IntroductionWelcome| 00:03 | Hi! Welcome! My name is Chris Orwig.
| | 00:06 | You know, for me--the camera, it's a
passport. It's an excuse to get out into the
| | 00:10 | world and have experiences like this.
| | 00:13 | And you know, the art and craft of
photography, it requires equal amounts of
| | 00:17 | skill with your camera as it does with
your post-production work as well, and
| | 00:21 | that's where Photoshop comes into play.
| | 00:24 | We'll take a look at how we can work
with Bridge and Mini Bridge in order to
| | 00:27 | access and open our files, and also
how we can use Adobe Camera RAW to apply
| | 00:32 | non-destructive adjustments to our photographs.
| | 00:35 | We'll look at how we can work with
layers and blending modes and also how we can
| | 00:39 | make selections so that we can
modify specific areas of our pictures.
| | 00:44 | We'll look at how we can convert our
photographs to black and white, and also
| | 00:49 | how we can create rich and
vivid colors in our pictures.
| | 00:52 | We are going to cover all
of these topics and more.
| | 00:55 | 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're
| | 00:05 | watching these movies on a disk,
you have access to the exercise files.
| | 00:09 | Once you've located the exercise files
folder, you can go ahead and double-click
| | 00:14 | it in order to open it up.
| | 00:15 | Here we'll discover that I've organized
all of the different images that we'll
| | 00:20 | be working on throughout the entirety
of this course in different folders.
| | 00:24 | Each of these folders are specific to the chapter.
| | 00:27 | For example, when we're in Chapter 5,
you can go ahead and open that folder and
| | 00:31 | then access and work with the files
that we'll be using in that chapter.
| | 00:36 | If you don't have access to the
exercise files, no big deal, you can always use
| | 00:40 | your own files, or you can
simply follow along. Let's begin!
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1. Strategies for LearningIdeas for how to learn Photoshop more effectively| 00:00 | One of my life's greatest
privileges is being a teacher.
| | 00:03 | I just really enjoy it. And over the
last decade, I've had the privilege and
| | 00:07 | honor of teaching a wide range
of people how to use Photoshop.
| | 00:12 | One of the things that I've discovered
from this experience is that there are
| | 00:15 | certain strategies that you can take in order
to more effectively learn this amazing application.
| | 00:21 | So here, what I want to do is share with
you some of those strategies which will
| | 00:24 | help you to be a bit more of a success,
which will hopefully help you to get
| | 00:27 | even more out of this course.
| | 00:29 | Well, one of the first things that we
need to realize is this: the art and
| | 00:33 | craft of digital photography requires equal
amounts of creativity and technical expertise.
| | 00:39 | In other words, we need to pursue with all of
our passion, technique, and also creativity.
| | 00:44 | The trick, of course, is that sometimes
Photoshop can just be--well--really difficult.
| | 00:49 | It's hard to pick up all of
these different techniques and tips.
| | 00:52 | And in light of that, what I think we
need to do is think like a photographer.
| | 00:56 | We need to adopt this whole perspective of
coming up with solutions that are simple.
| | 01:01 | I love this quote which says the
highest form of sophistication, well, it's
| | 01:05 | simplicity. And I think this particular
photograph here illustrates the point.
| | 01:09 | I was at Yosemite, it started to rain,
and all of these photographers who were
| | 01:13 | set up ready to photograph Yosemite Valley,
well, they packed up their cameras
| | 01:17 | and went back to their cars, except for this guy.
| | 01:20 | He simply pulled out an umbrella,
covered up his camera, and kept shooting.
| | 01:25 | And photographers are known for coming
up with these really simple solutions.
| | 01:29 | So as Photoshop gets tough, what you
and I need to do is to say, well, "Hey!
| | 01:34 | What can I do in order to
simplify this overall process?"
| | 01:37 | And you know, one of the first things
that we can do is we can try to start
| | 01:40 | off on the right foot.
| | 01:42 | When you open up Photoshop, you can go
to your Window pulldown menu. Here you
| | 01:46 | can select Workspace and then
what's new in Photoshop CS6.
| | 01:50 | By choosing this, it will then change
the panels and also highlight different
| | 01:54 | things in the menus in order to draw
your attention to the new features or
| | 01:58 | changes or updates in Photoshop CS6.
| | 02:01 | And by becoming familiar with what's
new, well, it can just help you learn
| | 02:04 | it more effectively.
| | 02:06 | Now, speaking of what's new, what will
happen in this course is I will introduce
| | 02:09 | a topic, say we will talk
about how to work with Color Range.
| | 02:13 | I will highlight a new feature which
is how you can now select skin tones
| | 02:17 | by using this dialog.
| | 02:18 | Well, one of the things that you need to
do is to figure out how to remember this.
| | 02:22 | Well, where is that
feature of selecting skin tones?
| | 02:25 | One great way to do this is to
take a screenshot or a screen grab.
| | 02:29 | Here, on the right, I have some instructions
for doing that on a Mac or on a Windows machine.
| | 02:33 | What you can do is just
take a picture of the software.
| | 02:36 | You could then print that out or
just save that on your desktop.
| | 02:40 | And by doing that, it would be a visual
cue which would help you remember, "Oh yeah!"
| | 02:44 | That skin tone feature, that's
inside of the Color Range dialog.
| | 02:48 | And again, taking notes, well,
I think it's really important.
| | 02:51 | We will talk a little bit more about this.
| | 02:53 | Another thing that we want to do is
think about how we can actually work in
| | 02:56 | Photoshop effectively.
| | 02:58 | Here is a photograph of my
office with the window open.
| | 03:01 | And I have that window
opened to illustrate this idea.
| | 03:03 | Every once in a while, say every 30 minutes or
so, you need to take a break and look outside.
| | 03:09 | So often I see my students working and
working on Photoshop because it's easy to
| | 03:13 | get caught up in this--one: because
it's fun, it's creative, and two: because
| | 03:17 | it's technical and difficult.
| | 03:19 | Sometimes what happens is these
students will be working in the labs and they
| | 03:23 | will be staring at their monitor and
literally they will forget to blink.
| | 03:27 | That's one of the reasons why you have eye
problems when you're working on a computer.
| | 03:31 | So as you seek to create an effective
workflow, again, every once in a while,
| | 03:35 | take a breath, take a break, and be
sure to blink, refresh your vision.
| | 03:39 | Another thing that we need to do of
course is to have good posture, even now
| | 03:43 | perhaps, you should sit up straight,
and maybe try one of these sitting
| | 03:47 | stretches like putting your hands
above your head, because I found that if
| | 03:51 | we're loose and if we have our
blood flowing, well, it will effect and
| | 03:54 | improve our workflow.
| | 03:56 | It also will change the way
that we absorb information.
| | 03:59 | One of my favorite stretches is this
one here: you stick your tongue out and
| | 04:03 | you hold that for 5 or 10 seconds.
| | 04:05 | And what it does is it causes you to
release all of the tension in your face,
| | 04:10 | and whether or not you use this stretch,
the whole point is here that when we
| | 04:13 | are working in Photoshop, we can't be
all knotted up in a little ball. Rather,
| | 04:18 | we have to breathe and relax.
| | 04:20 | It will help us learn more effectively.
It also will help us improve our workflow.
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| Isolating what you've learned and taking quality notes| 00:00 | In regards to picking up all of these
technical and creative things, one of the
| | 00:04 | things that we want to think about is:
"How can we isolate what we're learning?"
| | 00:09 | This is another photograph of my office,
and here you can see I have a sculpture,
| | 00:12 | an old VW Bug hood on the
wall, and a calendar over here.
| | 00:16 | One of the reasons why we hang things
up on a wall is to isolate them, to set
| | 00:21 | them apart, and you and I need to figure
out how we can do that with all of this
| | 00:25 | information that we'll be gaining.
| | 00:27 | Let me illustrate what I mean here.
Let's take, for example, shortcuts.
| | 00:31 | In Photoshop there are literally
hundreds and hundreds of shortcuts.
| | 00:35 | Looking at them all on a sheet of
paper can just be really overwhelming.
| | 00:40 | So we have to somehow isolate and set
apart perhaps one or two or five shortcuts.
| | 00:45 | Let me illustrate this even further.
| | 00:47 | When it comes to working with
your keyboard, it's really actually a
| | 00:50 | pretty complex device.
| | 00:52 | Here, I have an old keyboard which I
took apart, and I set on my office floor.
| | 00:56 | Let's highlight or let's focus
in on one key: the bracket key.
| | 01:00 | You can see that key over there.
| | 01:01 | If we start to talk about this key in
Photoshop, I'll say that, well, this key,
| | 01:05 | you can use in order to modify your brush.
| | 01:08 | And if we dig into this further, I'll
say that you can use the left-bracket key
| | 01:12 | to make your brush smaller.
| | 01:13 | Well, with this view, this
information is still a little bit cluttered.
| | 01:17 | Yet if we isolate this even further,
and then if we try this out, say, by
| | 01:21 | selecting the Brush tool and then
pressing the left-bracket key, we see that,
| | 01:25 | yes, we can decrease our brush size.
| | 01:28 | Then we may intuit that you can also
press the right-bracket key in order to
| | 01:32 | increase your brush size.
| | 01:34 | And by isolating this or highlighting
this in a different way, pulling this out
| | 01:38 | of the keyboard is going to help
you learn this even more effectively.
| | 01:42 | Let's take a look at another
brush shortcut, for example,.
| | 01:44 | There's a great shortcut which allows
you to use a combination of keys and
| | 01:48 | dragging to change your brush size.
| | 01:51 | In this case, what we can do is
on Windows we can press Alt and
| | 01:54 | then Right-mouse-drag.
| | 01:55 | On a Mac operating system,
you can press Ctrl+Option-drag.
| | 01:59 | This allows you to change your
brush size and also softness.
| | 02:02 | Click and drag to the left or right. You can
change the size as you can see I'm doing here.
| | 02:07 | Drag up and down and you can change the
overall hardness or softness of the brush.
| | 02:12 | Now, by spending some time really
focusing in on these brush shortcuts, by
| | 02:16 | isolating them, my guess is that you
might actually remember this information.
| | 02:22 | So as you seek to remember all that
we're going to learn in this course, ask
| | 02:26 | yourself, "How can I
isolate what's most important?"
| | 02:29 | One of the ways that we can do
this is by taking really good notes.
| | 02:32 | What I recommend you do is perhaps
have a couple of different notebooks.
| | 02:36 | Maybe you have one or two big notebooks
where you're writing everything down,
| | 02:40 | but then you need a smaller notebook or
maybe just a page in one of your bigger
| | 02:44 | notebooks where you're writing down,
perhaps, the most important information, say,
| | 02:49 | for example, your shortcuts or whatever it is.
| | 02:51 | Otherwise, the most important information
will just get lost on these pages in
| | 02:56 | the bigger notebooks.
| | 02:58 | So again, figure out some sort of a
technique, some way to isolate what you're
| | 03:02 | learning, some way to
highlight it or to bring it out.
| | 03:05 | Another way to do this, of course, is
to get creative with your note taking.
| | 03:08 | Here are some notes which were
sent to me by a former student.
| | 03:11 | These were notes which she took on
one of my previous lynda.com courses.
| | 03:15 | I've posted these on my web site for you
to view it as a little bit of inspiration.
| | 03:19 | You can view them at chrisorwig.com/notes.pdf.
| | 03:25 | What I love about these notes is
that they're artistic and creative.
| | 03:29 | So perhaps what you need to do in
order to isolate or highlight what you're
| | 03:32 | learning is take notes that are creative,
because if you do that, you'll be more
| | 03:37 | interested in the process and perhaps
you'll learn even more. All right!
| | 03:40 | Well, I have a few more strategies
that I want to share with you, but I think
| | 03:44 | this is a good stopping point for now.
| | 03:46 | So let's go ahead and continue to talk
about some strategies for success when it
| | 03:49 | comes to learning Photoshop. And
let's do that in the next movie.
