 02:43 | go ahead and navigate to the layer and
then you can double-click on the icon
| | 02:48 | for that adjustment.
| | 02:49 | As I do that, you can see that it's
opening up the panel with those adjustments
| | 02:53 | accessible to me, so that I could
make further changes to this particular
| | 02:56 | photograph, and then again, once you're
complete, go ahead and double-click the
| | 03:00 | little arrow icon in order to close the panel.
| | Collapse this transcript |
| Making automatic adjustments| 00:00 | Here in this movie we'll be focusing in
on some of the great new auto adjustment
| | 00:04 | features that we'll find in Photoshop CS6.
| | 00:08 | We'll be working with three
different photographs so that we can really
| | 00:11 | understand how these controls work.
| | 00:13 | Let's start off with this picture here.
| | 00:15 | I like the photograph,
the composition, and whatnot.
| | 00:18 | Yet the exposure is a little
bit off. It's underexposed.
| | 00:21 | So I might want to change this
by using an auto adjustment.
| | 00:25 | One way that you can access some auto
adjustment controls are by navigating to
| | 00:30 | your Image pulldown menu and then
choosing Adjustments and then say
| | 00:34 | Brightness/Contrast.
| | 00:36 | The obvious thing here, though,
is this is pretty limited.
| | 00:39 | In other words, if I simply click Auto,
what's going to happen is it's going to
| | 00:42 | give me some pretty good results.
| | 00:44 | I could then modify these sliders,
perhaps, to tweak this a little bit more.
| | 00:49 | Yet the trick is that it's pretty limiting.
| | 00:52 | Once I apply this adjustment, I can't
really undo it or modify it after the fact.
| | 00:57 | It's embedded into this layer.
| | 01:00 | A better way to make an adjustment
like this is to use the Adjustments panel.
| | 01:05 | In the Adjustments panel we also
have access to Brightness and Contrast.
| | 01:10 | Click on this icon and it will open up
this adjustment in the Properties panel.
| | 01:14 | Well, here now we have that same
Auto button as you saw previously.
| | 01:18 | This time though, these adjustments
will be applied on this layer.
| | 01:23 | The great thing about this is that if
I continue to work on the image, and if
| | 01:27 | ever I want to modify those amounts,
we'll just double-click the icon, and
| | 01:31 | here I can modify them.
| | 01:32 | In other words, these adjustments
are now non-destructive.
| | 01:36 | I also want to point out that auto is doing
a really good job, a better job than before.
| | 01:42 | It's able to tap into the data in
the file and pull more out of it.
| | 01:46 | Let me illustrate this with another image.
| | 01:48 | I'll go ahead and navigate to this file.
| | 01:50 | I have it open in another tab.
| | 01:52 | It's titled golden-puppies.jpg.
| | 01:55 | This is our puppy, Daisy,
that we got this last year.
| | 01:58 | Well, here in this picture, what I'm
going to do is navigate to another control
| | 02:03 | which has auto adjustments.
| | 02:04 | This one is Levels.
| | 02:06 | I'll go ahead and click on Levels.
| | 02:08 | There you can see we have an Auto button.
| | 02:10 | When I click on this, what it will
do is it will modify my image. And the
| | 02:15 | great thing about this is that I can then
further modify it by using these Levels controls.
| | 02:20 | I can customize this, and I can continually
change how I want this image to be displayed.
| | 02:25 | The other thing that's great here is
it the automatic adjustment, well, it's
| | 02:29 | doing something different than previously.
| | 02:32 | If you hold down Option on a Mac, Alt
on Windows, and then click on this Auto
| | 02:37 | button, it'll open up your
Auto Color Correction Options.
| | 02:41 | What's happening here is something different.
| | 02:43 | We now have the ability to enhance brightness
and contrast and to do this in a different way.
| | 02:48 | For example, when I clicked through
these other options, you are going to see
| | 02:52 | kind of a cross processed or a color shift.
| | 02:55 | Let me move this out of the way so
you can see those really cute
| | 02:58 | Golden Retriever puppies.
| | 02:59 | But you can see here there's a little
bit of kind of green in the shadows.
| | 03:03 | This one there's a little bit of pink,
and you can see that these options aren't
| | 03:07 | quite working as well.
| | 03:09 | That's this new option, which allows
me to do this in a way which just
| | 03:12 | works more effectively.
| | 03:14 | Okay. Well, let's take a look
at this with one more image.
| | 03:17 | In the next image, let's take a
look at how we can use Curves.
| | 03:21 | I'll go ahead and select on this
last photograph here. It's pier.jpg.
| | 03:25 | This time I'll click on my Curves
adjustment layer icon, and then again, I'm
| | 03:30 | going to go ahead and click Auto.
| | 03:32 | Remember that if you Option or Alt
click Auto, you'll see that you have the
| | 03:36 | other Algorithms for the previous versions.
| | 03:39 | These other versions work a lot like
Auto-Contrast, Auto-Tone, and Auto-Color
| | 03:44 | that you can find in your Image pulldown menu.
| | 03:47 | This new option allows us to have a
bit more purity in our adjustment, in the
| | 03:51 | sense that we don't have this color
shift, which happened previously.
| | 03:55 | Okay. Well, let's click Cancel here,
and what we want to do then is further
| | 03:59 | modify this photograph.
| | 04:01 | The great thing about this auto adjustment is
that it actually plotted points on the curve.
| | 04:06 | Now this is incredibly helpful.
| | 04:09 | Rather than simply make an adjustment
behind the scenes that we don't really know
| | 04:13 | what's happening, we see these
points, and we can further make changes.
| | 04:17 | In other words, I can click and drag on
these points, and what I want to do with
| | 04:20 | this image is I want to make it
just a little bit darker here.
| | 04:23 | So I'm going to go ahead and modify
these points and add another one of my own--
| | 04:27 | again, just trying to deepen
the overall tonality there.
| | 04:31 | I can get into this, because Auto
gave me a really good starting point.
| | 04:36 | And above and beyond that I
want to make some color changes.
| | 04:39 | Well, Curves is a great dialog to use
when you want to change the color.
| | 04:43 | What I want to do is change the color
so that I have a little bit more cyan.
| | 04:48 | To do that I'll click on this
pulldown menu, and I'll go to the Red channel.
| | 04:52 | That's a channel which
allows me to add red, or cyan.
| | 04:56 | When you click on that,
you'll have a new curve line.
| | 04:59 | Here I'll go ahead and click and simply
drag down just a little bit to add some
| | 05:03 | cyan to this picture.
| | 05:04 | Next, I want to add some blue.
| | 05:07 | We'll go back to this dialog, go to
the Blue channel, and here we'll go ahead
| | 05:11 | and click and drag up.
| | 05:13 | And by doing this, you can see I'm
really customizing the overall look and
| | 05:17 | feel of this photograph.
| | 05:18 | There is a little bit too much cyan.
| | 05:20 | So I'll go back to the Red channel here,
and I'll just nudge this up a little bit
| | 05:24 | by clicking and dragging.
| | 05:25 | But I do want to have this nice kind
of cool color palette. And by doing this,
| | 05:30 | one of things that you can see here, if
we click on our icon--here's our before
| | 05:34 | and now our after--is that these
auto controls, while they're incredibly
| | 05:39 | powerful, they give us the
ability to modify our photographs.
| | 05:43 | But then we can tap into the specific
controls in these different adjustments.
| | 05:48 | Whether that's Brightness/Contrast
or Levels or Curves, and by having the
| | 05:53 | ability to make further specific
adjustments after we've applied an automatic
| | 05:58 | adjustment, well that makes these automatic
adjustments that much more helpful and useful.
| | Collapse this transcript |
| Cropping redefined| 00:00 | Cropping inside a Photoshop
has been completely redefined.
| | 00:04 | So what I want to do here is dig in to
how we can work with the Crop tool and
| | 00:09 | the new settings and features that
we have available to us when we are
| | 00:12 | interested in cropping or recomposing
or straightening our photographs.
| | 00:16 | Well, the first thing that we'll want to
do is we want to select the Crop tool.
| | 00:20 | To do so you can press the C key, or you
can click on the tool in the Tools panel.
| | 00:25 | Now once you do that, you'll notice
that you have different options up here
| | 00:28 | in the Options bar.
| | 00:30 | You'll also notice that you have these
icons which show on top of your image.
| | 00:34 | Well, how could we start to
work with this photograph?
| | 00:37 | Let's move through this
menu up here in our options.
| | 00:41 | One of the first things that we can do is
we can specify a particular aspect ratio.
| | 00:46 | We could choose Unconstrained if we
wanted a free-form crop, or perhaps,
| | 00:50 | if we want to choose a crop that's a
square, we could choose this option.
| | 00:53 | Let's go ahead and choose
that option and see what happens.
| | 00:55 | Now once I do that all of a sudden
it shows me the crop area.
| | 01:00 | It also shows me this area which is grayed out.
| | 01:04 | Well, this obviously doesn't work.
| | 01:06 | So what you can do is click on
your image and reposition the image.
| | 01:11 | Notice that the crop is
staying in the same spot.
| | 01:13 | It's just the image that's moving.
| | 01:16 | If I want an even tighter crop, we'll
just hover over one of those handles and
| | 01:20 | then click and drag to reposition that.
| | 01:22 | Then go ahead and click and
drag to reposition the photograph.
| | 01:26 | Now in doing this, you're
noticing something really interesting.
| | 01:29 | As I crop, all of a sudden we have
this grid which shows on top of the image.
| | 01:34 | Well, what's that about?
| | 01:36 | Well, if you move down the line in your
options, you have the ability to show on
| | 01:40 | top of your crop area these different items.
| | 01:44 | If you have Auto Show Overlay on, that will
only show up when you click on the Crop tool.
| | 01:50 | When you let go, it will disappear.
| | 01:52 | Another option is to choose Always Show Overlay.
| | 01:56 | In this way, you'll always
see those overlay elements.
| | 01:59 | Let me zoom in a little bit so you
can see those a bit more clearly.
| | 02:02 | Well, here what we can do is press
the O key in order to scroll through or
| | 02:07 | toggle through these different
overlay elements, and this works in
| | 02:10 | different crop aspect ratios.
| | 02:12 | For example, let's go back to
another aspect ratio, say, the Original.
| | 02:17 | Now in doing that, you can see those overlays.
| | 02:20 | Again, let me zoom in here so you
can see that a little more clearly.
| | 02:24 | And as I press the O key, I can toggle
through those different overlays.
| | 02:27 | If ever you have an overlay which has
kind of a lean or specific orientation,
| | 02:32 | like this one, you can always flip it
by pressing Shift+O. You can see how
| | 02:37 | I'm alternating that.
| | 02:38 | All right. Let me zoom out a little
bit here. And as I zoom out, one of
| | 02:43 | things that I realize that might be
fun is to change the overall crop from
| | 02:47 | a vertical to horizontal.
| | 02:49 | We can do that by using this icon here.
| | 02:52 | If you click on it, it will then
alternate between horizontal and vertical.
| | 02:57 | All right. Well, let's say
that I want to apply this crop.
| | 03:00 | We know that this grayed out area will
be cropped off of this picture, and in
| | 03:05 | previous versions of Photoshop,
you would lose all of that data.
| | 03:09 | It would be gone forever.
| | 03:10 | Well, new to this version is this check box.
| | 03:14 | If you leave it off, Delete Crop Pixels,
well, then it will save all of that information.
| | 03:19 | Let me show you what I mean.
| | 03:20 | Well, here I'll go ahead and press
Enter, or Return, to apply that crop.
| | 03:25 | But then I decide I don't like it.
| | 03:27 | We'll just simply click on the Crop tool,
it will reactivate the Crop tool, and
| | 03:32 | here you can see I have
accessed all of that information.
| | 03:34 | I'll go ahead and click and drag this
out, and then I'm going to zoom out a
| | 03:38 | little bit here, just so that I can
see everything and bring this back, say,
| | 03:42 | to right about there and
then press Enter, or Return.
| | 03:45 | Another thing that we can do with our Crop
tool is we can straighten our photographs.
| | 03:50 | You'll notice there is
this Straighten button here.
| | 03:52 | If you click on it and then drag across
a horizontal or vertical line that you
| | 03:57 | think should be straight, it will
automatically rotate your image and create a
| | 04:01 | crop which will work to fix that problem.
| | 04:04 | To apply that just press Enter, or Return.
| | 04:07 | All right. Well, there's even more. And as
you can tell, they've really revamped this tool.
| | 04:12 | One of things that we can do--as
you've seen--is we can click on any of these
| | 04:16 | handles and recompose our photographs.
| | 04:18 | And as we do that, we can see the image,
but sometimes all of these items, well,
| | 04:23 | they might be a little bit too distracting.
| | 04:25 | Well, you can change this back to
the way that it looked previously by
| | 04:29 | clicking on this Gear icon.
| | 04:31 | Here we have a number of different options.
| | 04:33 | One of them is to Use Classical mode.
| | 04:36 | When you do that, you
notice that these icons change.
| | 04:40 | We can also turn this off and we can
change the option in regards to showing
| | 04:45 | this cropped area, and there is a shortcut
associated with that, which is really helpful.
| | 04:50 | By turning this off, again, you can see
that it hides all of that grayed out area.
| | 04:55 | You can turn it back on by pressing
the H key, or by clicking on this icon.
| | 05:00 | Now what about the Crop Shield?
| | 05:02 | Well, the Crop Shield shows us the shaded
area--shows us what's been cropped out.
| | 05:08 | If you prefer to disable that,
we'll just turn off that option.
| | 05:11 | Or, if you want to make it perhaps
even darker, you can click on that option,
| | 05:16 | and then you could crank up the
opacity here, and you can see that now it's
| | 05:19 | becoming even darker.
| | 05:21 | It's hiding that area even more clearly.
| | 05:23 | All right. Well, let's go ahead and
click out of this dialog here.
| | 05:27 | Now that we've dialed in all of those
different options, what I want to do
| | 05:30 | is crop this image.
| | 05:32 | So here, I'll go ahead and click and drag
one of my handle points up a little bit
| | 05:35 | and just reposition this image.
| | 05:37 | Next, I'll press Enter, or Return, in
order to apply that crop. And the last thing
| | 05:43 | that I think that you'll want to do
is in order to really evaluate the
| | 05:46 | photograph, you'll want to hide
or get rid of all of these handles.
| | 05:51 | The easiest way to do that is to
select another tool on your Tools panel.
| | 05:55 | For example, you can press the V key
in order to select the Move tool.
| | 06:00 | That then removes all of those elements,
so that you can then evaluate the way
| | 06:04 | that you've cropped your photograph
without all of those distracting elements.
| | Collapse this transcript |
| Using perspective cropping| 00:00 | Here we're going to take a
look at a fascinating new tool:
| | 00:03 | it's called the Perspective Crop tool.
| | 00:05 | This tool, it kind of allows us to
combine multiple steps together that we had
| | 00:10 | to do previously into one tool.
| | 00:12 | It allows us to correct perspective
and to crop at the same time.
| | 00:17 | In order to select this tool, what
we're going to do is go ahead and click on
| | 00:20 | the Crop tool and then
click on Perspective Crop tool.
| | 00:24 | This tool works really well where you have
those situations, where you have this distortion.
| | 00:29 | You can see this door, it's leaning in.
| | 00:32 | On the right side of the frame, these
two trees, they're leaning in as well.
| | 00:37 | So we want to crop and recompose
this photograph so that we can correct
| | 00:41 | that perspective issue.
| | 00:42 | Well, the first thing you want to do
is to simply go ahead and click and drag
| | 00:46 | across the photograph.
| | 00:48 | The next thing you want to do is make
sure that this Show Grid option is turned on.
| | 00:53 | This grid--or these little dotted lines--
are really helpful, and here's why.
| | 00:58 | What you're going to do is you're
going to move these different points on the
| | 01:01 | crop, and then you're going to try to
align these little dotted lines with the
| | 01:06 | distortion or with the problem.
| | 01:07 | In other words, I'm trying to match this
dotted line with the same way that this door leans.
| | 01:13 | Well, this looks great until I
get to the right side of the image.
| | 01:17 | So now what I need to do is I
need to make an adjustment here.
| | 01:20 | So I'll go ahead and bring in this side as well.
| | 01:23 | As I do that, well this side, it looks
good, but now the other side doesn't.
| | 01:28 | So here we'll see that
there's a lot of give and take.
| | 01:31 | I also want to make sure that this goes
to the top of the frame as well, right there.
| | 01:35 | Okay. Well, this isn't going to be perfect, yet
it is going to really help out this picture.
| | 01:40 | One of the things that you'll notice,
though, is that there are certain parts of
| | 01:44 | the picture which will be cropped off.
| | 01:46 | I will lose certain elements
or data here in this file.
| | 01:49 | So you want to be careful to make sure
to get this right. Also, as you start to
| | 01:54 | use this tool more, it will get you in
the habit of shooting your pictures by
| | 01:58 | including more information, so that if
you do have to crop something off, you're
| | 02:02 | not losing valuable or important information.
| | 02:05 | All right. Well, here again, I'm just going
to go ahead and try to modify this until
| | 02:09 | I think this looks right. Next, press
Enter, or Return, in order to apply that.
| | 02:14 | But here, you can see the finished results.
| | 02:16 | Well, it looks pretty good.
| | 02:18 | These lines are now pretty straight.
| | 02:20 | This tree was standing straight and tall.
| | 02:23 | Let's compare this to the
previous version of the photograph.
| | 02:27 | To do that, press Command+Z, or Ctrl+Z.
Here was the original version, and then
| | 02:32 | here is after our perspective crop.
| | 02:35 | Once again, the before and then the after.
| | 02:38 | So as you can see, this tool can be
really effective when it comes to fixing
| | 02:43 | those perspective issues and also
cropping and recomposing your images.
| | Collapse this transcript |
| Adding a light source with Lighting Effects| 00:00 | One of the downsides of the previous
version of Photoshop was that you couldn't
| | 00:04 | access the Render Lighting Effects
unless you opened up Photoshop in 32-bit
| | 00:09 | mode, and this just wasn't that practical.
| | 00:12 | And beyond that, the Render > Lighting
Effects dialog, well, was antiquated
| | 00:17 | and small and hard to use.
| | 00:18 | Well, that has completely changed
inside of this version of Photoshop.
| | 00:22 | And this filter, it's incredibly powerful.
| | 00:25 | Well, here you can see in
this document we have two layers.
| | 00:28 | I want to apply this filter to the topmost
layer. So go ahead and click in that layer.
| | 00:34 | The next thing I want you to do is to
navigate to your Filter pulldown menu and
| | 00:38 | then choose Render and
then select Lighting Effects.
| | 00:41 | This will open up the Lighting Effects dialog.
| | 00:44 | Now for starters, you'll notice that
we have panels on the right and also
| | 00:48 | some options up top.
| | 00:50 | Let's talk about these options.
| | 00:51 | Well, here you can see we can add new
lights. And as you hover over them, you
| | 00:55 | can see you have different light types, either a
Spot Light or a Point Light or an Infinite Light.
| | 01:02 | You can also select your light source
over here, again, Point, Spot, or Infinite.
| | 01:07 | And as we make those selections, we
can see the lights show up on the image.
| | 01:11 | You also may have noticed
that we have these presets.
| | 01:15 | In order to get familiar with this
new filter, you may want to go through
| | 01:18 | some of these presets.
| | 01:20 | For example, let's click on 2 O'clock Spotlight.
| | 01:23 | This shows us that we can have
light where we're adding color into our
| | 01:27 | photographs. Or perhaps we want to
select something which is more elaborate,
| | 01:31 | like Five Lights Up.
| | 01:33 | Here you can see all of those
lights at the bottom of the image.
| | 01:36 | You also will notice we have
what's like a Layers panel.
| | 01:40 | In this case it's showing me all of my lights.
| | 01:43 | I can turn these lights off
if I don't want to use them.
| | 01:46 | I can also click on a
light in order to target it.
| | 01:49 | Each of these lights, well, they
have controls which we can use.
| | 01:52 | We can either click and drag
in order to modify the light.
| | 01:55 | We can also reposition it or
change the overall shape of the light.
| | 01:59 | We can also use these
controls as well. All right!
| | 02:02 | Well, in order to get familiar with how
to work with this dialog, let's go ahead
| | 02:07 | and choose a different preset.
| | 02:08 | I'll go to the Preset pulldown menu,
and here what I want to do is choose an
| | 02:12 | option which will allow
me to work with one light.
| | 02:15 | I'll go ahead and select Soft Spotlight.
| | 02:18 | This gives me this spotlight on my picture.
| | 02:20 | Let's take a look at how we can use this.
| | 02:23 | Well, if you click on one of
these points, we can rotate this.
| | 02:26 | We can also reposition the center point
and then we can change the overall size
| | 02:31 | of the light. You can see how I'm
bringing that down, making that smaller here
| | 02:35 | so that it's just illuminating
this part of the frame.
| | 02:37 | Well, in this case, I don't like that the
light source is coming from this side of the image.
| | 02:43 | Well, you can just move over one of
these points, and here you can see I'm just
| | 02:46 | flipping that around.
| | 02:48 | And then, of course, I'll need to re-
drag my center point in order to bring
| | 02:52 | that into the image.
| | 02:53 | We also have some other controls as well.
| | 02:56 | One of things that we might want
to do, say, is bring up the Ambience.
| | 02:59 | We could go ahead and click and drag
that to bring in some more brightness to
| | 03:03 | the background there.
| | 03:04 | You can see how we can bring that way up.
| | 03:07 | If you want to see your preview,
click on the Preview.
| | 03:09 | Here is before and then after. Really just
focusing the viewer in on this part of the frame.
| | 03:15 | And here I'm just going to move this
light, perhaps, a little bit closer here and
| | 03:19 | then make some more changes.
| | 03:20 | Here we can modify the exposure, we
could overexpose this, or we could bring this
| | 03:25 | down, so it's a bit more subtle.
| | 03:27 | With this I'm kind of liking how it's
working, except what I really want, is I
| | 03:31 | want a light source on his face.
| | 03:33 | I want something which is
illuminating this part of the image.
| | 03:36 | Well, to do that, I'm going to add a new light.
| | 03:39 | I'll click on this icon here, and
you can see it's now brought in a new
| | 03:42 | light here to this image.
| | 03:44 | With this new light, what I can do
is control the intensity of this.
| | 03:48 | We can bring this down or dial it back up.
| | 03:51 | Well, now that I have this light,
it really makes this other one--well,
| | 03:56 | it's just too directional
for this type of an image.
| | 03:58 | Well, to modify it, click on it.
| | 04:01 | You can reactivate it there.
| | 04:02 | What you can do is then modify,
say, the intensity of this light.
| | 04:06 | I'll go ahead and diminish
that so it's not so strong.
| | 04:09 | And as you work your way through this,
you can click on these different light
| | 04:12 | sources and make the changes that you think
will work for your photograph. All right!
| | 04:17 | Well, with this image, let's
take a look at what we've done.
| | 04:20 | If we click on the Preview button,
here is our before and now our after.
| | 04:25 | Really, we've just redirected
the viewer to focus in on the face.
| | 04:30 | Let's just make a few subtle
adjustments here with this.
| | 04:33 | I'm going to open this up just a little
bit more here, change the Hotspot just
| | 04:38 | down a little bit, and just scale
that around a little bit more here.
| | 04:42 | And again, I'm just customizing this,
trying to have a bit of fun with this.
| | 04:45 | Next, once I'm ready to apply this,
I'll go ahead and simply click OK.
| | 04:50 | That will then render and
apply these effects to the image.
| | 04:54 | Well, in order to look at the before
and after, now just click on your layer.
| | 04:59 | Here's our before, and now here's our after.
| | 05:02 | I'll zoom out a little bit so you
can see that light from a bit more of
| | 05:05 | a pullback perspective.
| | 05:07 | Again, here's before, and then here's
after, really focusing the viewer in on
| | 05:12 | this area of the frame.
| | 05:13 | And by doing that and by using those
lighting effects, well, you can come up
| | 05:17 | with some really
fascinating interesting results.
| | 05:20 | And one of the things that I
recommend you do is that you apply these
| | 05:24 | adjustments either to a Smart Object layer
or to a New layer, because you're going
| | 05:28 | to need a little bit of flexibility.
| | 05:30 | Like with my adjustment, I like
the way it's redirecting the focus.
| | 05:35 | I don't like this dark line
right here. Well, no big deal.
| | 05:39 | Simply click on the Add layer Mask icon,
then select your Brush tool. Here we'll
| | 05:45 | go ahead and paint with black, and I'll
go ahead and diminish my opacity here
| | 05:51 | a little bit, increase my brush size.
| | 05:53 | And if you're not familiar with masking,
there are plenty of other movies that
| | 05:57 | talk about how you can work with this.
| | 05:58 | But here, basically, I'm just painting away
that dark line that was next to his shoulder.
| | 06:03 | You can see that now our before and
after, well, it really gives prominence or
| | 06:08 | focus to the face, rather than having
any other distracting elements that we
| | 06:12 | introduced using that filter.
| | 06:14 | So as you can see, this new filter
has been completely overhauled.
| | 06:18 | And I don't know about you, but it's one of these
new features which I'm really excited about.
| | 06:22 | I'm really excited to start to
integrate this one into my workflow.
| | Collapse this transcript |
| Working with Liquify in real time| 00:00 | For photography, the Liquify tool can
really save the day. And here, I want
| | 00:04 | to highlight some of the new features or
controls that we'll discover with the Liquify tool.
| | 00:09 | You'll notice in this document I have
two layers. Go ahead and click in the
| | 00:13 | topmost layer which is titled retouching.
| | 00:16 | Next, navigate to the Filter
pulldown menu and then select Liquify.
| | 00:19 | This will open up the Liquify dialog.
| | 00:23 | Now at first glance you won't see that
much different here, yet this works much
| | 00:27 | more effectively now.
| | 00:28 | One of things that you'll notice is
that we have this really compact mode here
| | 00:33 | or we have Advanced mode, which
opens up all of these other options.
| | 00:37 | Now by viewing this in this compact or
this condensed mode, it allows you just to
| | 00:42 | access your brush size and also your
brush pressure, this can be really helpful
| | 00:46 | because you're not really
distracted by everything else.
| | 00:50 | The other thing that I want to highlight
here is that you can now increase your
| | 00:53 | brush size up to these
really just gigantic brush sizes.
| | 00:57 | This can help when you have really high-
resolution files, and this is definitely
| | 01:01 | a welcome new feature with this tool.
| | 01:03 | All right. Well, let's go ahead and
decrease our brush pressure down here and
| | 01:07 | also drag our brush size down a little bit.
| | 01:10 | If we hover over our image and the
brush size is too big, we'll just click the
| | 01:14 | left bracket key, and that
will decrease your brush size.
| | 01:16 | Well, in this particular image, let's
say we want to make some modifications, so
| | 01:20 | I'll go ahead and click and drag across
the photograph, and I'm just nudging in
| | 01:24 | these edges a little bit.
| | 01:25 | Now this can be really helpful in order--
again--to make changes to your photographs.
| | 01:30 | Now if ever you make these changes
and you don't like them, well, you can
| | 01:34 | click on this option, Restore All.