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| Getting creative and being ready to be surprised| 00:00 | In this next segment, I want to share
with you just a few more strategies which
| | 00:04 | will help you to be more
successful as you seek to learn how to work
| | 00:07 | effectively with Photoshop.
| | 00:09 | The first one is that if you're ever
trying to memorize something, what you want
| | 00:13 | to do is memorize right to left.
| | 00:16 | What I mean by this is we all
know about left brain and right
| | 00:19 | brain functionality.
| | 00:20 | Left brain, well, it's more analytic.
The right brain, it's more creative.
| | 00:25 | So what we need to do is think about
how we can get creative when we're trying
| | 00:29 | to memorize something which is complex.
| | 00:31 | This happens all the time.
| | 00:33 | For example, let's say my young daughters,
when they needed to learn their ABCs--
| | 00:37 | which really are a complex sequence of
letters--they didn't think about this
| | 00:42 | analytically. Rather, we
simply taught them the ABC song.
| | 00:46 | They sang the song and they learned
something that was really complex.
| | 00:50 | And so we need to apply this same
kind of creative approach to learning
| | 00:54 | things in Photoshop.
| | 00:55 | Let me give you an example.
| | 00:56 | Here, we have two icons: Photoshop and Bridge.
| | 00:59 | You'll soon discover that you're
going to be jumping back and forth between
| | 01:03 | Photoshop and Bridge quite a bit.
| | 01:04 | Well, here I have this photograph
of this guy leaping over to the other
| | 01:08 | application, and if we have a little
bit of fun with this and memorize this
| | 01:12 | shortcut this way: to jump the
Bridge, well, the shortcut on a Mac is
| | 01:16 | Option+Command+O, Windows that's Alt+Ctrl+O.
Once we're in Bridge, to jump back
| | 01:21 | Option+Command+O. And again, just by
being a little bit silly or having some fun,
| | 01:26 | there's a chance that this
shortcut, well, it's going to stick.
| | 01:30 | So as you seek to learn things,
try to be a little bit creative with
| | 01:33 | this overall process. Have some fun.
Say things out loud.
| | 01:37 | The next few things that I want to share
with you come from my experience of teaching.
| | 01:41 | One of the things that I've discovered
is that those students who share what
| | 01:45 | they know, well, they learn so much more.
| | 01:48 | So as you learn something new in this
course, be sure to share it with someone else.
| | 01:52 | Another thing that I've noticed is
that those who realize that the more
| | 01:56 | technical you become, the higher the
impact, well, they go so much further.
| | 02:01 | If you really want to take your
skills to the next level or if you want
| | 02:04 | to create compelling and engaging and alive
photographs, well, you have to get technical.
| | 02:10 | But you're not getting technical just
for technique's sake. Rather, it's all
| | 02:14 | about trying to create more impact.
| | 02:16 | Another thing that's essential
is having some fun and playing.
| | 02:20 | In other words, it's okay to make mistakes.
That's the whole point.
| | 02:24 | I hope you make a lot of
mistakes in this course.
| | 02:27 | Play and tinker, and by doing
that, you'll learn much more.
| | 02:30 | Lastly, one of the things that you want to
do is come to this course anticipating surprise.
| | 02:36 | It was Martin Buber who once said,
"All journeys have secret destinations of
| | 02:41 | which the travelers are unaware."
| | 02:43 | I walked out into the parking lot one
day after a rainy day, and I saw this
| | 02:47 | little oil spill on the ground. And even
in an ugly parking lot there was beauty.
| | 02:52 | I was surprised.
| | 02:54 | Another day I was on a beach focusing
in on the waves, and I look down and I was
| | 02:59 | surprised by the rocks beneath my feet.
| | 03:01 | Or perhaps you've been on a vacation
and looked up and looked at one of those
| | 03:05 | umbrellas and the pattern and
colors, they caught your eye.
| | 03:08 | In other words, in order to be good
at photography--and I think to be good
| | 03:12 | at Photoshop and to really learn this tool--
you need to be prepared to be surprised.
| | 03:17 | You never know what you're going
to encounter, and you never know what
| | 03:20 | you're about to discover. All right!
| | 03:21 | Well, as you can see, I'm really excited
about this, and I'm excited that you're
| | 03:25 | joining me on this training adventure.
| | 03:27 | So without further delay,
let the adventure begin.
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2. Getting Started with Bridge and Mini BridgeCustomizing the Bridge workspace| 00:00 | The Adobe Bridge is a powerful
application which you'll use to browse and
| | 00:04 | preview and work with your photographs.
| | 00:07 | And you'll use this application
in tandem with Photoshop.
| | 00:10 | And here in this initial movie, I want
to take a look at how we can customize
| | 00:14 | Bridge, how we can become familiar
with it, and also how we can dial in a few
| | 00:17 | important settings when working with the Bridge.
| | 00:20 | One of the first things that you'll
notice is that Bridge is divided up into
| | 00:24 | these different panel groups.
| | 00:26 | You can see I have a panel titled
Content and then different panels over here.
| | 00:30 | Each of these panels are
separated by a dividing line.
| | 00:34 | If you hover over it, your cursor will change.
| | 00:37 | When you see that new cursor, you
can simply click and drag in order to
| | 00:41 | reconfigure the way that this will be
displayed, and we can do this with all of
| | 00:45 | these different panels.
| | 00:46 | Let's say we want more space allocated
to the Preview panel. We'll just simply
| | 00:50 | click and drag in order to open up
more space for that so that you have a
| | 00:53 | larger image preview.
| | 00:55 | What about if you want to collapse a panel?
You can do that by double-clicking on its tab.
| | 01:00 | Double-clicking on a panel tab
will either close or open that tab.
| | 01:05 | Let's do that here. When I double-
click on Metadata, those panels have now
| | 01:08 | collapsed to the bottom. Double-click
again, now they're reopened. All right!
| | 01:12 | What about viewing our images?
| | 01:14 | We can either click through our images
by simply clicking on them here, or what
| | 01:19 | you can do is use your arrow keys.
| | 01:21 | By using your arrow keys--Left and
Right Arrow key--you can scroll forward or
| | 01:25 | backward through your photographs.
| | 01:27 | Another thing that you may have
noticed is that the background is dark gray.
| | 01:31 | You can customize that by
navigating to your Preferences.
| | 01:34 | To do that, navigate to your Preferences
by going to the Adobe Bridge pulldown
| | 01:38 | menu and then select Preferences.
| | 01:41 | In this dialog, you want
to go to the General tab.
| | 01:43 | In the General tab, you
can control the Appearance.
| | 01:46 | Here you can change the color
either by clicking on these chips or by
| | 01:50 | using these sliders.
| | 01:51 | When you do this, you'll notice that the
entire interface or theme here changes.
| | 01:55 | You also notice that as I make these
choices, it's moving these sliders.
| | 02:00 | Let's say we want to make
some manual adjustments.
| | 02:02 | Here you can just go ahead and click and
drag in order to make those changes. All right!
| | 02:06 | What about accent color?
| | 02:08 | Well, in order to show you that, I'm
going to move this dialog over to the left.
| | 02:11 | You'll notice I have a slight gray
highlight around the image which I've selected.
| | 02:17 | If I change my accent color to something
different. Let's try this one here.
| | 02:21 | You notice that it then changes
the way that this is highlighted.
| | 02:24 | Here, we have a number of different
options which we can go through.
| | 02:27 | So again, you want to choose one of
those which will suit your own needs and
| | 02:31 | which you think looks good. All right!
| | 02:32 | After having done that, I am going to
reset this back to this color theme here,
| | 02:36 | which is the default color theme.
| | 02:38 | The next thing I want to
highlight is how we open Bridge.
| | 02:41 | We can either open it by clicking
on the application icon or there's a
| | 02:45 | really handy preference.
| | 02:47 | Most of these preferences are all
fine, just the default settings.
| | 02:50 | But the one you might want to
change is under the Advanced tab.
| | 02:54 | If you click on that, you have an
option to Start Bridge At Login.
| | 02:58 | In other words, when you fire up
and turn on your computer, this will
| | 03:01 | automatically launch Bridge so
that you can then begin to use it.
| | 03:05 | I find that this is a helpful preference
because I almost always use Bridge
| | 03:08 | when I'm working with Photoshop,
because it's a really great way to browse and
| | 03:12 | preview and work with
your photographs. All right!
| | 03:15 | Let's go ahead and click OK in
order to apply these new preferences.
| | 03:18 | Another thing that you can do when
working with the way that Bridge appears is
| | 03:22 | you can change the overall workspace.
| | 03:25 | Currently, I'm in the default Essentials
workspace, yet I've customized it a
| | 03:29 | little bit by simply dragging
one of these dividing lines over.
| | 03:33 | You can also move to other workspaces
by clicking on this button here or by
| | 03:37 | going to another menu,
which I'll show you in a minute.
| | 03:40 | Here, let's say you prefer a workspace
where you have a Filmstrip down below
| | 03:44 | at the base of Bridge.
| | 03:45 | Here, in this case, I now have this Filmstrip,
and I can click through my photographs.
| | 03:49 | If I want my thumbnails to be larger or
smaller, again, all that we need to do is
| | 03:55 | to hover over this dividing line.
| | 03:56 | We can drag it up or drag it
down in order to change the size of
| | 04:00 | those thumbnails there.
| | 04:01 | Now once you've made a change to a
workspace, you can always go back by clicking
| | 04:06 | on this button and choosing the other
workspace, or you can go to the Window
| | 04:10 | pulldown menu. Here we'll
find these same options,
| | 04:13 | Window > Workspace, and then here you
can see we have these various workspaces.
| | 04:17 | When I select Essentials, what
you'll notice is it will go back to the
| | 04:20 | Essentials workspace, exactly
as I previously reconfigured it.
| | 04:24 | In other words, each workspace
has some built-in memory.
| | 04:28 | It will always remember how you've
configured it, and this is really nice
| | 04:31 | because when it comes to reconfiguring
the way these workspaces look, you only
| | 04:35 | need to do this once. All right!
| | 04:37 | Well, that wraps up our
first look at the Adobe Bridge.
| | 04:39 | We obviously need to dig a little bit
deeper into how we can work with this tool,
| | 04:44 | and so we'll do that in the next few movies.
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| Reviewing and evaluating your photos | 00:00 | As a photographer, one of the ways
that you will work with the Bridge is you
| | 00:04 | will use it to review and
to evaluate your pictures.
| | 00:07 | Well, we've already talked a little
bit about how we can do this and how we
| | 00:10 | can click on a photograph and view
it in the Preview panel. We've also
| | 00:14 | discussed how we can change the size of these
panels so that we have a larger or smaller view.
| | 00:19 | Well, in this case, I've opened up my view a
little bit. But still, this is just too small.
| | 00:24 | I really want to see if this image
has good detail, if it's sharp.
| | 00:28 | Well, when you hover over the image in
the Preview panel, you notice that you
| | 00:31 | have a magnifying glass.
| | 00:33 | If you click, it will show you a
zoomed in version of your photograph.
| | 00:37 | If you ever click in the wrong spot,
well, you can just hover over this tool and
| | 00:41 | then reposition, so you can focus
in on the area that matters most.
| | 00:45 | In this case, it's showing me I have
great detail there, and this image is sharp.
| | 00:49 | If you want to close this view, well,
just click on that magnifying glass again.
| | 00:53 | There are a few other ways that you can
review your pictures, and let's say that
| | 00:56 | what you want to do is have an even larger view.
| | 00:59 | You want to go full screen.
| | 01:01 | Well, to navigate to the Full Screen View,
you can go to your View pulldown menu.
| | 01:05 | Up at the top, you'll notice you
have an option for full screen preview.
| | 01:09 | There is also a shortcut.
It's the Spacebar key.
| | 01:12 | Well, either way, let's go
ahead and select that option.
| | 01:14 | Well, now here, you can see our image,
and the background tone here is the same
| | 01:18 | tone that we had in our Content panel.
| | 01:20 | We can also view other images as well.
| | 01:23 | You can do so by pressing your right or
left arrow keys to either move forward
| | 01:27 | or backward through your pictures.
| | 01:29 | And by doing this, we can really
evaluate our photographs without being
| | 01:32 | distracted by all the rest of
the clutter of the Adobe Bridge.
| | 01:36 | After we've decided that we viewed our
images this way, and we are ready to go
| | 01:40 | back to the other view, well, you just
need to press the Escape key and that will
| | 01:44 | then bring you back to Bridge.
| | 01:45 | Another way that we can review
our pictures is with Review mode.
| | 01:49 | You'll find that as well,
underneath the View menu.
| | 01:52 | Click on the View menu. Here you
can see you have an option for what's
| | 01:55 | called Review mode.
| | 01:56 | This allows you to display your
images almost as if they're on a carousel.
| | 02:00 | Here, once again, we can use our arrow
keys--right-arrow key or left-arrow key--in
| | 02:05 | order to move forward and
backward through our photographs.
| | 02:08 | Here, you can see as I'm working
my way through these pictures,
| | 02:11 | it's rotating them around.
| | 02:12 | Well, if ever there's a photograph
that you want to navigate to, you can also
| | 02:17 | just simply click on it and it
will take you to that picture.
| | 02:20 | You may also notice there are some
icons down below the images. One of
| | 02:24 | those allows you to use the Loop tool.
Click on this tool and it will
| | 02:28 | zoom in on your photograph.
| | 02:29 | Again, we can reposition this in order to
view different parts of our photographs.
| | 02:33 | If ever you want to close that,
it's the same technique as before, just
| | 02:37 | simply click on that.
| | 02:38 | Now, if you navigate to an image and
decide that you don't want this in this
| | 02:42 | Review mode, you can click
on the down-arrow button.
| | 02:45 | That will then remove this
picture from this particular view.
| | 02:48 | Another thing that you can do
here is add stars or labels.
| | 02:51 | We'll be talking about how we
can do that in the next chapter.
| | 02:54 | So I am getting ahead of myself a
little bit here, but I just want to highlight
| | 02:57 | that you can do that
here in Review mode as well.
| | 03:00 | Once again, once you're ready to exit
this View mode, all that you have to do is
| | 03:04 | to press the Escape key and it will
bring you back to the Adobe Bridge.
| | 03:07 | Another really helpful way to review
or evaluate or just share your pictures
| | 03:12 | is with the Slideshow.
| | 03:13 | You can access that once
again by going to the View menu.
| | 03:16 | Here, we will select the Slideshow.
| | 03:18 | This will then launch a slideshow
which will make its way through our images.
| | 03:22 | Here you can see its auto-advancing through
my photographs. There is a nice transition.
| | 03:27 | You can customize the Slideshow
options once you're in the slideshow by
| | 03:31 | pressing the L key.
| | 03:33 | Here, you can see I have some Slideshow options.
| | 03:35 | This allows me to control my slide
duration, also how the image is positioned,
| | 03:40 | and the transition and the transition speed.
| | 03:43 | Once you've dialed in the option
that you want to use--say you want your
| | 03:46 | images to be on screen for a longer
amount of time--you can select that and
| | 03:50 | then you simply click OK in order to
apply that and it will make its way
| | 03:54 | through those photographs.
| | 03:55 | If ever you want to pause your slideshow,
you can press the Spacebar key.
| | 03:59 | The Spacebar key will either
play or pause your slideshow.
| | 04:03 | When you're ready to exit out of this
view, simply press the Escape key once again
| | 04:07 | and it will take you back to Bridge. All right!
| | 04:09 | Well, now that we've looked at how we
can review and evaluate our photographs,
| | 04:13 | let's dig a little bit deeper into how
we can determine which photographs are
| | 04:17 | the best and how we can organize these photos.
| | 04:19 | Let's do all of that in the next few movies.
| | Collapse this transcript |
| Rating, ranking, and filtering photographs| 00:00 | Apart from browsing, reviewing, and
evaluating your photographs, one of the most
| | 00:04 | important things that you'll do in the Bridge
is you'll add star or color labels
| | 00:09 | to your photographs, and you'll do
this as a way to mark or to signify which
| | 00:14 | images are better than the others.
| | 00:16 | One of the things that we all know
is that in digital photography, we
| | 00:19 | capture too many pictures.
| | 00:20 | We need some sort of a workflow which
allows us to whittle these down to the
| | 00:24 | keepers, to separate the wheat from the chaff.
| | 00:26 | So we are going to take a look at
how we can do that here in this movie.
| | 00:30 | We'll look at how we can add star ratings,
also how we can add labels, and then
| | 00:35 | how we can take advantage of that information
and filter what we are viewing
| | 00:38 | here in the Adobe Bridge. All right!
| | 00:40 | Let's start off with this photograph here.
| | 00:43 | What I want to do is I want to add a star
rating to this picture because I really like it.
| | 00:47 | To do that, you can navigate to your
Label pulldown menu, then you can just
| | 00:51 | choose the star rating.
| | 00:52 | This image I'll give a 4-star rating.
| | 00:55 | Another way that we can do
this is by way of a shortcut.
| | 00:58 | Let me go back to that menu here.
| | 01:00 | If we click on this menu, you'll
notice that each of these different star
| | 01:03 | ratings has a shortcut associated with it.
| | 01:06 | These shortcuts are really easy to remember.
| | 01:09 | On a Mac, you press Command+1-5.
On Windows, that's Ctrl+1-5.
| | 01:14 | That allows you to change or to
modify the different star rating.
| | 01:18 | If ever you need to remove a rating,
well, just press Command+0 or Ctrl+0, and it
| | 01:22 | will remove the star rating all together.
| | 01:24 | We also have the ability to add color labels.
| | 01:27 | Here, you can see we have
labels which we can add.
| | 01:29 | The shortcuts for those are
Command or Ctrl+6, 7, 8, and 9.
| | 01:34 | Let me add a color label to this
picture so you can see how this works.
| | 01:37 | I'll go ahead and click on this
option or press the shortcut key.
| | 01:40 | Well, now here inside of the Content
window, we can see this color label.
| | 01:44 | And what's great about this is we can see
this regardless of the size of our thumbnails.
| | 01:49 | If we want to change the size of the
thumbnails, you can go down below to the
| | 01:52 | base of the Bridge, and
here we can drag the slider.
| | 01:55 | We can make this smaller, or we can
increase the size by dragging this to the
| | 01:59 | right and making these bigger.
| | 02:00 | Let's move on to another image.
| | 02:02 | This particular image I want
to give a three-star rating.
| | 02:05 | So I am going to use the shortcut.
| | 02:07 | On a Mac, that's Command+3. On Windows,
that's Ctrl+3. Next, in order to move
| | 02:12 | to the next image, I'll use my right-arrow
key and I'll add a star rating to this picture.
| | 02:17 | This one. It's a 5-star photograph.
| | 02:19 | Command+5 or Ctrl+5, I can
then add that star rating.
| | 02:23 | Another way that we can do this is
in also the different view modes.
| | 02:27 | Let me show you what this looks
like, say, in the Full Screen View mode.
| | 02:30 | Here, I'll press the Spacebar key.
Well, I want to add a star rating.
| | 02:33 | Now that I see this image in full
screen, and up close I realize this one
| | 02:37 | deserves four stars.
| | 02:38 | Well, use your shortcut to apply those stars.
You can do that by pressing Command+4 or Ctrl+4.
| | 02:43 | You will notice this icon now shows up in
the bottom corner of this Full Screen mode.
| | 02:49 | As I scroll through my other images, I
can also see the various star and label
| | 02:54 | ratings to the pictures, so I can view
that information and also change it in
| | 02:58 | these different view modes.
| | 03:00 | Let's go ahead and click the Escape
key to exit out of Full Screen mode.
| | 03:04 | Well, now that we have added this
information to a few pictures, what we want
| | 03:08 | to do is filter what we're seeing
based on these stars or labels. And you may
| | 03:13 | have noticed that as we added stars, it
opened up some new options in our Filter panel.
| | 03:18 | Here, it's showing us how many images
have a 3-star or 4 or 5-star
| | 03:22 | rating and as we work our way through
our images, and as we add more ratings
| | 03:27 | here, you are going to see that
that's going to update that information.
| | 03:30 | Let's take a look at how we can
then filter based on this criteria.
| | 03:34 | Well, if we want to see the pictures
which have four stars, we just click
| | 03:37 | on this option here.
| | 03:39 | If we want to see the images which have
four stars and a red label, we can click
| | 03:43 | on multiple fields in order to show that.
| | 03:46 | If ever we want to remove one of the
criteria that we've added for filtering,
| | 03:50 | well, just click on that option.
| | 03:52 | You can also add other options, show me all
of the 3, 4, and 5-star rated photographs.
| | 03:57 | And in this way, it really
simplifies what we're looking at.
| | 04:01 | All of a sudden now, we're seeing the
photographs that we like more than the
| | 04:04 | others. And the great thing about
this is that this is really dynamic.
| | 04:08 | If ever we want to change a rating,
well, you can just click on an image
| | 04:12 | and then change it.
| | 04:13 | Here, I'll use the shortcut to
change the star rating from 3 to 4.
| | 04:17 | On a Mac, you press Command+4.
On Windows, you press Ctrl+4. Okay.
| | 04:21 | Well, let's go ahead and remove these
filtering options, and let me show you one
| | 04:25 | more way that you can filter what
you're viewing inside of your Bridge window.
| | 04:29 | Well, in this case, what I want to do
is I want to filter all of these files.
| | 04:33 | But this time I am going to
do this by using the star icon.
| | 04:36 | If you click on this icon, it gives you
the ability to show different versions
| | 04:40 | of what you have here.
| | 04:41 | In this case, I want it to
show me three or more stars.
| | 04:44 | Here, you can see, it will check off
those options for 3, 4, and 5-star ratings
| | 04:49 | and then show me these
images here in this window.
| | 04:52 | I just want to highlight that, because
you can access this filtering here as well.
| | 04:56 | Let's go ahead and click to clear the
filter. And then before we wrap up this
| | 04:59 | movie, I want to highlight one more thing here.
| | 05:02 | Let's go ahead and decrease
the size of our thumbnails.
| | 05:04 | I want to do that so we can focus in on how
we can sort the pictures that we are seeing.
| | 05:09 | We can do this in combination
with filtering or not.
| | 05:12 | Over here you will notice that you
have the ability to change the way that
| | 05:15 | you sort your files.
| | 05:16 | You can sort your files
based on their label or rating.
| | 05:20 | Now this can be really helpful.