That will remove all of the different
| | 01:39 | adjustments that you've made.
| | 01:40 | Another thing that you can do is if
you've used Liquify and then exited it and
| | 01:46 | then come back, you can click on
this option, which is Load Last Mesh.
| | 01:51 | This will use the last liquify
settings that you applied. And this can be
| | 01:55 | helpful if you're working on an image
over time and you need to come back to it.
| | 01:59 | Well, the last thing that I want to
highlight here is that when you make changes,
| | 02:04 | you're now going to see those changes live.
| | 02:06 | In other words, if I increase my brush pressure
here--just for demo purposes--and
| | 02:11 | go ahead and drag across this side
of the image, we can see that I'm
| | 02:14 | instantaneously viewing the results.
| | 02:17 | In the previous version, there was this lag time.
| | 02:20 | You would make an adjustment and then
wait and wait, and it would render it in.
| | 02:24 | Well, now we no longer have to wait to
see these adjustments. And again, this is
| | 02:28 | a much welcomed new feature.
| | 02:30 | If ever you make a mistake as I've done
here, just Restore All and then decrease
| | 02:35 | your brush pressure to the appropriate size.
| | 02:37 | Make any of those needed changes
that you need to make. And then again, I
| | 02:41 | recommend you do these typically on a
new layer. And then go ahead and click OK
| | 02:45 | in order to apply those adjustments so
that you can evaluate your before and
| | 02:50 | then also the after.
| | Collapse this transcript |
| Making adjustments with the Adaptive Wide Angle filter| 00:00 | Here we're going to take a look at a
phenomenal new feature which allows us to
| | 00:03 | correct perspective when we're
working with panoramic photographs.
| | 00:07 | So we're going to start off, here, in
Adobe Bridge. And what I want you to do is to
| | 00:11 | navigate to the folder which is titled
pano and then select all of the images in
| | 00:15 | that folder. And these are photographs of
the Santa Barbara Courthouse, which is a
| | 00:19 | beautiful building in the town where I live.
| | 00:22 | Here we'll press Command+A on the Mac, or Ctrl+A
on Windows, to select all of those files.
| | 00:28 | Next, let's navigate to our Tools
pulldown menu and then go to Photoshop, and here
| | 00:32 | we're going to choose Photomerge.
| | 00:34 | This allows us to merge and stitch
and blend all of these images together
| | 00:38 | as a panoramic photograph.
| | 00:40 | For the Layout, you want to choose Auto
and then turn on the three check boxes
| | 00:44 | below in order to ensure that this
panoramic photograph looks its best. Next, click OK.
| | 00:50 | Once you click OK, well, Photoshop will do its
magic and it will start to bring all of
| | 00:55 | these images together and it will
attempt to correct the different distortion
| | 00:59 | problems that we have with this pano,
because it was captured with a wide-angle
| | 01:04 | lens from a low perspective.
| | 01:07 | And what we'll see initially when we see
the pano is that while we have a lot of
| | 01:11 | really good content, we
have this strange bend here.
| | 01:15 | Let's take a look at how we can fix that.
| | 01:18 | So here, I'll press F to go to full-screen mode.
| | 01:20 | The next thing I want to do is merge
all of these underlying layers together.
| | 01:25 | There are a couple of different
ways that we can do that.
| | 01:28 | One way is to just flatten these.
So let's go ahead and try that option.
| | 01:33 | Here we'll go to our layer pulldown menu,
and we're going to select Merge Visible.
| | 01:37 | This allows us to merge or
flatten these layers together.
| | 01:41 | Next let's duplicate this layer, and we
can do so by pressing Command+J on the
| | 01:45 | Mac or Ctrl+J on Windows. And then I'm
going to name this top layer correct.
| | 01:51 | This is the one that we're going to
correct with this new feature. All right!
| | 01:55 | Well, here we'll navigate
to our Filter pulldown menu.
| | 01:58 | We're going to choose Adaptive Wide Angle.
| | 02:01 | This will open up this dialog which
allows us to make some pretty powerful
| | 02:05 | corrections to our photograph.
| | 02:07 | You'll notice for starters
that there is a strange lean here.
| | 02:11 | Well, if I click and drag along this
roofline, my line there will essentially
| | 02:16 | follow that, and then it
will straighten that out.
| | 02:19 | Next, what you can do is
hover over one of these circles.
| | 02:23 | Notice I get those two arrows.
| | 02:25 | You can then click and drag watching
the angle in order to correct that.
| | 02:30 | You can also go to the other side as
well in order to try to make that level.
| | 02:34 | Well, already this correction
here, it looks a lot better.
| | 02:38 | Let me zoom in on it a little bit
by pressing Command+Plus, or Ctrl+Plus.
| | 02:43 | Here's before, and now here's after.
| | 02:45 | Yet, one of the problems that I'm
noticing is there's this bend here on the
| | 02:50 | wall and the stairs.
| | 02:52 | Once again, we can click
and drag along this area.
| | 02:55 | As we do that, that line follows
that distortion and then corrects it.
| | 03:00 | As you make one adjustment, it will also
bend or change other areas of your photograph.
| | 03:06 | So you're going to have to make
a lot of different adjustments.
| | 03:10 | Here I'll press the spacebar key
and click and drag to the right.
| | 03:13 | What about this side?
| | 03:14 | Well, once again, we can go ahead and
click and drag over this area and try to
| | 03:19 | straighten that out.
| | 03:20 | You can also click on the endpoints to
control how far or how big of an area
| | 03:25 | you're changing or correcting.
| | 03:27 | And here, you can see by correcting that
entire line, it just straightens this out for me.
| | 03:32 | Next, I may want to work on the
roofline up top, so we'll go ahead and add a
| | 03:36 | point there and try to
bring that down a little bit.
| | 03:39 | Now the problem with this left
side is that it's pointed up.
| | 03:43 | So we need to change the angle.
| | 03:45 | That's really easy.
| | 03:46 | We can just bring this down, and we'll
have to do this a few times to see if
| | 03:50 | we can't get it right.
| | 03:51 | We can go ahead and work with this
line too. And we can modify this one here.
| | 03:56 | Just looking to try to push that out a
little bit so that it's a little bit more level.
| | 04:01 | And now you can see really from our
preview before and then now after.
| | 04:05 | We're making some pretty powerful corrections.
| | 04:08 | Let's press the spacebar key and
click and reposition, so we can look at
| | 04:12 | the right-hand side.
| | 04:13 | And again, here I'll do the same thing,
trying to correct the problems that we
| | 04:17 | have over here on this side.
| | 04:19 | Here we'll rotate that down a little bit.
| | 04:21 | By doing that, it's also going to
bring down some of the other elements.
| | 04:26 | I'll work on the roof that I'm seeing
over here. So I'll just click and bring
| | 04:30 | that down and then rotate this
side down so it's not pointing up.
| | 04:33 | I want to have this closer to being level.
| | 04:36 | The challenge with all of this is
that as you make these adjustments.
| | 04:39 | Sometimes you'll go too far.
| | 04:41 | Here we can see I've kind of pinched this.
| | 04:43 | The good news is that that's really
no big deal, because we can continually
| | 04:47 | make these changes.
| | 04:48 | You can also make changes which are vertical.
| | 04:51 | If you want to change the lean of this
tree--we'll just click and drag on that--
| | 04:55 | and then here I can have this lean to the right,
or I can change to have it lean to the left.
| | 05:00 | If you make an adjustment that you
just don't like, well, just click on it in
| | 05:04 | order to highlight it.
| | 05:05 | Once you've done that, you can press
Delete or Backspace in order to remove that.
| | 05:11 | Okay, well, let's go back
to the center of the frame.
| | 05:13 | Now that we're back here, I'm going to
click on this point and just change my
| | 05:17 | rotation a little bit to try to
make that a little bit better.
| | 05:20 | And here, I'm just looking to kind of
sweeten this up a little bit and just make
| | 05:24 | a few little subtle changes to the overall look.
| | 05:27 | Next, I'll zoom out by clicking on the
Minus icon. And by doing that, I kind of
| | 05:32 | want to see my pano in its entirety.
| | 05:34 | And you know that whenever you're creating
a pano, you're always shooting more
| | 05:38 | than you need, and eventually
you'll crop this in.
| | 05:42 | Okay, well, I think this is looking really good.
| | 05:44 | Let's go ahead and click OK in order to
apply those adjustments. And as we can
| | 05:49 | see here in our Layers panel,
we now have two layers.
| | 05:52 | You can look at the before and after
by clicking these layers on and off.
| | 05:56 | Well, now that we've made those
corrections, let's get rid of that background
| | 06:01 | layer momentarily and then grab our Crop tool.
| | 06:04 | And here, with the Crop tool, I'm going
to go ahead and click and drag in order
| | 06:07 | to crop out the area that
I don't want in this pano.
| | 06:11 | And in this case, I'm just going to try
to create a nice composition here with
| | 06:15 | this image, really focusing in on
this building, which I think is beautiful
| | 06:20 | structure there. I'll zoom in a
little bit so I can see that a bit better.
| | 06:23 | It's a trick with pano, is that
they're so wide you can't always see them.
| | 06:28 | So here, I'm pressing the spacebar key
and moving to the left and right, trying
| | 06:32 | to find just the right spot for my crop
here, so that this panoramic photo looks good.
| | 06:36 | Next, press Enter or Return.
| | 06:39 | Actually, before you do that, I should
point out you always want to leave this
| | 06:42 | option turned off: Delete Cropped Pixels.
| | 06:44 | We don't want to delete away those edges
because we may want to change our crop. All right!
| | 06:48 | Well, now that we've done that,
we have this really nice pano.
| | 06:53 | It's been corrected well.
| | 06:55 | If we turn on that background layer, we
can see the before and after, and we can
| | 06:59 | see how we've used this new filter
in order to correct and enhance this
| | 07:03 | photograph to remove the distortion
which often happen when we're capturing
| | 07:07 | panoramic photographs--and especially
that happens when we use these wide-angle
| | 07:12 | lenses when we're capturing our panos.
| | 07:14 | And by using this new filter, we can
then make those corrections in order to
| | 07:19 | accomplish some pretty compelling results.
| | Collapse this transcript |
| Using Face-Aware Mask Generation| 00:00 | One of the common Photoshop
mantras is select before you correct.
| | 00:05 | The better that you can get at
selections, well, the better your corrections.
| | 00:09 | And here, I want to focus in on a new
selection feature which allows us to
| | 00:14 | quickly select Skin Tones.
| | 00:17 | In order to take advantage of this tool,
use a navigate to the Select pulldown
| | 00:21 | menu and then choose Color Range.
| | 00:24 | Now while we've had color range in previous
versions of Photoshop, we now have a new option.
| | 00:29 | If you click on the Select pulldown
menu here, you'll notice you have this
| | 00:33 | option for Skin Tones.
| | 00:36 | When you choose this option what's
going to happen is Photoshop is going to
| | 00:40 | analyze your photograph, and Photoshop
is chock-full of all of this data of
| | 00:44 | different types of skin, different
shades in different colors, and it's going to
| | 00:49 | then try to create a good selection of skin.
| | 00:52 | Let's see how it does.
| | 00:53 | We'll go ahead and click on that, and here you
can see in the mask it's doing a pretty good job.
| | 00:58 | I can increase the Fuzziness in order
to increase the areas that are selected,
| | 01:03 | or I can decrease the Fuzziness to try to
get a little bit more of a precise selection.
| | 01:09 | Another thing that you can
do is turn on Detect Faces.
| | 01:12 | What this will do is it will try to
give you a more accurate selection, and in
| | 01:17 | this case, well, this difference--it
makes all the difference in the world.
| | 01:21 | No longer is there a selection in
the area on the shirt or the background,
| | 01:25 | because what's white in this
mask is the area that's selected.
| | 01:30 | Again, you can see that before and
after here. Here's without Detect Faces, and
| | 01:34 | then here's with Detect Faces.
| | 01:36 | Again, you want to dial in the
appropriate amount of Fuzziness.
| | 01:39 | Next, simply click OK.
| | 01:41 | Well, now that we have this great
selection, what I want to do is I want to
| | 01:45 | remove some of the reds from the
Skin Tone, because this photograph was
| | 01:49 | captured at sunset.
| | 01:51 | To do that, I'll click on my Adjustment
layer icon for Hue/Saturation. This will
| | 01:56 | create an adjustment layer with a built-in mask.
| | 01:59 | Now the mask is built based on the
way that I selected those skin tones.
| | 02:04 | So what I can then do is I could go to
a channel and I could remove color from
| | 02:09 | that channel, say the Red
channel. Let's try that.
| | 02:12 | Here we'll go to the pulldown menu and
choose Reds. Next, I'm going to simply
| | 02:16 | desaturate a few points, and then maybe
I'll brighten this up by adding a little
| | 02:20 | bit of lightness. And these adjustments,
they're just focused in on the skin.
| | 02:24 | Let me zoom in so you can see what I mean.
| | 02:27 | Well, here we have the photograph. If
we click on this eye icon, you can see
| | 02:31 | here's the before and now here's the after.
| | 02:35 | This selection which focused on those
skin tones allowed me to quickly target
| | 02:40 | these skin tones and then make a correction.