I am going to click Rating here.
| | 05:23 | By doing that, you can see that it now
goes from 2, 3, 4, and then all the way
| | 05:27 | up to my 5-star rated images.
| | 05:30 | If I want to change the order, you can
just click on the icon which is located
| | 05:33 | to the right of Sort by Rating, and
this allows you to change that order so
| | 05:37 | that you can have your 5-star images
showing up at the top of the Content panel.
| | Collapse this transcript |
| Organizing photos with stacks| 00:00 | Here, we're going to focus in on how we
can organize our photographs by using stacks.
| | 00:05 | You can think of stacks kind of like a
tangible stack of paper on your desk or
| | 00:09 | maybe a stack of printed photographs.
| | 00:12 | In a sense, what you can do is pile
things together, and you can use this method
| | 00:16 | in order to organize your pictures.
| | 00:18 | Well, in the previous movie, we left
off by taking a look at how we could sort
| | 00:22 | our photographs by rating.
| | 00:24 | Let's go ahead and change the sorting here.
| | 00:26 | Rather than Rating, let's choose File Name.
| | 00:28 | In this way, we can see that we
have similar images next to each other.
| | 00:32 | I have some photographs which I
captured in Mexico, other pictures from
| | 00:35 | New York, and then some from Santa Barbara
and then a few more from Massachusetts.
| | 00:40 | A lot of times when you're working
with folders, you'll have photographs that
| | 00:44 | you capture in different locations, or
maybe you just have pictures of different
| | 00:48 | subject matter, and you want to group
or stack those photographs together.
| | 00:52 | Well, how can you do that?
| | 00:53 | Well, let's work with this first
set up here, these pictures which were
| | 00:56 | captured in Mexico.
| | 00:58 | Click on the first image, then hold
down the Shift key and click on the last
| | 01:01 | image that you want to stack together.
| | 01:03 | Next, you can navigate to the Stacks
pulldown menu, and at the top of the menu,
| | 01:07 | you have an option for Group as Stack.
| | 01:10 | Let's go ahead and click on this option.
| | 01:12 | Well, now you can see it's collapsed or
stacked together all of these photographs.
| | 01:16 | I now have eight pictures in one stack.
| | 01:19 | And if I click on the stack, you'll
notice that there is this little playhead here.
| | 01:23 | You can click and drag that playhead
needle in order to view the images in the stack.
| | 01:27 | If ever you want to expand this, well, just
click on the number, and it will expand that.
| | 01:31 | If you want to re-collapse the stack,
just click on that number again, and it
| | 01:35 | will bring that back to where it was.
| | 01:37 | Let's go ahead and stack a
few more sets of photographs.
| | 01:40 | Here, I'll click on these
which were captured in New York.
| | 01:42 | Click on the first one, then hold down
the Shift key, and click on the last one.
| | 01:46 | Let's go to our Stacks pulldown
menu and choose Group as Stack.
| | 01:49 | You'll also notice there's a shortcut here
its Command+G on a Mac, Ctrl+G on Windows.
| | 01:55 | All right! Well, now that we've done that,
let's stack together these next photos, Click and
| | 01:59 | Shift-click, then press Command or Ctrl+G,
and then finally this last group,
| | 02:04 | click on the first image, hold down the
Shift key, click on the last image, and
| | 02:08 | let's group those together as well.
| | 02:10 | Now, what may happen is that you may
find stacks to be really helpful for you
| | 02:14 | because it kind of cleans up all of the
clutter, and it can allow you to group
| | 02:18 | similar images together.
| | 02:20 | Let's say that what you want to do is
you want to get rid of all of these stacks
| | 02:23 | that you've done, or you just want to
expand everything, is you can navigate to
| | 02:27 | your Stacks pulldown menu and then
here we can choose Expand All Stacks.
| | 02:31 | This will then expand all of those so
that we can see all of our images and I
| | 02:36 | find that, that function is really important
so that we don't lose images inside of a stack.
| | 02:41 | Well, let's say that after having done
this, we've decided that we want to get
| | 02:45 | rid of a few of these stacks altogether.
| | 02:47 | Let's take a look at how we can do that.
| | 02:49 | In order to do that, I'm going go back
to my Stacks pulldown menu, then I am
| | 02:53 | going to choose Collapse All Stacks.
| | 02:55 | This will give me the ability to
bring those back to this collapsed state.
| | 02:59 | Next, I am going to click on a
stack, then back to the menu.
| | 03:02 | Here, in the menu, we have an option to
remove or ungroup these from the stack.
| | 03:06 | We can click on that.
| | 03:07 | You can see that these photographs,
now they're no longer part of a stack.
| | 03:11 | I want to do that with these two as well,
and you can do this with one or more stacks.
| | 03:15 | Click on one stack, hold down
Command or Ctrl, click on another, and then
| | 03:20 | go back to that menu here, and here we'll
choose the same option, Ungroup from Stack.
| | 03:25 | And again, what I want to show you here,
all the ins and outs of how you can
| | 03:28 | start to work with stacks so that you
can know how you can effectively integrate
| | 03:33 | this into your own workflow.
| | 03:34 | Well, here, we've really been
focusing in on how we can group or organize
| | 03:38 | pictures together when we're working
with photographs that are in one folder.
| | 03:42 | Well, what about the situations where
you want to group pictures together which
| | 03:46 | aren't located in the same folder?
| | 03:48 | Well, in order to do that, you need
to create what's called a Collection.
| | 03:51 | We'll take a look at how we can work
with Collections in the next movie.
| | Collapse this transcript |
| Grouping pictures together with collections| 00:00 | Here, we're going to explore how we can group
or filter our photographs using collections.
| | 00:05 | Collections give us a lot of flexibility;
| | 00:07 | we're going to be looking at two
different types of collections.
| | 00:10 | The first one is smart collections, then
the second is just regular collections.
| | 00:15 | All right. Well, here what we want to do
is click on the Collections tab in order
| | 00:18 | to navigate to the Collections panel.
| | 00:20 | The first thing we want to do in order
to create a smart collection is to click
| | 00:24 | on the icon which is located to the right.
| | 00:26 | When you click on this, it'll open up
the Smart Collection dialog this allows us
| | 00:31 | to search a particular folder or
subfolder and then define some criteria.
| | 00:35 | For example, we can
setup the Criteria of Rating.
| | 00:39 | In this case, we're going to choose
Rating and I want to view, or I want to see
| | 00:42 | the files which have a four or five
star rating, so let's choose the rating is
| | 00:46 | greater than or equal to four stars.
| | 00:49 | Next Match if any criteria is met
and then this check box here, this is
| | 00:54 | really fascinating.
| | 00:55 | Include All Subfolders.
| | 00:57 | If you had subfolders inside of this
folder, it would search all of those files,
| | 01:02 | you could even choose by leaving this
check box on to search all the files
| | 01:06 | which haven't been browsed by the Adobe Bridge.
| | 01:08 | Okay. Well, let's go ahead and
save this out. Here I will click Save.
| | 01:11 | Well, in doing that I now have this
New Smart Collection, and I'm going to go
| | 01:14 | ahead and name this 4 Star.
| | 01:16 | Next I'll press Enter or Return, and
you can see that what it's doing is it
| | 01:20 | searching through that folder and if
there were any subfolders and just showing
| | 01:24 | me all of these images which
have a 4 or 5-star rating.
| | 01:27 | I should actually rename this, I'll
go ahead and double-click in there, and
| | 01:30 | I'll type out 4 or 5-star, and
that's how smart collections work, it just
| | 01:35 | another way to filter or to find images which
have a certain criteria which you've defined.
| | 01:40 | Well, let's take a look at another way
to work with collections, and let's go
| | 01:44 | back to our Chapter 2 folder.
| | 01:46 | Well, so far we've really looked at
how we could group images together with
| | 01:49 | stacks when we're just working with one
folder. But what about those situations
| | 01:54 | where you want to group images
together and the images aren't in the same
| | 01:58 | folder? Well, you can do that by
using just Regular Collections.
| | 02:02 | Let me set the scene here.
| | 02:03 | In this Chapter 2 folder, I have some
photographs that were captured of Jared Mason.
| | 02:08 | These pictures were captured in
one of my previous training courses,
| | 02:11 | Narrative Photography.
| | 02:12 | Yet if you navigate to the Chapter 3
folder, you'll also notice there's another
| | 02:17 | photograph of Jared Mason.
| | 02:19 | Well, I want to group all
of these pictures together.
| | 02:22 | To do this, we need to create a
collection. So let's go ahead and in the
| | 02:25 | Collections panel, let's click on this
icon here the one on the left. I'll name
| | 02:29 | this collection Jared Mason.
| | 02:32 | Next, I'll navigate to the folders
where these images exist--first the Chapter 3
| | 02:36 | folder and just drag and drop. You
can see one image was added to this
| | 02:40 | collection. Let's go back to the
Chapter 2 folder here, I'll click on this
| | 02:45 | image, hold down the Shift key then
click on the last image in the set. You can
| | 02:50 | see in the Preview panel that
we've selected all four pictures.
| | 02:53 | Now I'll click and drag and drop these
into this collection. And now that I have
| | 02:58 | this collection, I can use this as
a way to view all of these pictures.
| | 03:02 | If we click on the collection name, it
will then change our filtering, and it
| | 03:06 | will show us these photographs.
| | 03:08 | If ever we have a picture that we
want to remove, say like this one here,
| | 03:12 | because it includes Jared Mason
and also a stranger--this guy who was
| | 03:16 | walking across the bridge.
| | 03:17 | We'll just click on the image and
then click on Remove From Collection.
| | 03:21 | When you do that, it isn't deleting the
photograph. Rather, it just removing it
| | 03:25 | from this collection. And in this way
you can see that you can group your images
| | 03:29 | together in some really fascinating ways.
| | 03:32 | Perhaps you want to create a collection,
which is portfolio, and every once in
| | 03:36 | awhile when you come across one of those
images which is worthwhile of including
| | 03:40 | in your portfolio, well, then just
drag and drop that into that collection or
| | 03:44 | you can create collections
based on other criteria as well.
| | 03:47 | It just gives you this ability to
group or organize images together in a way
| | 03:51 | that isn't dependent upon file
or folder or hard drive location.
| | Collapse this transcript |
| Adding metadata and keywords | 00:00 | Here, we are going to take a look at how
we can work with metadata and also how
| | 00:04 | we can add a copyright symbol to our
pictures and how we can add keywords and
| | 00:08 | also how we can take advantage of
metadata when working with the Adobe Bridge.
| | 00:13 | There are two different types of metadata;
it's either additive or descriptive.
| | 00:18 | Descriptive metadata is something which is
part of the file, the way that it was captured.
| | 00:23 | Additive is something
that we've added ourselves.
| | 00:26 | Let's first look at how we can take
advantage of descriptive metadata by working
| | 00:30 | with the Filter panel.
| | 00:31 | Here, I am going to click on this image
here and navigate to the Filter panel.
| | 00:36 | In the Filter panel, I'm interested in
finding all of the photographs that were
| | 00:40 | captured with a certain lens.
| | 00:41 | I will go ahead and click on this
icon here in order to open up the
| | 00:45 | filtering for Lens.
| | 00:46 | Next, I have different Lens options.
| | 00:49 | I want to see the images which were
captured with this 85 millimeter lens.
| | 00:53 | To do that, you can just click on
this option here, and it then shows me is
| | 00:57 | these three photographs.
| | 00:59 | We can also gain access to this
information in the Metadata panel.
| | 01:03 | Let's go ahead and click and drag
this over a little bit so we can focus in
| | 01:06 | on the Metadata panel.
| | 01:08 | In this placard, it's showing me how
this image was captured, also its file size.
| | 01:13 | And there's other valuable information below.
| | 01:16 | If we open up File Properties, you can
see information about the application
| | 01:19 | that was used to process the image,
the date it was captured or created.
| | 01:24 | Let's go ahead and close that
and then open up our IPTC Core.
| | 01:28 | Here's where we can add our information.
| | 01:30 | We could add our name, also our
location, Phone number, and Email.
| | 01:34 | This information can be really helpful if
we are going to send this image to a client.
| | 01:38 | We can also scroll down and
add Copyright information.
| | 01:41 | Let's do that because
that's perhaps most important.
| | 01:44 | Here, under Copyright Notice, I will go
ahead and click into this field and press
| | 01:48 | Option+G on a Mac--or Alt+Ctrl+C on
Windows--and then type out my name.
| | 01:53 | Next, for the Copyright Status, I
will go ahead and choose Copyrighted.
| | 01:57 | And again, what's great about this is
any information that I add here, it will
| | 02:01 | become part of the file.
| | 02:03 | You want to add the information which is
most relevant to your workflow and then
| | 02:07 | the information that you need to
have with your files. All right!
| | 02:10 | What about Keywords?