So as you can imagine, this feature
| | 02:44 | is really helpful when you're
photographing people, whether it's a family
| | 02:48 | photograph like this or
beauty or a fashion picture.
| | 02:51 | It allows you to quickly build a selection
which you can then turn into a mask,
| | 02:56 | so that you can make really
specific adjustments just to the skin.
| | Collapse this transcript |
| Sizing images with the Bicubic Automatic interpolation option| 00:00 | In this movie, I want to highlight a new
feature which allows us to control the
| | 00:04 | way that our images are sized
or resized or scaled.
| | 00:09 | It has to do with what's
called image interpolation.
| | 00:12 | Now, well, that sounds like a fancy word.
Basically, it's how we change the size or
| | 00:16 | scale of an image and what happens
to all of the data when we do this.
| | 00:21 | So first what I want to do is highlight
where we can find this information in our
| | 00:24 | Photoshop > Preferences.
| | 00:26 | If you navigate to the Preferences dialog,
what you can do is you can find that
| | 00:31 | you have by default an Image
Interpolation setting here.
| | 00:35 | One of the new options that you'll
discover in this version of Photoshop
| | 00:38 | is Bicubic Automatic.
| | 00:40 | What this does is it determines the
best Bicubic interpolation when you're
| | 00:45 | changing the size of your image.
| | 00:47 | So you want to turn that option on,
so that if you're free transforming or
| | 00:51 | making any kind of an adjustment to
an image, it then uses the appropriate
| | 00:56 | type of interpolation.
| | 00:57 | In other words, if you resize something
smaller, it will use Bicubic Sharper.
| | 01:02 | If you make something bigger,
it'll use Bicubic Smoother.
| | 01:05 | Another place where you'll see these
settings is in the Image Size dialog.
| | 01:10 | Let's cancel out of our preferences
and take a look at that.
| | 01:13 | If you go to Image and then choose Image Size,
this'll open up our Image Size dialog.
| | 01:18 | Again, down at the base of this dialog
we have these various image interpolation options.
| | 01:24 | Now because I set my preference to
Bicubic Automatic, this will show up by default.
| | 01:30 | In other words, I don't really need
to think about this anymore, except for
| | 01:33 | really particular situations.
| | 01:35 | This will also be the default setting
when working with the Crop tool or when
| | 01:39 | resizing the images in other ways as well.
| | 01:42 | So I just want to highlight that so
that you can take advantage of that new
| | 01:45 | feature, because it will help you
out when resizing or resampling your
| | 01:49 | photographs so that your
pictures look their best.
| | Collapse this transcript |
| Changing brush characteristics and making paths| 00:00 | Here we're going to focus in on a
helpful new feature which allows us to change
| | 00:04 | our brush characteristics on the fly.
| | 00:07 | Now this particular technique, it
works with many different tools, yet first
| | 00:11 | let's start off with
working with the Brush tool.
| | 00:14 | Go ahead and click on the
Brush tool in your Tools panel.
| | 00:17 | The next thing I want you to do
is to navigate to your options bar.
| | 00:20 | You can click on this icon here.
| | 00:22 | You can change your brush size, also
your brush hardness or softness--move it to
| | 00:27 | the left in order to have a softer-edged brush.
| | 00:29 | All right, once you've defined those
characteristics, go ahead and open up a
| | 00:34 | blank document, as I've done
here, and just paint a little bit.
| | 00:37 | In this case, I'm going to
make a really simple smiley face.
| | 00:40 | All right. Well, let's say that I
want to change some of these brush
| | 00:43 | characteristics. Perhaps I don't want
as soft of an edge, or maybe you want a
| | 00:49 | bigger brush size. Well, you can change
those characteristics on the fly, and you
| | 00:54 | can do so by using a helpful shortcut
and then clicking and dragging either
| | 00:58 | vertically or horizontally.
| | 01:00 | Let me share with you the shortcut.
| | 01:01 | Well, on a Mac, if you hold down Ctrl
and Option and then click and drag, on
| | 01:06 | Windows if you press the Alt key
and then right-click and drag, you can
| | 01:11 | access this option.
| | 01:12 | Well, go ahead and press that shortcut
and then click and drag to the left
| | 01:16 | or the right. Here you can see I can
change my overall brush size.
| | 01:20 | Click and drag up and down. You can see
I can change the hardness of this brush.
| | 01:25 | In this way I can really quickly
define my brush size, and then I can go ahead
| | 01:29 | and make an adjustment,
say, to what I'm working on.
| | 01:31 | Well, in this case I'm obviously just
making a silly drawing here, but you can
| | 01:36 | also use these shortcuts with other
tools, say, like the Clone Stamp tool.
| | 01:41 | Again, hover over your document, press
that shortcut--it's Ctrl+Option on a Mac,
| | 01:47 | that's Alt+Right Drag on Windows--and
then click and drag up and down,
| | 01:51 | you can change your brush edge. Or left and
right, you can change your brush size.
| | 01:55 | In this particular technique it works
with almost all of these tools here in
| | 01:59 | this area of our Tools panel.
| | 02:02 | You can also change how this works.
| | 02:04 | Let's say that rather than controlling
your brush edge and also the size,
| | 02:09 | you can flip this around a little bit,
and you can do this by navigating to
| | 02:13 | your Preference dialog.
| | 02:14 | Let's go ahead and take a
look at how we can do this.
| | 02:17 | If you go to Photoshop and then Preferences
and then click on General, in the
| | 02:22 | General preferences area, you can go
about three quarters of the way down.
| | 02:26 | There's an option which is turned on by
default, and it's this option here:
| | 02:31 | Vary Round Brush Hardness based
on HUD vertical movement.
| | 02:35 | In other words, when you move up and
down vertically, well, you're going to change
| | 02:39 | the hardness or the softness of the brush.
| | 02:42 | If you turn this option off, rather
than modifying hardness or softness, this
| | 02:48 | will now allow you to modify the
opacity of the tool. Well, here let's go ahead
| | 02:53 | and click OK and go back to our document.
| | 02:55 | Press that shortcut or use those shortcut keys--
Ctrl+Option on Mac, Alt+Right Drag on Windows--
| | 03:01 | and then click Up and Down.
| | 03:03 | Here you can see rather than changing
the edge of the brush, it's changing
| | 03:07 | the overall opacity.
| | 03:09 | So in this way I can quickly change the opacity.
| | 03:12 | Well, if you want to use this tool in
this way, again, turn that preference off.
| | 03:16 | If you prefer to have the up and down
vertical movement change the hardness or
| | 03:21 | the softness of the edge, well, all
that you need to do is to go back to your
| | 03:24 | Preferences--and here we'll do that and
just turn this option on, and it will
| | 03:29 | then change that back to that default setting.
| | 03:32 | Well, either way you want to choose the
preference which will work for you, and
| | 03:36 | you want to write down the shortcut,
because it's a really helpful one, and this
| | 03:40 | will really help you out, whether you're
cloning or healing or racing or burning
| | 03:45 | and dodging or just painting
an adjustment into your image.
| | Collapse this transcript |
|
|
8. Editing Video in PhotoshopGetting started with video in Photoshop| 00:00 | The convergence of video and still images
is really quite amazing, and you know
| | 00:05 | you'll be hard-pressed to find a camera
or a phone which doesn't shoot video and
| | 00:10 | still images together.
| | 00:11 | And so, here we are going to take a look
at how we can work with our video files
| | 00:15 | from inside of Photoshop.
| | 00:16 | We will start off with this simple task.
We will take a look at how we can bring
| | 00:20 | a clip into Photoshop.
| | 00:21 | How we can change its color and tone
and also add perhaps some copy or some
| | 00:25 | typography to the clip.
| | 00:27 | We will also look at how we can
work with music and transitions.
| | 00:30 | Well, this is the clip that I want to work with.
| | 00:33 | It's a short clip of a very
famous professional surfer.
| | 00:36 | So let's go ahead and navigate over to
Photoshop, and inside of Photoshop let's
| | 00:41 | select our File pulldown menu. Next, choose Open.
| | 00:45 | Here we want to browse to this
folder where we see this video file,
| | 00:48 | rob_portrait. Next, click Open.
| | 00:52 | This will open up this clip
in a really fascinating way.
| | 00:55 | You'll notice in your Layers panel you
have what's called a Video Group, then we
| | 01:00 | have the video file inside of that group.
| | 01:03 | Then we have a timeline. This
timeline allows us to view the clip.
| | 01:07 | We can grab the playhead needle and scrub
back and forth in order to view the clip.
| | 01:11 | Well, before we actually start scrubbing
or editing or changing this, what I
| | 01:16 | want to do is I want to mute the audio to
this file so that it's not distracting.
| | 01:21 | To do that, Right-click or Ctrl-click
right on the clip in the timeline.
| | 01:25 | Next, click on this little Music icon,
and then at the bottom you can click on
| | 01:30 | this option, Mute Audio.
| | 01:32 | The reason why want to do this is I am going
to use a different audio track for this clip.
| | 01:37 | Okay. Well, now that that's done, the next
step for me is going to be to edit this.
| | 01:42 | I would edit out the first
little bit of this clip.
| | 01:45 | So I can go ahead and click down on my
timeline, perhaps until I find an area
| | 01:48 | that I know where I want
to start, right about here.
| | 01:51 | You can also just simply click and
drag in order to scrub to find the area
| | 01:55 | where you want to start.
| | 01:56 | Once you find that point, there are a
couple of different ways that you can cut
| | 02:00 | out the previous part of the clip.
| | 02:03 | One really easy way is to hover over
the clip. When you get to the end, you
| | 02:07 | notice the cursor changes. Well, here
I can click and drag all the way to my
| | 02:12 | playhead needle, let go, and it will then
cut out that part of the clip. It's now gone.
| | 02:17 | Well, now that I've made a few changes,
what I want to do is save these out.
| | 02:22 | As you work with video, you have really
large files. You want to make sure that
| | 02:25 | you're saving your work.
| | 02:27 | To do that, we will go ahead and
navigate to our File pulldown menu,
| | 02:31 | and here we will choose Save.
| | 02:33 | This allows us to save this file, and we
will name it rob_portrait and save it
| | 02:37 | in that same folder.
| | 02:38 | Simply click save in order
to save that document.
| | 02:41 | Well, now that we have this, let's
go ahead and take a look at our clip.
| | 02:45 | As we scrub through it, you can see
that it's a handheld clip of this guy,
| | 02:49 | Rob Machado--again, a really famous surfer--
and let's say that I want to use this
| | 02:53 | kind of as an intro slide in the surf
movie, which will introduce this surfer,
| | 02:58 | and then later it will show him surfing.
| | 02:59 | Well, I like this clip. It's handheld.
It's a little bit edgy.
| | 03:03 | I like the feeling of it,
but I don't really like the color or tone.
| | 03:07 | Well, to make changes to the way that
the video appears, it's really easy.
| | 03:12 | All that you have to do is to use one of
your different adjustments. Let's try Curves.
| | 03:16 | Here I will click on the Curves icon.
| | 03:19 | In this case, I am going to go ahead
and click and drag up to brighten up the
| | 03:22 | video file, then I'll go
down to my various channels.
| | 03:26 | I will try the red channel or add a
little bit of cyan, then I will go down to
| | 03:30 | the blue, yellow channel, and perhaps
I'll add a little but a yellow there and
| | 03:34 | then maybe perhaps the green
channel--add a bit of magenta.
| | 03:37 | Now the point here isn't to follow
along with these specific adjustments, but
| | 03:42 | rather to highlight that you can use
| | 03:44 | all of these different adjustment
layers in order to change the way your
| | 03:47 | video file appears.
| | 03:48 | Take a look at it. Here's our
before. Now here's our after.
| | 03:53 | We can also zoom out a little bit.
| | 03:55 | On a Mac press Command+Minus, on
Windows press Ctrl+Minus, this way we can
| | 03:59 | see this a little bit better here.
And here again, is our before and after.
| | 04:04 | I kind of like this yellow
cross process type of aesthetic.
| | 04:07 | All right. Well, now that we've modified
the clip, we've edited it, we've changed
| | 04:13 | its color and tone using an Adjustment
layer, what I want to do next is I want
| | 04:17 | to close my Properties panel. And I
want to start to add some transitions.
| | 04:22 | Transitions in Photoshop are extremely easy.
| | 04:25 | You will notice there's this little square icon.
| | 04:28 | If you click on this, it allows you to
determine or to choose some transitions.
| | 04:33 | Let's say we want to fade from white.
| | 04:35 | I will just click, drag and
drop, and there you have it.
| | 04:38 | This clip will now fade from white, and we
can play this in order to see how this works.
| | 04:43 | Now if the clip happens--or if the
transition happens too quickly, you can hover
| | 04:47 | over it and click and drag to extend it.
You can make it longer or shorter by
| | 04:52 | simply clicking and dragging.
| | 04:55 | One of the beauties of working with
video in Photoshop is that it's really quite
| | 04:59 | simple and you can take advantage
of all that you already know.
| | 05:03 | Okay. Well, let's create
a transition at the end of this.
| | 05:06 | We will go ahead and choose Fade to White,
drag and drop, and then here it is.
| | 05:11 | At the end, we grab the playhead
needle. It now fades out to white.
| | 05:16 | Okay. Well, we are actually
making some really good progress.
| | 05:19 | We brought the clip in,
modified its color and tone.
| | 05:22 | We edited it a little bit, cut it
down, and added some transitions.
| | 05:26 | Let's continue to work with this clip
and take a look at how we can finish this
| | 05:30 | little project off in regards to adding
some type and also adding an audio file
| | 05:35 | as well. And let's take a look at
how we can do that in the next movie.
| | 05:39 | So go ahead and leave this document
open, as we will be working with this one
| | 05:43 | in the next movie.
| | Collapse this transcript |
| Adding typography and audio to a video project| 00:00 | Here in this movie we are going to
continue to work with the same video clip.
| | 00:04 | Yet, here we are going to focus in on how
we could add some type and how we could
| | 00:07 | fade that type in--and also
how we could add an audio track.
| | 00:11 | Well, in order to add type, what we want to
do is create what's called a new video group.
| | 00:16 | You can do that by clicking in your
timeline on this little icon here.
| | 00:20 | Go ahead and click on that,
then choose New Video Group.
| | 00:24 | You'll notice that you now have
a new folder or Video Group.
| | 00:27 | Next select the Type tool.
| | 00:29 | You can do that by clicking
on it in the Tools panel.
| | 00:31 | Then I will go ahead and click on the
image. I am just going to type out this
| | 00:35 | particular person's name, Rob Machado.
| | 00:38 | Next, press Command+Return
in order to apply that type.
| | 00:42 | Here I will select the Move tool. Now I
am going to go ahead and reposition this.
| | 00:45 | I want is to show up right about here.
| | 00:48 | Well, now currently the type shows up at the
beginning of this movie file. I don't want that.
| | 00:54 | So just click and drag and move it over.
| | 00:56 | Here I wanted to show up a
little bit further down the line
| | 00:59 | so that here he'll turn his head. Then once
he does, we will have his name show up there.
| | 01:05 | Okay. Well, I want to modify this
typography a little bit. I can do so, say,
| | 01:10 | by adding some layer style effects.
| | 01:12 | To do that, simply double-click the layer.
| | 01:14 | Here we will add a drop shadow,
also a brush stroke around this.
| | 01:20 | The brush stroke that I am going to
add is going to be a white brush stroke.
| | 01:22 | So I will choose that
option here and then click OK.
| | 01:26 | After you've dialed in the effect,
here you can simply click OK. And again,
| | 01:30 | this is the same as it is with regular
Photoshop or just simply modifying this text layer.
| | 01:35 | Well, with this text layer, I want
it to be a little bit transparent.
| | 01:40 | So I am going to decrease
or diminish the fill amount.
| | 01:43 | This will then remove the black from
this copy so that you can kind of see
| | 01:47 | through this and you can see the
video file there in the background.
| | 01:51 | If you want to make this bigger, we
will press Command+T on a Mac, Ctrl+T on
| | 01:55 | Windows, and then click one of the
handles there in order to free transform it.
| | 01:58 | Well, as you can start to see, I can have the
show up--as I mentioned--kind of as a title slide,
| | 02:04 | so that this person is introduced in
this surf movie, shows his face, he looks
| | 02:09 | at the camera, here comes his
name, and then the clip moves on.
| | 02:13 | Well, of course, I want this to fade in.
| | 02:16 | So here, I will go ahead and click on
this Transition icon, and I am just going to
| | 02:19 | choose Fade Here and then click and
drag and drop that onto this area.
| | 02:23 | Next we will scrub that to see how this looks.
| | 02:26 | Again, you can see that that slowly
fades in, and that looks really nice.
| | 02:29 | All right. Well, what about the end of this clip?
| | 02:32 | If we want this to exist for more time,
just simply click and drag so that it
| | 02:36 | lives all the way over here. And then
again, we will find this fade icon here
| | 02:41 | and drag and drop that to this area.
| | 02:44 | If we want to change this, just hover
over it and click and drag, or hover over
| | 02:48 | the edge and click and drag if you want
that to fade out before the subject does.
| | 02:52 | And here, you can see how that might
work with his name disappearing and
| | 02:55 | then file fades away.
| | 02:57 | Okay, Well, now that we have all these
elements together, I'm really ready to
| | 03:01 | add the audio file.
| | 03:03 | My audio track down here is a
little bit buried. I can't quite see it.
| | 03:07 | So hover over the dividing line between
the media file or the video file and the
| | 03:12 | timeline--when you do, your cursor
will change--click and drag that up, so we
| | 03:16 | can focus in on our audio track.
| | 03:18 | Here if you click on the Music icon, it
gives you the ability to add an audio file.
| | 03:24 | The audio file that I'm
adding is titled rob-music.wav.
| | 03:28 | We can import wave or MP3 files
and other audio files as well.
| | 03:33 | Okay. Well, let's scrub back to the
beginning, and what I want to do is just
| | 03:36 | start to play this clip to see how it looks.
| | 03:39 | Here we will click on
the play icon and watch it.
| | 03:42 | (Audio Playing)
| | 03:49 | All right. Well, that looks good, except
that the audio file, well it goes on and on.
| | 03:54 | Well, how could I change that
or how could I cut that?
| | 03:57 | Well, if you make your way to the end
here, what you can do is simply click on
| | 04:01 | this clip and then go ahead
and click on the scissors icon.
| | 04:05 | That will create a cut.
| | 04:06 | You can see that it cut this
music file in the two pieces.
| | 04:09 | We will click on the new piece, or the
piece that you don't want, on the right and
| | 04:12 | then press Delete or
Backspace, and now it's gone.
| | 04:15 | All right. Well, what about
fading the audio file out?
| | 04:18 | Well, in order to do that, what you can
do is click on the audio file and then
| | 04:23 | Right-click or Ctrl-click.
| | 04:24 | This will open up this Audio dialog.
| | 04:27 | Here in this dialog I will choose to
have this fade in and also fade out,
| | 04:31 | and that can determine the
length of the fade there.
| | 04:34 | Next, I will go ahead and play
this end part to see how this sounds.
| | 04:38 | Here we will click on the Play button.
| | 04:43 | All right. Well, that's pretty good.
| | 04:44 | You could see how you could use that
as a title slide, say, in a longer movie,
| | 04:48 | and what this has taught us is how we can
start to work with some different elements.
| | 04:52 | Before we leave this movie, I am going to
go ahead and save this file and close it.
| | 04:56 | So here, File > Save, and then
eventually we will close it, and I just want to
| | 05:01 | highlight that because when you're
working with video, again, you have these
| | 05:04 | really large file sizes and you're
putting in all this effort, you want to make
| | 05:07 | sure that you're saving
your files pretty frequently.
| | 05:10 | All right. Well, I will
catch you in the next movie.
| | Collapse this transcript |
| Working with multiple clips| 00:00 | Now that we know a little bit about
working with video in Photoshop, what I want
| | 00:03 | to do is dig deeper.
| | 00:05 | Here we're going to take a look at how
we can work with two or more clips and
| | 00:08 | how we can bring those together inside
of Photoshop, because typically that's a
| | 00:12 | real-world scenario, right?
| | 00:14 | We very rarely have one clip.
| | 00:16 | Rather, we're interested in
stitching or editing together multiple clips.
| | 00:21 | We'll be working with these two files
here. Yet, before we began that project, I
| | 00:25 | want to point something out.
| | 00:26 | If we go back to our last project,
you'll notice that the video file, well, it's
| | 00:30 | about 70 Megs, and if you click on the
Photoshop file where we did our editing,
| | 00:35 | this one's only about 10 Megs. That's
because this file doesn't contain the
| | 00:39 | video file, rather it's a linked to that file.
| | 00:43 | Therefore, you want to save these files
in the same location as the main video file.
| | 00:47 | That's really important.
| | 00:49 | And I neglected to point that out,
so I just wanted to highlight it here.
| | 00:52 | Well, here what we're going
to do is select our clips.
| | 00:55 | So click on one, hold down Command on a Mac,
Ctrl on Windows, and then click on another.
| | 01:00 | And this time we're going to open
these up in a little bit more of an
| | 01:03 | effective way when we're working with
more than one clip, and that is to go to
| | 01:07 | our Tools pulldown menu.
| | 01:09 | Here we'll select Photoshop and then
choose Load Files into Photoshop Layers.
| | 01:14 | This will then create a new document
for us and load these two files into our
| | 01:18 | Layers panel--you can see them here--
and it will also open up our timeline.
| | 01:23 | Now before I do anything,
I want to save this out.
| | 01:26 | On a Mac press Shift+Command+S.
On Windows press Shift+Ctrl+S.
| | 01:31 | Let's save this out as beach.psd,
and then press Enter, or Return.
| | 01:35 | Well, now that we've saved this file,
one of the things that I want to do is I
| | 01:39 | want to spread out my clips.
| | 01:41 | Currently, they're on top of each other.
| | 01:43 | So in order to do that, click on one
clip, hold down Command on a Mac,
| | 01:48 | Ctrl on Windows, and then click on the other.
| | 01:51 | Next, if you click on this video icon,
it gives you the ability to create what's
| | 01:55 | called a New Video Group.
| | 01:57 | Well, we want to do that because it will
then spread out our video clips in sequence.
| | 02:03 | Let me show you what I mean.
| | 02:04 | We'll go ahead and choose this option,
and now here if I change the view of the
| | 02:08 | timeline by dragging to the left,
you can see that my video clips, well,
| | 02:12 | they're in a good sequence.
| | 02:14 | The video clips are also inside of
this group, which is really nice.
| | 02:18 | And so, again, it just will
help me out a little bit.
| | 02:20 | Let's go ahead and save this document.
Press Command+S or Ctrl+S to do so.
| | 02:24 | All right. Well, the next thing that I
need to do is to start to cut some of this
| | 02:29 | content out of these clips.
| | 02:31 | These video files are really fun. I
captured them with my iPhone, and my
| | 02:35 | daughter was down at the beach and
she was riding her bodyboard there and
| | 02:39 | catching waves, and so I want to have
this fun little clip which showcases her
| | 02:43 | riding in these waves.
| | 02:44 | When I get to a point where I want to
create a cut, say right here, one of the
| | 02:49 | ways you can do that is to click on
the clip, then you can click on the cut
| | 02:53 | icon--the little icon
which is a pair of scissors.
| | 02:56 | Next, you can go ahead and scrub down
the timeline. And here, I'm going to scrub
| | 03:00 | down the timeline until I see another
nice point of action, and once I see that
| | 03:04 | point, again, go ahead and click on the
clip and then just click on the scissors icon.
| | 03:09 | Well, now here I have this intermediary
clip which has content which I don't
| | 03:13 | need, I want to get rid of that.
| | 03:15 | Well, just click on it and press
Delete or Backspace, and it will auto adjust
| | 03:20 | the timeline for you.
| | 03:22 | Let's take a look at our progress here.
| | 03:24 | Here we can see she catches the wave,
goes back up, catches another one, and
| | 03:29 | then I want to create, perhaps,
another cut right about here.
| | 03:32 | Again, click in the clip, go ahead and
click on the scissors icon in order to
| | 03:36 | create that cut and then scrub down to
see if there's another point of action
| | 03:40 | that might be interesting. And with this
one, they're really isn't for this file,
| | 03:45 | so we click on that and
then press Delete or Backspace.
| | 03:48 | Now if ever you want a more precise view,
you can always click to expand this,
| | 03:52 | so you can really get in close and
get precise in regards to where you're
| | 03:55 | creating these different cuts.
| | 03:56 | All right. Well, here she goes ahead
and catches that last wave, and then I
| | 04:01 | want to end this clip.
| | 04:03 | Another way that we can edit or cut is
by hovering over the edge of the clip
| | 04:08 | and then just simply clicking and
dragging. And here, you can see it shows us
| | 04:11 | that clip in that Preview window there. And
then just let go in order to create that cut.
| | 04:16 | If the cut that you've created--in
this case it doesn't look good, or you
| | 04:20 | don't like it--hover over the end and then
just click and drag in order to change that.
| | 04:24 | All right. Well, great!
| | 04:26 | Well, here essentially what we've
done is we've taken two clips and we've
| | 04:29 | turned it into three.
| | 04:31 | We're starting to stitch
together our little story.
| | 04:34 | Let's continue to work with this project
and see how we can work with video in
| | 04:37 | Photoshop, and let's do that
in the next movie.
| | Collapse this transcript |
| Adding audio and transitions and exporting the final project| 00:00 | Before you get too far along in one of
your video projects of bringing multiple
| | 00:04 | clips together, you really
want to bring in your audio track.
| | 00:07 | The audio track will help you determine what
type of edits or transitions you want to make.
| | 00:12 | All we've seen that what we can do is
we can go to the Audio--well, and here we
| | 00:16 | can click on this music
icon and then choose Add Audio.
| | 00:20 | The audio file that I'm going to add is
this one here, beach-music.wav, or simply
| | 00:25 | click Open in order to add it to this project.
| | 00:28 | Well, one of things that I need to do
now is I need to watch my movie and
| | 00:32 | evaluate it and listen to the music.
| | 00:35 | So I'll go ahead and scrub down the
line here, and I'll choose a starting point
| | 00:38 | perhaps right about here, and then I'll press
Play and kick back and watch, let's take a look.
| | 00:44 | (Video Playing)
| | 00:52 | All right. Well, I encountered
my first problem.
| | 00:54 | While the audio track is fun
and energetic and everything,
| | 00:58 | this walking back out to the ocean segment just
doesn't work here, so I need to get rid of it.
| | 01:04 | To do that, just hover over the edge
of that clip and then click and drag,
| | 01:08 | watching the Preview window. And I
want to look 'til I see where the action
| | 01:12 | begins, right about here, so I'll go
ahead and let go right at, say, this point
| | 01:18 | right here. That then gives me a little
bit of a tighter edit, so that it's more
| | 01:22 | focused on the action. It goes
from one clip to the other.
| | 01:26 | Again, I want to make sure that I'm
really focused on that action, and here I
| | 01:29 | think this all looks pretty good.
| | 01:32 | The other thing that I want to do
is I want to speed up these clips.
| | 01:36 | To do that, I'll click on the first clip
then you can Right-click or Ctrl-click,
| | 01:41 | and here you can see the speed.
| | 01:43 | You can either slow down your clips in
order to create focus or intent, or you
| | 01:47 | can speed them up to
build a little bit of excitement.
| | 01:50 | Here I'm just going to speed these up
subtly, so I'll go ahead and just add a
| | 01:54 | little bit of a speed there,
and I'll do that to each clip.
| | 01:57 | I'm going to click on these, and then
make sure I'm increasing that value there,
| | 02:01 | and then, again, go over
here and add that as well.
| | 02:04 | So in doing that, what that will allow
me to do is to have these clips which are
| | 02:08 | a little bit faster, and this will
just build a little bit of drama, it also
| | 02:12 | will change my timeline.
| | 02:14 | Let's take a look at this transition here now.
| | 02:17 | I'll click the Play button.