Let's go ahead and click on the Keywords tab.
| | 02:14 | This opened up this dialog.
We do want to apply this.
| | 02:17 | So let's go ahead and click Apply.
| | 02:18 | You can also apply by clicking on this
check box here, which I neglected to do. All right!
| | 02:23 | Let's go ahead and click on the Keywords tab.
| | 02:25 | The Keywords tab allows us to create
main keywords and also sub keywords.
| | 02:30 | We can use what's here, or we can create our own.
| | 02:33 | There are two different ways
that you can create keywords.
| | 02:36 | You can either click on this icon to
create a new keyword, or you can click on
| | 02:40 | the big plus icon in the
bottom corner of the dialog.
| | 02:43 | Let's click on this icon
and create a new keyword.
| | 02:46 | This one is going to be New York.
| | 02:47 | Next, I want to create a Sub Keyword,
so I will click on the icon next to it
| | 02:51 | right here--or you can go to this
menu and choose New Sub Keyword.
| | 02:55 | This will place a keyword underneath New York.
| | 02:58 | This time I am going to
type out Brooklyn Bridge.
| | 03:00 | Now that I have these keywords, I
need to apply them to my photographs.
| | 03:05 | To do that, you can click on one or more
images and then simply click on the check box.
| | 03:10 | You notice that when you click on the
check box, it will show you that this
| | 03:13 | keyword has been assigned.
| | 03:14 | Here, Brooklyn Bridge has
been assigned to this picture.
| | 03:17 | Let's also add New York. All right!
What about these other two images?
| | 03:22 | Click on one, hold down Command on a
Mac, Ctrl on Windows, then click on the
| | 03:26 | other, and then go ahead and click on these
check boxes in order to assign these keywords.
| | 03:31 | Now once you have assigned keywords to your
photographs, you can see those in various places.
| | 03:36 | Let's go back to the Metadata panel.
| | 03:38 | In the Metadata panel, if we scroll
back up, what we can see is if we click off
| | 03:43 | of all of the images and then just
select one, you can see that this image has
| | 03:47 | these keywords on it,
Brooklyn Bridge and New York.
| | 03:51 | We can also use these keywords in
order to filter and define photographs.
| | 03:56 | Let me show you what I mean.
| | 03:57 | If we make our way back to the Filter
panel--let's turn off this option for
| | 04:01 | filtering based on the lens type.
| | 04:03 | We will go ahead and turn that off.
| | 04:05 | Next, let's open up the option for Keywords.
| | 04:07 | Here it's going to show me the
different keywords that I have.
| | 04:10 | I want to see my images which have this
keyword, New York. Go ahead and click on
| | 04:14 | it, and it will then show
you those three photographs.
| | 04:17 | So as you can see here that Metadata is
really helpful on a number of different levels.
| | 04:22 | Not only does it tell us information
about our files, but we can add
| | 04:26 | information to those files which we
can then take advantage of in order to
| | 04:30 | filter and find images.
| | 04:32 | And perhaps above and beyond all that,
also when we send these images off, all of
| | 04:36 | this metadata, it will become part of that file.
| | 04:39 | Therefore, someone else could open up
the image, they could view the image in
| | 04:43 | Bridge, and then they could have
access to this metadata as well.
| | Collapse this transcript |
| Renaming images| 00:00 | Here, I want to share with you a few
tips which will help you to speed up your
| | 00:03 | overall workflow when you're
working with the Adobe Bridge.
| | 00:06 | The first thing I want to focus in on is
how we can rename and batch rename our images.
| | 00:11 | And then next I want to take a look
at how we can take advantage of the
| | 00:14 | different Photoshop tools which we can
access from right inside of Bridge. All right!
| | 00:19 | Well, let's take a look at
how we can rename our files.
| | 00:21 | One of the ways that you can rename a
file is by simply clicking into the file name.
| | 00:25 | If you hover there, it will then
highlight the file name, and you can go ahead
| | 00:28 | and type out a new name.
| | 00:30 | Another the way that you can do this is
you can select multiple images at once
| | 00:35 | and then batch rename all of those
files, and this is especially helpful.
| | 00:39 | If you have photographs which just have
that default name which was given to them
| | 00:43 | by your camera, let's say before you
send off your images to a client or a
| | 00:47 | friend, you want to rename
a whole set of photographs.
| | 00:50 | Well, first you need to select those
pictures. To do that, either hold down
| | 00:54 | Command or Ctrl and then click on the pictures.
| | 00:57 | Or if they're sitting next to each other,
you can click on the first one, then
| | 01:00 | hold down the Shift key
and click on the last one.
| | 01:03 | Once you have selected your
photographs, you'll want to use this shortcut.
| | 01:07 | You definitely want to write this one
down, because this is something that I
| | 01:10 | find myself doing quite often.
| | 01:12 | The shortcut for batch rename is Shift+Command+R
on a Mac. That's Shift+Ctr+R on Windows.
| | 01:17 | Well, here you can see that what we
can do is we can rename these in the same
| | 01:21 | folder, and we can choose
different file name options.
| | 01:24 | If you click on the pulldown menu, you
see they have a number of different options.
| | 01:28 | I'll choose Text, now I'll go ahead and give
this a new name of kayak and then a dash.
| | 01:32 | Next, I'll choose Sequence Number versus
these other options here, and I'll start
| | 01:37 | it off with number 1.
| | 01:38 | To rename these files, you simply click
the Rename button, and you can see that
| | 01:42 | we've now batch renamed these images.
| | Collapse this transcript |
| Accessing the Photoshop tools from within Bridge| 00:00 | There are other things that you can do
in regards to Batch processing, and that
| | 00:04 | has to do with taking advantage of tools.
| | 00:06 | What I want to do is just show you a
few tools and then take a look at one
| | 00:10 | which allows us to open up multiple
images into a layer document in Photoshop.
| | 00:15 | In order to access the tools, you
navigate to the Tools pulldown menu and
| | 00:19 | then choose Photoshop.
| | 00:20 | Here, you'll notice we've different options.
| | 00:23 | We've Batch Contact Sheet, Image
Processor, Lens Correction, et cetera.
| | 00:27 | This different option allow us
do things to the photographs.
| | 00:31 | Let's say, for example, Lens Correction.
| | 00:33 | We could Batch Process or
Batch Lens Correct Multiple Images.
| | 00:38 | Just select the files and then choose
this option, and it would open up the
| | 00:41 | dialog and we could walk
through those other steps.
| | 00:44 | There's a lot that we can
do here with these tools.
| | 00:46 | Let me highlight one of them.
Here, I'll go back to the Bridge.
| | 00:49 | I really like these two images, so I am
going to click on this image, then hold
| | 00:53 | down Command-click or Ctrl-click
and click on this one.
| | 00:56 | When I view them in this little Preview
window, I kind of like the way they're
| | 00:59 | standing right next to each other.
| | 01:01 | It might be fun to create a Diptych,
which is two photographs side by side.
| | 01:06 | Well, I could do that really easily by
navigating to the Tools pulldown menu.
| | 01:10 | Here, we'll choose Photoshop, and then I'll
select Load Files in the Photoshop layers.
| | 01:15 | When you click on that option, what it
will do is it will open up Photoshop, and
| | 01:19 | it will create a New Document
with both of these images in it.
| | 01:22 | You can see in the Layers panel, I now
have both photographs in this document.
| | 01:26 | Well, in my case, I want to
have this standing side by side.
| | 01:30 | Well, here I could click and drag and
move this top image off to the right.
| | 01:34 | But as I do that, it's now
off or out of the canvas size.
| | 01:37 | Well, there is a great little handy
shortcut that you can use in order to extend
| | 01:41 | or expand your canvas size,
and it's called Reveal All.
| | 01:45 | You can access this by going
to your Image pulldown menu.
| | 01:48 | If ever you have pixel content which
is out of the frame and if you choose
| | 01:53 | Reveal All, it will then extend the canvas
size to include whatever is outside of the frame.
| | 01:58 | In this case, this other picture. So
here, you can see I really easily built this
| | 02:03 | by taking advantage of that tool.
| | 02:05 | Now my point here isn't to highlight
that you're going to do this or use this
| | 02:08 | tool with all of your images.
| | 02:10 | My point is that when you're back in
Adobe Bridge--let's go there. Navigate to
| | 02:14 | File and then choose Browse in Bridge.
| | 02:16 | When you're back here, you can
take advantage of these various tools.
| | 02:20 | All that you have to do is to navigate to
this Tools menu, then choose Photoshop,
| | 02:24 | and then choose the tool which is
appropriate for the task at hand.
| | Collapse this transcript |
| Working with Bridge and Photoshop| 00:00 | Here, I want to take a look at
how we can work with Bridge and
| | 00:03 | Photoshop together.
| | 00:04 | As I mentioned previously, we're
going to use Bridge and Photoshop really
| | 00:08 | together and in tandem, because we use Bridge
to organize and access and filter our files.
| | 00:14 | We also make the choice of which image
we're going to open here, and let's say
| | 00:17 | that I've decided to open up this photograph.
| | 00:20 | Here, what I'll do is go ahead and
double-click the image, and by default, it will
| | 00:24 | open inside of Photoshop.
| | 00:26 | Now once I bring this one up in Photoshop,
I realize, oh, this isn't the picture
| | 00:30 | that I actually wanted.
| | 00:32 | I want to go back to Bridge, and I
want to select another photograph.
| | 00:36 | Well, we can do this either
by way of a menu or a shortcut.
| | 00:40 | The menu option requires we go up
to the File pulldown menu, and then we
| | 00:43 | select Browse in Bridge.
| | 00:45 | The shortcut--which you really
want to remember--is this one.
| | 00:49 | On a Mac it's Option+Command+O. On
Windows that's Alt+Ctrl+O. Think of, oh, I
| | 00:54 | want to go back there, or oh,
I'm going to jump back to Bridge.
| | 00:57 | We'll go ahead and press that shortcut or
select that menu, and it will take us back to Bridge.
| | 01:02 | Well, once we're back in Bridge, let's
say that we start to navigate around and
| | 01:07 | we forget which image we've opened.
| | 01:10 | Was it this one or was it this one?