(Video Playing)
| | 02:24 | All right. Well, that built a
little bit of energy or excitement.
| | 02:27 | The next thing I need to do
is to add my transitions.
| | 02:31 | So here, I'll go ahead and click on
this icon which allows me to open up my
| | 02:34 | transitions, and I'll use some cross
fades. And I'm going to just click and drag
| | 02:38 | and drop those in between these clips.
| | 02:41 | The other thing that I'm going to do is add a
fade at the front, and then also a fade at the end.
| | 02:47 | Now with the audio file, we've seen before
that what we need to do is to trim or cut that.
| | 02:52 | I'll move to that location and then
click on the audio clip and then click
| | 02:56 | on the scissors icon. That allows me to cut off
the rest of the audio file that I don't need.
| | 03:01 | Next, I want to right-click on the audio
file because I need to have a Fade Out
| | 03:05 | here and also a little bit of a Fade In.
| | 03:08 | Okay. Well, our story is really
coming together. Let's take a look.
| | 03:11 | Here we can see the clip starts,
fades in, then we have a cross dissolve,
| | 03:17 | another wave that was caught, and then
yet some more fun on the beach, and then
| | 03:21 | one more wave that is caught
by my daughter Annie here.
| | 03:25 | Well, one of the problems, though, is that
these transitions--they're just fading to nothing.
| | 03:30 | I don't have a background color in this
document, so this isn't really going to work for me.
| | 03:35 | I could either create that background color,
or what I could do is change these transitions.
| | 03:40 | There are a couple of ways
that we can change them.
| | 03:43 | One is you can click on it and then
right-click. And here, what I'm going to do--
| | 03:47 | just go ahead and choose Fade With Black.
| | 03:49 | What that will do for this transition
is it will allow it to then fade from
| | 03:53 | black, rather than fading to transparency.
| | 03:56 | As well as with this one, I'll select Fade
With Black. Let's go ahead and preview that.
| | 04:01 | You can see how those now
fade all the way to black.
| | 04:04 | Going back to the beginning here,
you can see how this one comes up from
| | 04:07 | black, and then it starts.
| | 04:09 | Okay. Well, let's take a
look at the beginning of this.
| | 04:12 | We'll go ahead and watch
this one, one more time.
| | 04:14 | Here I'll click on the Play button.
| | 04:17 | (Video Playing)
| | 04:28 | All right. Well, that looks pretty good.
| | 04:29 | The last thing that we want to do here
is export our video file. To do that, you
| | 04:34 | can navigate to the File pulldown menu
and you can select Export and then Render
| | 04:38 | Video, or in order to access the same
exact dialog, you can also click on this
| | 04:43 | little arrow icon here.
| | 04:45 | Again, either way, it will
open up the same dialog.
| | 04:48 | This gives us the ability to name and to
determine the location for our video file.
| | 04:52 | We can also use a preset in order to
define how we actually want to save this.
| | 04:58 | If you click on this Preset pulldown
menu, you'll notice there are a ton
| | 05:02 | of different options.
| | 05:03 | Well, in my case, what I want to do is
save this to my iPhone, so I can show it on
| | 05:08 | my iPhone and also my iPad.
So I'm going to use this preset.
| | 05:12 | By choosing that, it then predefines a
few settings here which will help me so
| | 05:16 | that I can create a file which
will fit for that particular format.
| | 05:19 | The next thing that I want to do is
give this an appropriate name.
| | 05:22 | I'll go ahead and call this annika-beach, and
then finally we simply need to click
| | 05:26 | Render and then Photoshop will go
through the rendering--or the exporting
| | 05:30 | process--so that we can then take
this video file and transfer it to
| | 05:34 | a different device or post it online.
| | 05:36 | All right. Well, now that that
rendering or exporting is complete, I'm going
| | 05:40 | to go ahead and navigate to the Adobe
Bridge. In the Adobe Bridge I'm going
| | 05:43 | to select this file.
| | 05:45 | You can see this is my video file here.
I can play that back right inside of
| | 05:49 | Bridge, and I'll go ahead and do that,
and I'm also going to turn off the audio
| | 05:52 | there, so we don't have to listen to that there.
| | 05:55 | You can see how this file has been
compressed and how we can play this back
| | 05:59 | and view our project.
| | 06:00 | And of course, this document is now
ready to be transferred to another device.
| | 06:04 | And as you can see from these demo
movies, working with video in Photoshop is
| | 06:08 | incredibly powerful, because you can
take advantage of all that you already know.
| | 06:13 | And then by learning a few of these
simple steps where you can put all of that
| | 06:16 | together, in order to create some
really compelling and interesting projects.
| | Collapse this transcript |
| Thinking creatively about working with video| 00:00 | In this last movie on video, I want to
highlight how you can get really creative
| | 00:04 | with your video clips in
some non-traditional ways.
| | 00:07 | In other words, I want to focus
in on how we can take advantage of
| | 00:11 | Photoshop's creative strength and how
we can modify our video clips in some
| | 00:14 | pretty interesting ways.
| | 00:16 | Well, here in this file, you can see that I
have this video clip and also an audio track.
| | 00:21 | What I want to do is just play a couple
of seconds of this so that you can get a
| | 00:25 | feel for the video file and also for
the mood or the tone of the audio track.
| | 00:29 | In order to do that, I'll
click on the Play button.
| | 00:31 | Let's go ahead and watch and listen.
| | 00:34 | (Video Playing)
| | 00:37 | This particular clip I captured by
leaning my camera up against a pole.
| | 00:41 | That was pointed up towards this moving
sculpture down at the beach, and I kind
| | 00:45 | of like the mood and the feel here.
| | 00:47 | Well, we've seen before that one of
the things that we can do is we can
| | 00:50 | use adjustment layers.
| | 00:51 | For example, we could create a
Hue/Saturation Adjustment layer.
| | 00:55 | We could go into our Blue channel
and desaturate those blues.
| | 00:59 | We can also do other things as well.
| | 01:01 | For example, let's click on
this icon for Black & White.
| | 01:04 | Well, black and white is fascinating,
because it allows us to control the image in
| | 01:08 | a really powerful way.
| | 01:10 | Yet, let's say that we apply a blending
mode to this layer. Well, we can do that.
| | 01:15 | You can click on your Blending mode
option and then choose Soft Light.
| | 01:19 | In this way we can come up with this
really interesting kind of muted high
| | 01:23 | contrast type of a look.
| | 01:24 | Take a look at this.
| | 01:25 | Here's before, and now here's after.
| | 01:28 | The whole point of this is that the
things that we can do in Photoshop to our
| | 01:32 | images, we can now do to our video clips.
| | 01:34 | But what about taking this even further?
| | 01:37 | One of the things you can do is you
can click on your video clip right here.
| | 01:41 | You can go to the Filter pulldown menu
and select Convert for Smart Filters.
| | 01:46 | This will convert this to a smart object.
| | 01:49 | Once you've done that, you can apply
different filters to your video file.
| | 01:53 | Let me show you what I mean.
| | 01:55 | If we go to the Filter pulldown menu
and then go to Blur, let's choose a blur
| | 01:59 | say, like Radial Blur.
| | 02:01 | By choosing a Radial blur in the
center and a certain amount, we can click OK
| | 02:06 | and then apply that blur to this clip.
| | 02:08 | As we scrub the clip, we're going to see
that blur take place or effect the clip.
| | 02:13 | If ever we don't like it, well, just
click into this smart object layer and you
| | 02:17 | can then turn that off.
| | 02:18 | And this is really the power of
working with smart objects, is that you can
| | 02:22 | apply all of these different
filters and it's editable.
| | 02:26 | Another thing that you can do which is
fascinating is you can duplicate this
| | 02:30 | entire video group, and then
you can resize your video clips.
| | 02:35 | Let me show you what I mean.
| | 02:36 | Well, here I'm going to minimize this
video group just so we can focus in on this
| | 02:41 | and then click and drag
it to the new layer icon.
| | 02:44 | Notice I now have a new video group
that also shows up in my timeline below.
| | 02:49 | The next step for me is going
to be to free transform this.
| | 02:53 | To free transform a video or an image
layer--or a text layer for that matter--
| | 02:57 | you navigate to the Edit pulldown
menu and then choose Free Transform.
| | 03:01 | Well, here I'll hold down the Shift key
and simply click and drag in order to
| | 03:05 | free transform this and
then press Enter or Return.
| | 03:09 | All right. Well, let's do that one more time.
| | 03:12 | Here click and drag to the new layer
icon, so I have another video group, and
| | 03:16 | then I'll move this one off to the right.
| | 03:19 | Well, now that I have these two
versions of these video files,
| | 03:22 | I'm going to go ahead and
reposition them a little bit.
| | 03:24 | So here, you can hold down Command on a
Mac, or Ctrl on Windows, and click and
| | 03:28 | drag these around so that you can
reposition where they're displayed.
| | 03:32 | What's interesting about all of this is
that because we have this, what we can
| | 03:36 | then do is play this back and
all of these will move at once.
| | 03:40 | Let's play a short clip of this new layout here.
| | 03:43 | I'll click on the Play icon so we
can watch a few seconds of this now.
| | 03:46 | (Video Playing)
| | 03:51 | Here you see that these files have the
same color and tone, and they're moving
| | 03:55 | in some pretty interesting ways.
And really, what we're doing here is just
| | 03:59 | scratching the surface. And what I'm
trying to get you excited about is how you
| | 04:03 | can take advantage of Photoshop's strength.
| | 04:05 | You can work with Masking and Blending and
Filters and Multiple Layers and even more.
| | 04:10 | There's so much that you can do.
| | 04:12 | You can even blend in entire
video group layer onto another group.
| | 04:16 | For example, if we click on this Group,
rather than Pass Through, you can use a
| | 04:21 | blending mode, say like Soft Light,
and here you can see how all of these
| | 04:25 | different video files are really
sitting on top of each other and how you can
| | 04:28 | start to have them play on top of each other.
| | 04:31 | Again, let me click on the
Play button one more time.
| | 04:33 | (Video Playing)
| | 04:37 | The point of this isn't that
you're going to create clips like this.
| | 04:41 | Rather, the point is to get you excited
about how you can use your imagination
| | 04:45 | with your video files.
| | 04:47 | The sky is the limit when it comes to
working with Photoshop and video. And what
| | 04:51 | I hope you do is start to play with
this and experiment with how you can create
| | 04:54 | traditional video stories and also how
you can get really creative and use all
| | 04:59 | those creative skills that you
already have with Photoshop in order to edit
| | 05:02 | together video files which
are distinct and compelling.
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|
|
9. Making Picture-Perfect PrintsWorking with the new Print dialogue| 00:00 | I do a large majority of my own printing
from Photoshop, and here we're going to
| | 00:04 | take a look at how we can use the new
print dialog in order to create compelling
| | 00:08 | photographic prints.
| | 00:10 | We'll be working with this portrait
here that I captured of Rodney Smith, and
| | 00:14 | this was captured in one of my
previous training courses on narrative
| | 00:17 | photography, where we met up with Rodney.
| | 00:19 | He's a really fascinating photographer,
and he creates amazing prints.
| | 00:23 | So I want to make this print good.
| | 00:25 | In order to do that, let's
navigate for Print dialog.
| | 00:28 | Navigate to the File pulldown
menu and then simply select Print.
| | 00:32 | This will open up the dialog.
| | 00:34 | One of the first things that you'll
notice is that you can expand this by
| | 00:37 | clicking on this icon here.
| | 00:39 | You want to expand this dialog so
that it covers up the rest of Photoshop.
| | 00:44 | Another thing that you'll notice is
that things look a little bit differently.
| | 00:48 | You notice there's a background here.
| | 00:50 | We can change that background color around
the print by Right-clicking or Ctrl-clicking.
| | 00:56 | Here we can choose different colors,
whether we want to go with something which
| | 00:59 | is more Light, or perhaps
something which is Darker like a Gray.
| | 01:03 | Let's take a look at how we can
choose our printer and also dial in the
| | 01:06 | appropriate settings to make a good print.
| | 01:09 | In the right-hand side we want to choose
the printer, in this case the Epson 3880.
| | 01:13 | Then we need to go to the Print Settings dialog.
| | 01:16 | Now this Print Settings dialog hasn't
changed here, but I just want to highlight
| | 01:20 | how we have to work through this.
| | 01:22 | Choosing our Printing Settings,
then we'd choose our Paper Type.
| | 01:26 | I'll print to this Luster Paper Type.
| | 01:28 | I want to make sure our Color mode
or Color Management is off.
| | 01:32 | We want Photoshop to do our management
for us, and then after having chosen
| | 01:36 | those options and also our
Paper Size, we'll simply click Save.
| | 01:40 | The next step is to navigate
to Color Management.
| | 01:43 | Now here, it's really important that we choose
an option for Photoshop to manage our color.
| | 01:48 | We also need to specify a profile, which is
appropriate for our printer and our paper Type.
| | 01:54 | In this case, I'll use this profile for my
printer and also the paper I'm going to be using.
| | 01:59 | Next, we can define if we want
to do Normal or Hard Proofing.
| | 02:02 | Also we can choose a Rendering Intent.
| | 02:04 | I'll leave all these settings as is.
| | 02:07 | Then you'll notice that we can
scroll down to the other options.
| | 02:10 | Or, rather than scrolling, you can also
collapse this, so that you can view all these options.
| | 02:16 | In this way, let's go to Position and Size.
| | 02:19 | By default, this image is Centered.
| | 02:21 | If we want to turn that off, click off the
check box and you can move the image around.
| | 02:26 | You'll notice that as you get to the
edges, it will show you these areas of your
| | 02:30 | photograph that can't be printed upon.
| | 02:33 | The image will hide behind those.
| | 02:35 | If ever you move your image around,
and you want to re-center it, well,
| | 02:38 | just click on the Recenter
button or the Center button.
| | 02:41 | Here I'm going to center this
image and then click this off and just
| | 02:45 | slightly move this up.
| | 02:47 | I like to have this a
little bit higher on the page.
| | 02:49 | All right. Well, after having defined
those options, the next thing I want to do
| | 02:54 | is open up Printing Marks.
| | 02:56 | This would be helpful if
you wanted to trim this print.
| | 02:59 | Here you can see how I can
turn on these Marks.
| | 03:02 | I could then trim this
off of this sheet of paper.
| | 03:05 | In my case, I don't need any paper marks
or printing marks, because I'm going to
| | 03:09 | be printing a full sheet here, and I
want this to sit on this entire page.
| | 03:14 | After that, we have the option for Functions.
| | 03:17 | This gives us the ability
to flip-flop the print.
| | 03:19 | Here you can see it's now as if it were
the emulsion down, or if we're trying to
| | 03:23 | print a negative that we're going to use,
say, with an enlarger, we could use this
| | 03:27 | option as well in order to
create a digital negative.
| | 03:30 | All right. Well, for most people, these
functions or options won't be that relevant.
| | 03:35 | So we'll go ahead and close that option.
| | 03:37 | Now the other thing that I want to
highlight here is on the left-hand side.
| | 03:41 | Once we define our printer and paper
type, we can show that paper white.
| | 03:45 | This will show us how this image might
appear with this particular type of paper.
| | 03:50 | In essence, this is kind of like a soft proof.
| | 03:52 | It's trying to simulate how
this photograph might appear.
| | 03:55 | We can also click on Match Print Colors,
and again, it will show us a little bit
| | 03:59 | more accurate view of how this
image will ideally be printed.
| | 04:03 | You can also turn on Gamut Warning.
| | 04:05 | If you have any colors or tones which are
out of gamut, it will highlight those for you.
| | 04:10 | With this image I don't.
| | 04:11 | So I'll go ahead and leave that off.
| | 04:13 | After having dialed in all of these
settings, all that we need to do is to
| | 04:17 | simply click the Print button and
that will send this image to our printer.
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|
10. Features Available with Adobe Creative CloudIntroducing Creative Cloud| 00:00 | (music playing)
| | 00:04 | Hi! My name is Chris Orwig and here
I want to introduce you to a few new
| | 00:09 | Photoshop features, which are coming to us
by way of the Adobe Creative Cloud.
| | 00:13 | So if you're a subscriber to the
Adobe Creative Cloud, you can start
| | 00:17 | taking advantage of these features right away.
| | 00:19 | And here we're going to focus in
on those new features, which are
| | 00:23 | most relevant to us as photographers.
| | 00:24 | We'll focus in on how we can convert a
layer to a Smart Object layer
| | 00:30 | and then how we can work with our Blur gallery
filters and apply those as Smart filters.
| | 00:35 | We'll also explore how we can work with
these blur effects with our video files as well.
| | 00:41 | Next we'll take a look at some of the
new features with the Crop, tool
| | 00:45 | which allow us to resize and change the
resolution of our images in a much easier way.
| | 00:50 | And we'll look at our real world
scenario of how we can use conditional actions
| | 00:54 | in order to add watermarks to our photographs
whether they're in a landscape
| | 00:59 | or a horizontal orientation. All right.
| | 01:01 | Well, without further delay, let's begin.
| | Collapse this transcript |
| Modifying still images with the Blur Gallery and Smart Filters| 00:00 | Here, we're going to take a look at a
great new feature, which allows us to have
| | 00:04 | more flexibility when we're working
with the three filters that we'll find
| | 00:08 | inside of the Blur Gallery.
| | 00:10 | Now before we get to how we can
work with this in new ways,
| | 00:14 | let's talk a bit about
how we did this previously.
| | 00:17 | Well, previously what you would do is
target a layer then you would navigate to
| | 00:21 | the Filter pull down menu, here we would
choose Blur and then we'd select,
| | 00:26 | either Field Blur, Iris Blur or Tilt-Shift.
| | 00:29 | Let's go ahead and try Tilt-Shift
just for a demo purposes.
| | 00:32 | This would then open up this Blur Gallery
and here we could customize
| | 00:37 | the type of the Tilt-Shift blur that we wanted to apply.
| | 00:39 | If you'll click in the center circle,
you can drag this around to reposition it.
| | 00:44 | We can change the amount of the overall blur
and also some of the blur characteristics.
| | 00:48 | We can control what's sharp and what's
in focus and also the transition area
| | 00:53 | between what's in focus and what isn't.
Now once we've come up with our desired effect,
| | 00:58 | we would simply click OK in order to apply this.
| | 01:02 | Now the good side about these different
types of blurs that we find in the
| | 01:06 | Blur Gallery is that they allow us
to come up with some really creative
| | 01:10 | effects with our photographs.
| | 01:12 | The downside is that this
is completely un-editable.
| | 01:16 | We can't change the blur.
| | 01:18 | We can't change its intensity or
modify it in any way, shape or form.
| | 01:22 | Well now this new feature, it
actually allows us to do that.
| | 01:26 | Let me show you how.
| | 01:28 | Here I'll press Cmd+Z on the Mac or Ctrl+Z
on Windows in order to undo what we just did.
| | 01:35 | Rather than going straight to that Blur
Gallery, first what we're going to do
| | 01:39 | is target the layer and then right-click
or Ctrl+Click that layer.
| | 01:43 | In this contextual dialog, you're
looking for Convert to Smart Object.
| | 01:48 | Once you've selected that, you'll
notice that the icon will change.
| | 01:52 | It will show you that this is now a
Smart Object layer and we can now apply
| | 01:56 | those filters as Smart filters
which gives us even more flexibility.
| | 02:01 | So here we'll go to our Filter pull
down menu, we'll select Blur and then we'll
| | 02:07 | choose one of these types of blur.
| | 02:08 | And again all of three work.
| | 02:10 | I'm just going to use Tilt-Shift
for demo purposes.
| | 02:12 | Well, now here we have that same Blur
Gallery and we can go ahead and customize
| | 02:17 | this and I'm just going to customize
this a little bit to create this effect and
| | 02:22 | let's say that that's what
I want to do, we'll click OK.
| | 02:25 | Well once I've clicked OK, I realized,
"Oh gosh, the blur is way too heavy.
| | 02:31 | I want to decrease the blur
amount." Well now we can.
| | 02:35 | To do that, you'll notice that we have these
icons here, a mask and also the Blur Gallery.
| | 02:41 | I can click on the eye icon to turn that
off or back on and if you double-click
| | 02:46 | on the Blur Gallery word, it
will re-launch the Blur Gallery.
| | 02:49 | Here I could then decrease that blur amount
and I don't want something quite that strong.
| | 02:54 | Let me go ahead and modify these a
little bit as well and then let's say,
| | 02:58 | I'll bring it a little bit back up there and
I think that's pretty good for at least for now.
| | 03:04 | Once we have that, we'll go ahead and click OK.
| | 03:06 | Well now that I've done that, I like the blur
better but I see something that I want to change.
| | 03:13 | I really want to bring into focus this
guy down here in the lower right hand
| | 03:17 | corner who's about to cross the street.
| | 03:19 | I kind of like that element of the photograph.
| | 03:22 | Well we can do that by painting on the mask.
| | 03:26 | Here if we click into this mask for our
Smart filter, the blur which we just applied,
| | 03:30 | we can then choose the Brush tool.
| | 03:34 | Let's do so by clicking on
the brush in the Tools panel.
| | 03:36 | Next we'll go to the Options bar and
we want to choose a brush without any
| | 03:40 | Hardness and a pretty big brush.
| | 03:43 | Then I want to paint with black
because I want to conceal the blur.
| | 03:48 | I want to hide this.
| | 03:49 | I want to bring back the sharpness so
we'll just start to paint over this area.
| | 03:53 | And what is so phenomenal about this
is we can use that Blur Gallery to come
| | 03:58 | up with some really creative results and then
we can hand paint in how we want to modify that.
| | 04:04 | For example, the car isn't quite in
focus so I'll just paint it in so now it is.
| | 04:10 | So now I've created my own
version of this Tilt-Shift blur.
| | 04:14 | And keep in mind, this works with all
three of those different types of blur
| | 04:19 | effects that we'll find inside of that
Blur Gallery and you can really come up
| | 04:23 | with some fascinating results.
| | 04:25 | Now last but not least what I want to
highlight as well is that you can start
| | 04:30 | to stack up the different filters
that you apply in addition to using these
| | 04:35 | from the Blur Gallery.
| | 04:37 | Let me show you what I mean.
| | 04:38 | So if we click on the image rather than
the mask, now we're targeting the image here,
| | 04:42 | we can go back to our Filter pull down menu.
| | 04:46 | Here I'll choose Noise and then Add Noise.
| | 04:49 | When we do this, and when we increase
this amount, what we're going to see is
| | 04:54 | that we're adding noise to this area of the
image where the blur effect is being applied.
| | 04:58 | Now I've exaggerated the amount so
that you can really see this but
| | 05:03 | what's helpful with that is that when you're
adding the blur, sometimes, at least in my opinion,
| | 05:07 | the blur is a little bit too Gaussian
or too smooth, too perfect.
| | 05:11 | So we could add a bit of texture into
that by adding some noise,
| | 05:16 | Monochromatic noise, and perhaps just
a really small amount there and in doing that
| | 05:20 | if we add maybe just 0.5 or something along
those lines, we can add just a little bit
| | 05:24 | of texture in there so that it emulates
or simulates a little bit more how a
| | 05:30 | Tilt-Shift lens would work if we
were capturing an image on film.
| | 05:34 | In either way, I just kind of like having a
bit of texture there and then we can click OK.
| | 05:39 | The great thing about stacking up
these different filter effects is that
| | 05:44 | if you apply one and want to change its
amount, again, just double-click the name
| | 05:48 | and then we could increase that amount
or we could go back and decrease
| | 05:52 | it and then click OK.
| | 05:54 | If you decide that you don't like that
at all and it doesn't really work
| | 05:57 | for you, well just turn it off by
clicking on the eye icon and it will remove
| | 06:02 | that effect, whatever it is, whether it's
adding noise or of course working with blur.
| | 06:08 | So in this way you can see that this
new functionality, which allows us
| | 06:12 | to take advantage of using Smart Objects
really increases and expands the way that we
| | 06:18 | can work with that Blur Gallery.
| | 06:19 | It allows us to have more flexibility
and more creative control as we seek
| | 06:24 | to add creative blur effects to our photographs.
| | Collapse this transcript |
| Adding a creative blur effect to video clips| 00:00 | Here we're going to take a look at a
great new feature which allows us to
| | 00:04 | use the different blur effects, which
we'll find in the Blur Gallery and then
| | 00:09 | apply those to our video files.
| | 00:11 | Well here you can see that I have
a video file and if we quickly
| | 00:16 | scrub through this what you'll notice
is that this is a video portrait
| | 00:19 | and really there are two parts to this.
| | 00:21 | There is this shot here and
then there is another shot.
| | 00:24 | Well what I want to do is I want to
add a little bit of visual interest
| | 00:29 | by applying some sort of a
blur effect to this video clip.
| | 00:33 | To do that, we want to target
the clip that we want to work with.
| | 00:37 | Next navigate to the Filter pull down menu
and here we'll choose Convert for Smart Filters.
| | 00:43 | In doing this, this will allow
us to apply these blur effects
| | 00:46 | in really interesting ways.
| | 00:48 | So in this case, it's just telling us
to enable re-editable smart filters,
| | 00:52 | the selected layer will be
converted into a Smart Object.
| | 00:55 | Well that's exactly what we want
to do so here we'll just click OK.
| | 00:59 | Next we'll navigate to
the Filter pull down menu.
| | 01:02 | Now here when we go to the Blur category,
you'll notice that all of these
| | 01:07 | blur options are turned on and
they're only turned on because
| | 01:11 | this layer is now a Smart Object layer.
| | 01:12 | And what we can then do is use one of
these options here from the Blur Gallery.