This time we want to jump back to Photoshop.
| | 01:15 | Well, how can we do that?
| | 01:16 | Well, we can either do that by clicking
on this boomerang icon right here, or you
| | 01:21 | can use that same shortcut.
| | 01:23 | So either way, with the shortcut or
by clicking on this--let's go ahead and
| | 01:27 | navigate back to Photoshop.
| | 01:29 | So as you can see here, we're really
going to round trip back and forth between
| | 01:33 | Photoshop and Bridge quite a bit.
| | 01:35 | Well, let's go back to Bridge
| | 01:37 | now that we see this image, and
let's open up the appropriate file.
| | 01:41 | To do that, press Command+Option+O
on a Mac, Ctrl+Alt+O on Windows.
| | 01:46 | Now back here in Bridge, I'll select
this file and then double-click it in order
| | 01:51 | to open it up in Photoshop.
| | 01:53 | Now that I have two images open in
Photoshop, you can see I have these two tabs.
| | 01:58 | To alternate between these images, we'll
just click on the tab, and you can then
| | 02:01 | work on or view the respective image.
| | 02:04 | When you're done working in Photoshop,
you can simply close these files.
| | 02:08 | Now once you've closed these files,
you just see an empty Photoshop.
| | 02:12 | Photoshop without any images in
it really isn't that exciting.
| | 02:15 | So what we need to do, obviously, is
navigate back to Bridge in order to select
| | 02:20 | another file. And once again, this is
where that shortcut comes in handy, and
| | 02:24 | this is also why I'm trying to illustrate
why you want to write this one down or
| | 02:28 | memorize this shortcut.
| | 02:29 | Here, it is for the last time. It's Command+Option+O
on a Mac, Ctrl+Alt+O on Windows.
| | 02:35 | That then allows us to navigate back to Bridge
and to select the image that we want to work on.
| | Collapse this transcript |
| Working with Mini Bridge| 00:00 | In the previous movie, we saw that
there was a lot of jumping back and
| | 00:04 | forth between Photoshop and Bridge.
And if you're like me, you might have
| | 00:07 | been thinking, gosh!
| | 00:08 | There has to be a better way. Well, there is!
| | 00:11 | New inside of this version of Photoshop
is Mini Bridge, which is now much more
| | 00:15 | effective in allowing us to browse and
preview and work with our images from
| | 00:20 | right inside of Photoshop.
| | 00:21 | A lot of times we're going to do much
of our heavy lifting inside of Bridge
| | 00:25 | itself because it's big and
we can see our photographs.
| | 00:28 | But after we've rated or ranked our
pictures or added some metadata, we
| | 00:32 | may want to go straight to Photoshop
and start to browse these pictures
| | 00:36 | there in Mini Bridge.
| | 00:37 | To do that, what you want to
do is select the photograph.
| | 00:40 | Next, go ahead and jump to Photoshop--
either by way of a shortcut, that's
| | 00:44 | Option+Command+O on a Mac, Alt+Ctrl+O
on Windows--or by simply clicking on
| | 00:49 | the Boomerang icon. I like that icon.
| | 00:52 | I think it's kind of fun.
| | 00:53 | Well, here inside of Photoshop, let's open
up Mini Bridge by double-clicking on the tab.
| | 00:58 | You can see that the same image which I
had selected previously is now visible here.
| | 01:03 | What I can do with Mini Bridge is I
can scroll through and view all of the
| | 01:06 | images that I have in this folder.
| | 01:09 | I can also open up my files or preview them.
| | 01:12 | To preview the file, you
can press the Spacebar key.
| | 01:15 | This takes that image into that same Full
Screen mode that we saw inside of Bridge.
| | 01:20 | But now we're just viewing this inside
of Photoshop. To view your other images
| | 01:24 | that you have in Mini Bridge, just use
your Arrow keys and you can then scroll
| | 01:28 | through the various photographs.
| | 01:29 | You can also close out of
this the same way as before.
| | 01:33 | Press the Escape key and it will
take you back to Mini Bridge.
| | 01:36 | Well, if you want to change the size
of these thumbnails, you can just hover
| | 01:39 | over this panel dividing line.
| | 01:42 | Click and drag it up in order to
increase the size. Click and drag it down in
| | 01:46 | order to decrease it.
| | 01:47 | When you're ready to open up an image,
well, just click on it and then open it
| | 01:51 | the same way you would in Bridge.
| | 01:53 | Here, we'll go ahead and
double-click on this file.
| | 01:55 | You can see that it will
open up inside of Photoshop.
| | 01:58 | There's a lot that we can do here with
Mini Bridge, many of the same things that
| | 02:02 | we did with Bridge itself.
| | 02:04 | For example, you'll notice
there's a Funnel icon on the right.
| | 02:07 | If you click on this, this allows us to
filter what we're viewing here in this folder.
| | 02:12 | Here, I want to find the images
which just have a 4-Star rating.
| | 02:15 | It will then show me those photographs.
| | 02:17 | I can also do other things as well.
| | 02:19 | You'll notice there's a
little navigational bar right here.
| | 02:22 | Well, if you click on one of these
arrows, it will show you the other
| | 02:25 | folders inside of that.
| | 02:27 | I can navigate to another
folder by selecting it here.
| | 02:30 | We can also navigate by
using this area of the panel.
| | 02:34 | If you click on these two dots,
it will go up one folder.
| | 02:37 | In this case, you can see all of the
subfolders inside of our exercise files
| | 02:41 | folder. And again, we can click through
these and then make the selection of the
| | 02:45 | photograph that we want to work on.
| | 02:47 | Well, another thing that we can do
is we can click on these two icons.
| | 02:51 | The first icon allows us to change the
way that we view or review our pictures.
| | 02:55 | Notice that you can enter into that
Full Screen Preview or Review or even
| | 02:59 | Slideshow mode, again, the same view
modes that we had with Adobe Bridge.
| | 03:04 | The next icon, right next to it--this one
with the double arrows--it allows us to
| | 03:08 | change the way that we're
ordering or sequencing our images.
| | 03:11 | Here, we can view these, say, by their
rating so that we can then see the
| | 03:14 | star rating up near the top.
| | 03:16 | They're actually down at the bottom,
so I need to revert this or change this.
| | 03:20 | I'll turn off Ascending Order.
| | 03:21 | In this way, I can now see these pictures
which have the higher star rating up
| | 03:25 | here in the front of this panel area.
| | 03:27 | Now, if ever we're working here and we
want to go back to Bridge, we can just
| | 03:32 | click on this Bridge icon.
| | 03:33 | By clicking on the icon, it will
then take us back to Bridge, and it will
| | 03:37 | highlight that photograph
that we were working on.
| | 03:39 | Well, Mini Bridge and Bridge,
they communicate well together.
| | 03:43 | If you learn one, really, you can use the other.
| | 03:46 | Also, you can jump back and forth
between Bridge and Mini Bridge really easily
| | 03:50 | by simply clicking on one of the icons,
either the Boomerang icon or the Bridge
| | 03:54 | icon which we see here.
| | 03:56 | Now after we've selected our photograph, let's
say we want to collapse or close Mini Bridge.
| | 04:01 | We're done with it.
| | 04:02 | Well, that's really easy.
| | 04:04 | Just double-click on the title name here,
Mini Bridge, and it will collapse that panel.
| | 04:08 | In this way, we could then double-click on the
Zoom tool which would zoom in our image to 100%.
| | 04:14 | Here, I'll go ahead and scroll up a
little bit so we can see the important
| | 04:17 | part of the picture.
| | 04:18 | In other words, we can open up more screen
real estate so we can work on our photograph.
| | 04:23 | Then, when we're ready to find another
picture, just go back to Mini Bridge,
| | 04:27 | double-click on the tab name, and then
continue to search for the photograph.
| | 04:30 | Once you've found that photograph as before,
you can simply double-click it in order to open it up.
| | Collapse this transcript |
|
|
3. Color Settings and PreferencesSetting up your color settings| 00:00 | Just as a guitarist needs to tune his
guitar before he begins to play, so we, too,
| | 00:05 | in Photoshop need to dial in a few
settings before we start to work on our
| | 00:09 | photographs. And that's what we're
going to do here in this chapter.
| | 00:12 | In this initial movie, we'll take a look
at how we can dial in our color settings.
| | 00:17 | Let's go ahead and navigate to the Edit
pulldown menu, and then near the base of
| | 00:21 | this menu, you'll see an
option for Color settings.
| | 00:24 | Let's click on that in order to
open up our Color Settings dialog.
| | 00:29 | You'll notice we have the
default settings selected.
| | 00:32 | What's so interesting to me about these
settings is that here we have Photoshop,
| | 00:36 | one of the greatest tools for
working with photographs, yet the default
| | 00:40 | settings, well, they just won't cut it.
| | 00:42 | We need to make a few changes to these settings.
| | 00:45 | You notice that the working spaces
for RGB, this color space is sRGB.
| | 00:50 | This is kind of like the
lowest common denominator.
| | 00:53 | In other words, this color
space has a smaller gamut.
| | 00:57 | It gives us less access to
different colors and tones.
| | 01:00 | So we need to crank this up.
| | 01:03 | There are a couple of options
that we might want to consider.
| | 01:05 | Typically, photographers will either
use Adobe RGB (1998) or ProPhoto RGB.
| | 01:12 | Now, this choice will really be dependent
upon what other applications they use.
| | 01:17 | Let's say that you also use
Lightroom in conjunction with Photoshop.
| | 01:20 | Well, in that situation,
you'd want to choose ProPhoto RGB.
| | 01:24 | In other situations, let's say you just
use Bridge and Photoshop together, well
| | 01:29 | then you'd want to choose Adobe RGB (1998).
| | 01:32 | Well, that's going to be our workflow
in this course, so I'll go ahead and
| | 01:36 | make that choice here.
| | 01:37 | The next thing we want to do
is change our Gray: Dot Gain.
| | 01:40 | We're going to change
this to a Gray Gamma of 2.2.
| | 01:43 | Here, you can see we now
have settings which are custom.
| | 01:47 | We'll probably want to
save these out in a moment.
| | 01:49 | Well, what about our color management policies?
| | 01:52 | Well, it's critical that we
leave these three options on,
| | 01:56 | preserve these embedded profiles.
| | 01:58 | In other words, if we open up a document,
we want that profile which is attached
| | 02:03 | to that document to be preserved.
| | 02:05 | Now, if there is a profile mismatch, we
want it to ask us when opening these or
| | 02:11 | when we're pasting an image
from one document to another.
| | 02:14 | What are profiles, and why did these matter?
| | 02:17 | Profiles are really critical.
| | 02:19 | In a sense, it's this color
information which is tagged or which is
| | 02:23 | included with the image.
| | 02:25 | And what profiles allow us to do is
to more accurately view, represent, and
| | 02:30 | eventually reproduce the color of a photograph.
| | 02:33 | So when we're working with color
profiles, one: we want to preserve all the
| | 02:37 | embedded profiles, and then two: we
want Photoshop to ask us how we want to
| | 02:41 | handle these if there is a profile mismatch.
| | 02:44 | Now, later in this course, we'll
take a look at these mismatches.
| | 02:48 | Yet here in regards to our color settings,
we just want to turn these options on.
| | 02:51 | Well, now that we've made these really
critical and important changes, one of the
| | 02:55 | things that you might want to
do is save these settings out.
| | 02:59 | One way that you could do that is
to click on the Save button here.
| | 03:02 | I'll go ahead and save these.
| | 03:03 | I'm just going to name this co-photography,
and then I'll click Save.
| | 03:08 | Now that I've done that, we can save
these. And in this pulldown menu we can
| | 03:13 | have access to these Color settings.
| | 03:15 | You can see I can simply choose those
in order to make sure that I'm working
| | 03:18 | with the appropriate settings.
| | 03:20 | Well, in order to apply these settings,
all that we need to do is to click OK,
| | 03:25 | and now Photoshop is tuned up in regards
to our Color settings, and we're now
| | 03:29 | ready to move to our next step.
| | Collapse this transcript |
| Choosing preferences for the HUD color picker| 00:00 | Next, we're going to take a look at how we can
dial in some of our Photoshop Preferences.
| | 00:05 | Let's go ahead and open
up the Preference dialog.
| | 00:07 | You can do so by pressing Command+K on
a Mac or Ctrl+K on Windows, or you can
| | 00:12 | just navigate to the Preference dialog.
| | 00:14 | Here, what we're going to do is start
off with working with the General Tab.
| | 00:18 | Let's open up the Preference dialog.
| | 00:19 | You'll notice on the left,
we have different tabs.
| | 00:22 | If we click on these tabs, it displays
different preferences which we can then modify.
| | 00:27 | Well, let's start off with General.
| | 00:29 | What I want to focus in on
here is our HUD Color Picker.
| | 00:33 | You're going to see this acronym in a
number of different places and HUD stands
| | 00:37 | for Heads-Up Display.
| | 00:39 | Now, this gives us the ability to
select color in a really fascinating way.
| | 00:43 | Currently, you can see we have
this option Hue Strip (Small).
| | 00:47 | If we click on this pulldown menu, you
can see that basically we have two options:
| | 00:51 | Hue Strip or Hue Wheel.
| | 00:53 | We have different sizes
for both of these options.
| | 00:56 | Let's choose Hue Strip (Medium) and
let's see what that one looks like.
| | 01:00 | Let's go ahead and click OK in order
to close or to apply that preference and
| | 01:04 | move back to our image.
| | 01:06 | With our image, we're going
to use the Eye Dropper tool.
| | 01:09 | You can select that tool by
clicking on it here in the Tools panel.
| | 01:12 | Now, the Eye Dropper tool is fascinating.
| | 01:14 | What you can do is you can
click and drag over your image.
| | 01:17 | As I do that, it's showing me the
different colors that I am sampling here.
| | 01:21 | Well, let's say that rather than sampling
a color from the image, what I want to
| | 01:25 | do is I want to choose a
color from this Heads-Up Display.
| | 01:29 | In order to access or to initiate
this display, we need to use a shortcut.
| | 01:33 | On a Mac, you can Ctrl+Option+Command-click,
on Windows, you can press Shift+Alt
| | 01:39 | and then right-click.
| | 01:40 | Here, you can see I have the
ability to choose a different color.
| | 01:43 | I can also move over here to
this and to change the color.
| | 01:46 | Here, let's say I want to get a really
bright red and then move over to this
| | 01:49 | area, and I can select that.
| | 01:51 | You can see it's updating the color over
here, and also over here in my Tools panel.
| | 01:56 | Let's say perhaps that we want to get an orange.
| | 01:59 | Here, I could go ahead and
bring this down to this area.
| | 02:02 | I just want to try to find an orange
which might look good with this particular photograph.
| | 02:06 | And by doing that, by using that display,
it just allows me to quickly sample
| | 02:11 | or select the color.
| | 02:12 | Well, we first looked at this in this
particular view. Let's change this Hue
| | 02:17 | Heads-Up Display to the Wheel Perspective.
| | 02:19 | We'll go back to our Preferences.
| | 02:22 | We can do this by selecting
the menu or using the shortcut.
| | 02:25 | In this HUD Color Picker option,
let's click on the pulldown menu, and this
| | 02:29 | time let's choose this Hue Wheel.
| | 02:31 | Let's choose the size of Medium.
| | 02:33 | Here, we'll click OK.
Once again, you can press that same shortcut.
| | 02:37 | on a Mac, Ctrl+Option+Command-click. On
Windows, Shift+Alt and then right-click.
| | 02:43 | Here, you can see I have the ability to
select the color based on its saturation.
| | 02:47 | Then we can also go to this Wheel and we
can choose different colors here in this way.
| | 02:51 | This just gives us another interesting
and visual way to make selections
| | 02:55 | in regards to colors.
| | 02:56 | I also find that it's helpful to
pay attention to the color that we're
| | 03:00 | selecting over here.
| | 03:01 | Because this is so bright and beautiful
and colorful, it's kind of hard to
| | 03:05 | focus in on what color we've actually selected.
| | 03:08 | So I just like to look at those two
places in order to really be sure or
| | 03:11 | certain of what color I've selected.
| | 03:13 | Once you've selected the color, all
that you have to do is to let go of that
| | 03:17 | shortcut key, and it will
go back to the normal tool.
| | 03:20 | So here, you can see we can choose
these different options in regards to our
| | 03:23 | preferences and how we
want to have this displayed.
| | 03:26 | You want to choose the HUD Color Picker
which you think will make most sense to you.
| | 03:31 | Then again, you want to
choose the appropriate size.
| | 03:33 | Now, the size really depends
upon the resolution of your monitor.
| | 03:37 | If you have a higher resolution monitor,
well, then choose a larger size. If you
| | 03:42 | have a smaller resolution monitor, or
maybe you're working on a laptop, well,
| | 03:45 | then it may be more advantageous to
choose one of these smaller sizes.
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| Setting image interpolation preferences| 00:00 | Here, we're going to look at another
important preference which is located
| | 00:04 | inside of the General tab.
| | 00:05 | The preference we're going to focus
in on is called Image Interpolation.
| | 00:09 | Now I know that word or those words may
sound a little bit funny, but what this
| | 00:13 | has to do with is the way that we work with
our photographs which are made up of pixels.
| | 00:18 | How do we want Photoshop to handle
these images, all of these pixels when were
| | 00:22 | resizing or changing the size of those pictures?
| | 00:25 | You know, in the previous versions of
Photoshop, what we had to do was we had to
| | 00:29 | select between Bicubic Smoother--which
was better when we were increasing the
| | 00:33 | size of our pictures--or Bicubic Sharper,
which worked better when we were
| | 00:37 | decreasing the size of our photographs.
| | 00:39 | Well, now we have this new
preference, which is Bicubic Automatic.
| | 00:43 | In other words, Photoshop will
automatically choose the best type of
| | 00:47 | image interpolation.
| | 00:48 | So why does this matter?
| | 00:49 | Well, this matters because this will
help us to make our images look their best.
| | 00:54 | And by choosing this preference here,
Photoshop will then take advantage of this
| | 00:58 | or use this in a few other places as well.
| | 01:00 | Let me show you what I mean.
| | 01:02 | Let's go ahead and select
that option and then click OK.
| | 01:05 | Next, in our Layers panel, let's
double-click this Background layer.
| | 01:09 | That will unlock the layer so
that we can free transform it.
| | 01:12 | So if you double-click the layer name,
you notice it opens up this layer dialog.
| | 01:16 | I'll just name this BG for
background and then click OK.
| | 01:20 | Well, now this layer is unlocked.
| | 01:22 | The next thing I want to
do is free transform this.
| | 01:25 | To do that, we can navigate
to our Edit pulldown menu.
| | 01:29 | About halfway down or so, you'll
notice there's an option for Free Transform.
| | 01:33 | Well, the reason why I'm going here is
that once you activate this tool, you can
| | 01:38 | see we have new options in our Options
bar. All the way down at the end we have
| | 01:42 | Image Interpolation options.
| | 01:44 | Here, you can see that we click on this,
whatever we dialed in our Preferences
| | 01:49 | dialog will be chosen here as the
default setting, Bicubic Automatic.
| | 01:53 | And this is great because, therefore,
as I change the size of my photograph--
| | 01:57 | either decreasing or increasing the
size of this image--it will then choose the
| | 02:01 | appropriate image interpolation.
| | 02:03 | Well, let's say, we want to increase
this a little bit. All that we need to do
| | 02:06 | is to click and drag that out and then
press Enter or Return in order to apply that.
| | 02:12 | Another location where we'll see the
show up has to do with image sizing.
| | 02:16 | We'll be talking about image sizing much more
later, but for now I just want to highlight this.
| | 02:21 | If you navigate your Image pulldown menu,
you can then select this option, Image Size.
| | 02:26 | This will open up the Image Size dialog.
| | 02:29 | You'll notice that at the base of the
dialog, it will select for you Bicubic
| | 02:33 | Automatic. And again, it's choosing
that option because we dialed in that
| | 02:37 | preference inside of the
General tab of the Preferences panel.
| | 02:41 | And this option--again it is critical--
it's really important when it comes to
| | 02:45 | working with photographs and also
when it comes to resizing or changing the
| | 02:49 | dimensions of your pictures.
| | 02:51 | So again, back in your Preferences
dialog, you want to make sure that you have
| | 02:55 | that Bicubic Automatic preference
turned on so that that will be the default
| | 02:59 | image interpolation option
as you work in Photoshop.
| | Collapse this transcript |
| Modifying zoom preferences| 00:00 | Knowing how to effectively zoom in
and out on our photographs is essential.
| | 00:05 | Whether we need to zoom in, in order
to evaluate or make corrections to our
| | 00:09 | pictures, or just if we need to change
our zoom right in order to get a sense of
| | 00:13 | our overall image, we need to know how to
work with the Zoom tool and also how to
| | 00:17 | dial in some important zoom preferences.
| | 00:20 | So let's start off by
taking a look at the Zoom tool.
| | 00:22 | You can select this tool by pressing
the Z key or just by clicking on the
| | 00:27 | Magnifying Glass icon, which
you'll find in the Tools panel.
| | 00:30 | Next, once you select that tool, you
notice that you have some preferences up top.
| | 00:34 | One of the preferences is resize
the windows to fit the zoom rate.
| | 00:39 | This is really helpful if you
have a window which is floating.
| | 00:42 | Let me show you what I mean.
| | 00:43 | If you navigate to the Window pull-
down menu. Here, what I can do is turn off
| | 00:47 | the Application Frame.
| | 00:49 | Well, now this window is just floating
here, and with the Zoom tool if I click on
| | 00:54 | the image, you can see it also
changes the size of this window.
| | 00:57 | If I turn this option off, well, the
window stays the same size, but when I click
| | 01:02 | the image inside of the window
is the only thing that changes.
| | 01:05 | So you just want to choose the
option which fits your workflow.
| | 01:09 | Let's go back and turn that Application
Frame back on, because typically we'll
| | 01:13 | have that on and here we
can then see our photograph.
| | 01:16 | Well, in this case, I've zoomed
in too far. I need to zoom out.
| | 01:20 | Well, the easiest way to zoom out is to
hold down the Option key on a Mac, Alt
| | 01:25 | key on Windows, and that will change the cursor.
| | 01:27 | You'll notice the little magnifying glass
now has a Minus sign icon inside of it.
| | 01:31 | So now if I click, I can then zoom out.