| | 01:17 | In this case, let's go ahead
and start off with Iris Blur.
| | 01:20 | Here I'll click on that option and it
will launch the Blur Gallery with whatever
| | 01:24 | frame I had previously selected by
scrubbing to that on the timeline.
| | 01:29 | In this case what I want to do
is just have the face in focus.
| | 01:32 | So I'm going to change the shape of
this blur and in doing that I'll go ahead
| | 01:37 | and really focus in on the face and
then increase the overall blur amount
| | 01:41 | and then click OK in order to apply that.
| | 01:44 | It will then apply that blur
to the entirety of this clip.
| | 01:49 | If we click on the Play button what
we'll see is that this will then play
| | 01:53 | with this particular Blur effect being applied to it.
| | 01:56 | We can also scrub through the timeline
in order to see how that will work
| | 02:00 | and here I'm going to move down the timeline
a little bit and in doing that one of the things
| | 02:05 | that I notice is when I get to
the second clip it doesn't really work
| | 02:09 | because this part of the face -- well,
it's out of focus and I want that
| | 02:13 | near eye to be in focus.
| | 02:15 | To change that, just simply
double-click the word Blur Gallery.
| | 02:19 | That will then re-launch this gallery
and here I could then customize that
| | 02:24 | so I could have more of this image in focus,
in this case more of the face,
| | 02:28 | and I could go ahead and modify that
so that that then works a little
| | 02:32 | bit better with this photograph.
| | 02:33 | I also think it works well to decrease the
overall blur amount so it's a bit more subtle.
| | 02:39 | So again here just looking to find just
the right amount there and then click OK.
| | 02:43 | So as you work with this, what's
fascinating is it allows you
| | 02:47 | to often certain parts of your
video clip as you can see here.
| | 02:50 | Next what we want to do is just scrub
back to the front part of this video portrait
| | 02:54 | so I'll go to this area here
to make sure that this works as well.
| | 02:58 | And to scrub to a different part of
your video clip, you just simply
| | 03:02 | click on the play head needle,
which is right here, and then drag.
| | 03:06 | And here you can see again it's just
softening this portion of the image.
| | 03:09 | Now as with all smart filters,
we can also hand paint on the mask.
| | 03:15 | In other words, if there's an area of
the image that we want to protect,
| | 03:19 | say bring back the focus to,
or we can just click into the mask,
| | 03:24 | choose the Brush tool by clicking
on that in the Tools panel.
| | 03:27 | Next, you typically want to work
with the brush without any hardness,
| | 03:31 | and here I'll decrease my brush size and then
I'm going to choose black, black to conceal.
| | 03:37 | In this case it's going to bring
back some of the sharpness here.
| | 03:40 | We can also work with brushes with
lower opacity which will just a little bit
| | 03:45 | more subtlety bring back some of the focus.
| | 03:48 | So in this way, you can start to customize that.
| | 03:50 | Now if ever you want to bring back the
blur effect, we'll just paint with white,
| | 03:54 | and in this case I'll paint with white, and
I'll paint back in some of the blur effect
| | 03:58 | in this portion of our video clip.
| | 04:01 | The great thing about these smart filters
is that we can always
| | 04:05 | turn off the filter all together.
| | 04:06 | Here's that before and then here's
the after and then we can,
| | 04:10 | as we've seen previously, can double-click
the word Blur Gallery in order to
| | 04:15 | change the overall intensity of that effect
like with this video clip here I think
| | 04:19 | it might be nice to have a little bit more of this
out of focus and so I'm just going to bring that in
| | 04:24 | again just customizing this so that
it works really well for this clip here,
| | 04:28 | this segment of my video file
as well as this later segment
| | 04:33 | that we have over here and
in this case, I think that that works well.
| | 04:37 | So as you can see this new feature
which allows us to take advantage of
| | 04:41 | converting the video file to a smart
object and then applying these different
| | 04:46 | blur effects that we have can really
open up some new and exciting possibilities
| | 04:51 | as we seek to apply creative
effects to our video clips as well.
| | Collapse this transcript |
| Changing image size and resolution with the Crop tool| 00:00 | Here we're going to take a look at
some new features that are associated
| | 00:03 | with the Crop tool.
| | 00:05 | We'll be working with this portrait
that I captured of a
| | 00:08 | family friend just a week ago and the family friend
is interested in getting a 5 by 7 print.
| | 00:13 | So what we need to do is to crop and resize
this image so that we can create that print.
| | 00:20 | Before we get to working with the Crop tool,
let's take a look at the image size.
| | 00:24 | To do that, navigate to the Image
pull down menu and then select Image Size
| | 00:29 | to open up the Image Size dialog.
| | 00:32 | Here we can see that this image is
currently an 8 by 12 at 300 pixels per inch.
| | 00:37 | Well let's explore how we can change
the crop and also the size of the file
| | 00:43 | and let's do that by looking at the Crop tool.
| | 00:45 | So here we'll click Cancel.
| | 00:47 | Next select the Crop tool by pressing the
C key or by clicking on the Crop tool icon
| | 00:51 | in the Tools panel.
| | 00:53 | Now once we do that, we'll
notice something interesting.
| | 00:57 | In the Options bar, we have a
new icon, which is this icon here.
| | 01:02 | If you'll click on it,
it will open up our View options.
| | 01:06 | Now we've always had these View options,
it's just that in previous versions
| | 01:10 | they were just described by way of words
rather than having these little icons as well.
| | 01:15 | This is helpful so that we could then
select one of those and then as we crop
| | 01:20 | we can see that overlay show up here.
| | 01:22 | Let me make a few other selections
so that you can see the different options.
| | 01:27 | All right. Well, great. Let's move on.
| | 01:29 | The next thing I want to take a look at
is this menu here and this is where
| | 01:33 | we're going to see really the big differences.
| | 01:36 | In the previous version, the Crop tool
was a little bit awkward to work with
| | 01:41 | if you wanted to resize your image.
| | 01:42 | You really had to kind of
dig down to those options.
| | 01:45 | Well they've elevated that content
and they've even added some presets.
| | 01:50 | In other words, we could go ahead and
select a 4 by 5 crop at 300 pixels per inch
| | 01:55 | and here it's going to show me how I could
then crop the image so it would fit
| | 01:59 | inside of that space.
| | 02:00 | If I want to flip that, we can
just click on these arrows here.
| | 02:04 | And what this does is it changes
our Crop option to working with this
| | 02:09 | width and height and resolution.
| | 02:11 | We can then customize this further
because as you remember that my family friend
| | 02:16 | wanted this as a 7-inch wide
by a 5-inch tall image.
| | 02:20 | So I'll go ahead and type in those numbers
and then now I can also include
| | 02:24 | the resolution as well.
| | 02:26 | Let's say that we want to print
this at 240 pixels per inch,
| | 02:30 | we can then enter that field there then
we can reposition the crop in order to
| | 02:36 | make sure the composition still works for the
photograph and I think that
| | 02:40 | looks pretty good and maybe open it up
a little bit more, actually bring it down,
| | 02:43 | that might be kind of nice.
| | 02:45 | I want that curl to fit in.
| | 02:46 | So after having done that you almost
always want to turn off this option,
| | 02:50 | Delete Cropped Pixels that allows you to save
that other part of the image so that
| | 02:55 | you could always re-crop or
compose the image after the fact.
| | 02:59 | After having done that we'll press Enter
or Return that will then apply that crop.
| | 03:04 | Here we'll zoom back in
on the image a little bit.
| | 03:07 | Now we'll go to the Image
and Image Size dialog window.
| | 03:11 | In doing that, we'll see that we now
have a 5 by 7 image, which has a resolution
| | 03:17 | of 240 pixels per inch.
| | 03:19 | So in other words, this new feature
with the Crop tool, just allows us
| | 03:23 | to crop and resize much more quickly
compared to the previous way
| | 03:28 | of how that tool worked.
| | Collapse this transcript |
| Using conditional actions to add watermarks| 00:00 | Here we're going to take a look at a
new feature, which is a real time saver
| | 00:04 | and the new feature allows us to
write and to play conditional actions.
| | 00:10 | Now at first glance this is going to
seem a bit vague or abstract so let's
| | 00:14 | make this a bit more clear and let's
look at a real-world scenario
| | 00:18 | where we can use conditional actions
in order to speed up our workflow.
| | 00:22 | And here the scenario that I want
to look at is how we can add
| | 00:26 | watermarks to our photographs, whether they're
in this horizontal or landscape orientation,
| | 00:32 | or in this vertical or portrait orientation.
| | 00:34 | So just for demo purposes I'll click
on one image pull down the Shift key
| | 00:38 | and click on another and then open these
up in Photoshop by pressing
| | 00:42 | Cmd+O on the Mac or Ctrl+O on Windows. All right.
| | 00:46 | Now that we have these images open in
Photoshop, let's open up the Actions panel.
| | 00:51 | Here in the Actions panel, you'll notice
that I have two actions, which I have written.
| | 00:55 | One, which is for adding watermarks on my
vertical images, another one on my horizontal.
| | 01:01 | Now if I click and play one of these by
selecting it and then by clicking on the
| | 01:06 | Play icon, you can see it adds a
watermark, a graphic and some copy.
| | 01:10 | Well what would happen if I were to delete
that and then play it the wrong action,
| | 01:16 | in this case the horizontal action?
| | 01:18 | Well, you can see that it's now cut off.
| | 01:21 | We can't see all of the graphics and the copy.
| | 01:23 | It just doesn't work.
| | 01:25 | This is why we need one action for the
horizontals, another for the verticals.
| | 01:30 | Well, wouldn't it be nice if Photoshop
could detect what orientation our image was
| | 01:36 | and then play the appropriate action.
| | 01:39 | Well, it now can detect that
with something, which is called
| | 01:42 | a Conditional Action.
| | 01:43 | Well, here again let me delete the graphic
and the text and let's then write
| | 01:49 | a Conditional Action and see how we
could use it in a scenario like this.
| | 01:54 | To write a Conditional Action it's really simple,
just click on the New Action button.
| | 01:58 | We'll go ahead and call this one
Watermark and then click Record.
| | 02:03 | The next step is to click on this little
icon, which opens up our Fly Out menu.
| | 02:08 | Here we want to choose the option
for Insert Conditional.
| | 02:11 | This will open up the Conditional Action dialog.
| | 02:15 | If you look at this, you'll notice that
it will play an If, Then, Else scenario.
| | 02:21 | In other words, if the current image
has this particular orientation,
| | 02:25 | the document is landscape or if we
selected one of these other criteria,
| | 02:30 | we could then have it play a specific action.
| | 02:34 | In this case if it's landscape, well,
I wanted to play the landscape
| | 02:38 | or the horizontal watermark action.
| | 02:40 | If it isn't horizontal, if it's
vertical or portrait, well then of course,
| | 02:45 | I wanted to play the other action
in this case, which is vertical.
| | 02:48 | In other words, Photoshop is going
to detect orientation and then play
| | 02:54 | the action, which will work
best with that orientation.
| | 02:57 | This Conditional Action really helps me
out in that case because it will select
| | 03:00 | for me what I need to do.
| | 03:03 | After we've clicked OK
to write the action, press Stop.
| | 03:07 | The next step of course is to simply play this.
| | 03:11 | So if I play this now what it will do
is it will then determine the orientation
| | 03:16 | and then choose the right action and
add the graphics and the copy there.
| | 03:19 | This will work with
horizontal or vertical images.
| | 03:23 | Here we have a horizontal.
| | 03:25 | Again, if I play this, you can see
how it will then add that action.
| | 03:29 | Now so far we've seen how we can take
advantage of this inside of Photoshop.
| | 03:34 | Well what if we're in Adobe Bridge.
| | 03:37 | Let's go back there.
| | 03:38 | In order to go back to Adobe Bridge,
I'm going to press the shortcut,
| | 03:43 | which is Cmd+Opt+O on the Mac
or Ctrl+Alt+O on Windows.
| | 03:47 | Another way to take advantage of these
actions is to select the images
| | 03:52 | and then go to Tools and here we're going
to choose Photoshop and then Batch.
| | 03:57 | In this Batch command, what we can do
is determine which set of actions we want
| | 04:01 | to select from, Watermark, and then out
of these the one that I want to play
| | 04:06 | is the one which will detect
the orientation of the image.
| | 04:10 | Now that I have selected that,
all that I need to do is simply click OK.
| | 04:14 | Now in doing that, Photoshop will then
go through all of those photographs
| | 04:18 | and it will add those watermarks to those images.
| | 04:21 | And here we can see how it's done that.
| | 04:23 | It's added those watermarks to these
photographs by detecting which orientation
| | 04:28 | the image had and then by playing
the appropriate action.
| | 04:32 | So as you can see Conditional Actions
allow us to make selections
| | 04:38 | based on certain criteria, which ultimately
can help us save time as we seek to batch
| | 04:43 | process our images using different actions.
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ConclusionGoodbye| 00:00 | Now that you know about many of the
new features inside of Photoshop CS6
| | 00:05 | that are most relevant to us as
photographers, well, here now is where the
| | 00:09 | fun actually begins.
| | 00:11 | This is where you get to take all that
you've learned and integrate it into your
| | 00:14 | overall photographic workflow.
| | 00:17 | And if you want to dig deeper into
Photoshop, you may find the other courses in
| | 00:21 | the lynda.com Training Library, which are
focused on Photoshop for Photographers helpful.
| | 00:26 | Well, inn closing, thanks
for joining me in this course.
| | 00:29 | I look forward to seeing you in another one.
| | 00:31 | Bye for now!
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