And here I am clicking multiple times so
| | 01:35 | that my image is much smaller.
| | 01:37 | Another way that we can zoom is with
what's called Scrubby Zoom.
| | 01:42 | With this option turned on, well, you can
just simply click and drag. And as I do
| | 01:46 | that--either dragging to the left or to
the right--you can see that I can change
| | 01:50 | my overall zoom rate.
| | 01:51 | Now let's say that we've zoomed in and
we just want to see the whole image.
| | 01:56 | How can we do that quickly?
| | 01:57 | Well, we can do that by
double-clicking on the Hand tool.
| | 02:00 | When you double-click on the Hand tool,
it takes your zoom to a view so that you
| | 02:04 | can see the entire photograph.
| | 02:06 | All right. Well, now that we
know a little bit about zooming,
| | 02:09 | let's take a look at a few preferences
that we might want to choose inside of
| | 02:12 | our Preferences dialog.
| | 02:14 | So navigate to your Preferences
dialog, and let's go to the General tab.
| | 02:17 | Well, here you can see we have
three different options for zoom.
| | 02:20 | We already talked about Zoom Resizes
Windows. Then we have Zoom with Scroll Wheel
| | 02:26 | and also Zoom Clicked Point to Center.
| | 02:28 | By default, these two options are
turned off. I recommend you turn them on.
| | 02:33 | Let me show you why.
| | 02:34 | Let's go ahead and click
OK in order to apply those.
| | 02:37 | Well, the first one is
zooming with our Scroll Wheel.
| | 02:40 | If we have the Zoom tool and if we have
a three-button mouse, we can then simply
| | 02:44 | use that Scroll Wheel in
order to quickly zoom in and out.
| | 02:47 | The other thing that's helpful is to
have that preference for changing the
| | 02:51 | centered area of what we're zooming to.
| | 02:54 | In other words, let's say that with this
picture I want to zoom in on the hand.
| | 02:57 | Well, if I click here, what it will do
is it will allow me to zoom in on the
| | 03:01 | image. But you also notice
that it re-centered my photograph.
| | 03:05 | I didn't move the Zoom tool, but it
moved the entire image so that this now is
| | 03:09 | in the center of the frame.
| | 03:10 | This is especially helpful if you want to
work on an area of your image, like the eyes.
| | 03:15 | You can click there and it takes it to
the center of the screen so that you can
| | 03:19 | then focus in on that area.
| | 03:21 | Otherwise, what would happen is you
would zoom in and this would be right on the
| | 03:25 | edge and you couldn't really
work with that part of your image.
| | 03:28 | So again, I recommend you turn that
preference on because I think it will
| | 03:31 | really help you out.
| | 03:32 | All right. Well, there is just one more
thing that I want to share with you here
| | 03:35 | before we wrap up this movie.
| | 03:37 | Let's go ahead and double-click the Hand tool.
| | 03:39 | Well, if we double-click the Hand tool, we know
that our image now fits inside of this view.
| | 03:44 | Another thing that we can do is double-click
the Zoom tool. Well, why would
| | 03:47 | we want to do that?
| | 03:48 | Well, if you double-click your Zoom tool,
it will take your image by default to 100%.
| | 03:54 | This is helpful to see your
image in a 1 to 1 view.
| | 03:57 | You can see the actual pixels.
| | 03:59 | In other words, here I am not
zoomed in or out, this is just an actual
| | 04:04 | representation of my image.
| | 04:06 | So again, those two double-click
shortcuts, they work well together.
| | 04:10 | Double-click the Zoom tool to go to 100%.
double-click the Hand tool and that will
| | 04:14 | take you to a fit in view perspective so that
you can see the entirety of your photograph.
| | Collapse this transcript |
| Changing HUD brush options| 00:00 | Here, we're going to take a look at how
we can modify some of the characteristics
| | 00:04 | of our different Brush tools on the fly.
| | 00:06 | We'll also take a look at a preference
which will help us modify what we can
| | 00:10 | actually change when it
comes to modifying our brush.
| | 00:13 | We can use these techniques with these
different tools that you'll see here in
| | 00:16 | this area of the Tools panel, whether
we're working with the Healing brush,
| | 00:20 | the Brush tool itself, the Clone Stamp tool,
Eraser, the Burn and Dodge tools, et cetera.
| | 00:25 | Let's go ahead and start
off with the Brush tool.
| | 00:28 | When you click on the Brush tool,
you'll notice that you have different options
| | 00:31 | up here in the Options Bar.
| | 00:32 | We can change some of the brush
characteristics by clicking on this icon here.
| | 00:36 | Here, I could decrease the brush size.
| | 00:38 | I could also change the overall brush
hardness to make the brush have
| | 00:42 | a harder edge or a softer edge.
| | 00:44 | Once I've selected those options, you
can go ahead and just click out of that
| | 00:47 | dialog and then hover over your image.
| | 00:49 | Well, here is my brush.
| | 00:51 | Well, let's say that what I want to do is I
want to paint in something in my photograph.
| | 00:55 | Well, if I do that, I can just simply
click, and there you can see what I've done.
| | 00:59 | You can also click and drag to add more.
| | 01:01 | Well, if this isn't correct, if I need
to change this, what you can do is press
| | 01:05 | the shortcut key to access what's
called a Heads-Up Display, or Heads-Up
| | 01:09 | Controls for this Brush tool.
| | 01:11 | To do that on a Mac, press Ctrl+Option
and then click, on Windows, you'll press
| | 01:16 | Alt and then you'll right-drag your mouse.
| | 01:18 | Here, if we click and drag to the left
and right, you can see I can increase or
| | 01:22 | decrease my brush size.
| | 01:24 | Click and drag up and down, and here
you can see I can change the hardness
| | 01:28 | or the softness of the edge.
| | 01:30 | This little visual aid here is showing me
that now my brush has a really hard edge.
| | 01:34 | If I want to make the brush smaller, I
can go ahead and bring that down, and in
| | 01:38 | this case, I'll just paint another line.
| | 01:40 | You can really see the
difference between these two lines.
| | 01:42 | Well, as you can see, what we can access
here by way of the shortcut is our Size
| | 01:47 | or Hardness or Softness.
| | 01:48 | Yet you'll notice there's
another characteristic here.
| | 01:50 | It's listed right here. It's Opacity.
| | 01:53 | Currently, my Brush opacity is 100%.
| | 01:56 | Well, you can change that Brush
Opacity by navigating to the Options Bar.
| | 02:00 | Here, I could go ahead and decrease that.
And now by doing that--if we open up
| | 02:04 | this here--you can see my opacity is 29%.
| | 02:06 | So, if I go ahead and let's say paint
another line--I'll do that right here--
| | 02:11 | you can see that this one is
much more faint. All right!
| | 02:14 | Well, how else can we
change our brush characteristics?
| | 02:17 | Well, if you navigate to your
Preferences dialog and go to the General Tab,
| | 02:21 | you'll notice that there is an option
for varying the round brush hardness based
| | 02:26 | on your Heads-Up Display vertical movement.
| | 02:28 | In other words, you can change the way
that you can access these controls or
| | 02:32 | what you can access.
| | 02:33 | Let's turn this option off.
| | 02:34 | Here, we'll go ahead and
click OK in order to apply that.
| | 02:37 | Well, now with this Brush tool,
we'll press our shortcut, that's
| | 02:41 | Ctrl+Option-click on a Mac, and
that's Alt+Right-drag on Windows.
| | 02:45 | Well, now left or right, it changes
my overall brush size just as before.
| | 02:49 | But this time, when I drag up or down,
you can see I can control the opacity.
| | 02:54 | So in this way, by changing our Preference,
this vertical up and down movement--
| | 02:59 | rather than changing hardness or
softness--well, now it controls the opacity.
| | 03:03 | And you can see that opacity amount changing there.
| | 03:06 | Well, what exactly do you want
to use when it comes to these
| | 03:09 | different preferences?
| | 03:10 | Well, this is where it's really up to you.
| | 03:13 | What I recommend you start off doing is
going back to your Preferences and just
| | 03:17 | leaving this particular preference turned on.
| | 03:20 | That's the default setting.
| | 03:22 | This will allow you to change, now, the
brush size or the hardness or softness by
| | 03:26 | way of the shortcut that
we've been talking about.
| | 03:29 | Then later if you want to customize
this and change it, well, just go ahead and
| | 03:33 | come back here and turn that option off.
| | 03:35 | If you prefer to have that vertical
movement modify the opacity, rather than the
| | 03:39 | hardness or softness of your brush.
| | Collapse this transcript |
| Customizing interface preferences| 00:00 | Here, we're going to take a look at a
few important interface preferences.
| | 00:04 | We'll explore how we can
customize the way that Photoshop appears.
| | 00:08 | Yet before we navigate to our
Preferences panel, what I want to do is take a
| | 00:11 | look at three different screen modes
that we have in Photoshop, because we'll be
| | 00:15 | looking at later how we can
customize these different modes.
| | 00:19 | In order to access the different
screen modes, you can navigate to your
| | 00:22 | View pulldown menu.
| | 00:23 | About halfway down you'll
see an option for Screen mode.
| | 00:27 | Here, we either have Standard, Full
Screen With a menu Bar, or Full Screen where
| | 00:31 | we just going to view the image itself.
| | 00:33 | Now we can navigate to the different
screen modes by simply clicking on one of
| | 00:36 | these menu items, or we can
use a few helpful shortcuts.
| | 00:40 | If you just click out of that menu for
a moment, what you can do is press the
| | 00:44 | F key to move forward through the
different screen modes. Or you can press
| | 00:49 | Shift+F to move backwards.
| | 00:50 | Let's try these out.
| | 00:51 | If I press F, you can see I'm now
moving to Full Screen mode and then the next
| | 00:55 | full screen mode, this
one really without anything.
| | 00:58 | Press F again, and it will
go back through this cycle.
| | 01:01 | So again, F moves forward, Shift+F,
that move backwards through those
| | 01:06 | different screen modes.
| | 01:07 | Well, now that we've seen these screen
modes, let's take a look at how we can
| | 01:11 | customize those and also
other interface elements.
| | 01:14 | To do that, we're going to go
back to our Preferences dialog.
| | 01:18 | You can access that by pressing
Command+K or Ctrl+K or just navigating to
| | 01:22 | Preferences, and then
click on the Interface tab.
| | 01:25 | We're going to be working right here.
| | 01:26 | I'm going to go ahead and drag this
down for moment so we can see a little bit
| | 01:30 | more of the Photoshop interface.
| | 01:32 | The first thing we can customize is
the overall color theme appearance.
| | 01:36 | We can make Photoshop darker by
clicking on one of these chips here, or we can
| | 01:40 | make it brighter. And here you can
really see how it's changing the overall
| | 01:44 | characteristics of Photoshop.
| | 01:46 | Well, as I make these changes, you
notice that one of the things that really
| | 01:49 | isn't changing is this area here in the image.
| | 01:52 | Well, this is the standard screen mode.
| | 01:54 | I can change that. Let's say I want to
change it to match a brighter tone by
| | 01:59 | clicking on this pulldown menu.
| | 02:00 | Here, I'll select something like Light Gray.
| | 02:02 | Now you can see that matches
a little bit more accurately.
| | 02:05 | So, as you choose your color theme,
you also might want to customize these
| | 02:09 | modes here as while.
| | 02:10 | Here, I'll choose a darker color
so that it's a little bit more of a
| | 02:13 | seamless perspective.
| | 02:15 | We can also control the way that
our image appears in this area.
| | 02:19 | Let me go to Light Gray for a moment
and then move this off to the left.
| | 02:23 | As I do that, you can see that there's a
drop shadow around the edge of the photograph.
| | 02:27 | That's determined by this
Border field right here.
| | 02:30 | We can change this to have just a
Line which will show a line around the
| | 02:33 | photograph. Or if you prefer,
you can turn this all the way off.
| | 02:37 | Now I know a lot of photographers that
prefer to have no border because they
| | 02:41 | find the border distracting,
especially because eventually when they print
| | 02:45 | their picture, there won't
be a border or drop shadow.
| | 02:48 | Therefore they remove that option.
| | 02:51 | Again, though, you want to choose the
option which best suits your needs. All right!
| | 02:54 | Well, let's go ahead and take this back
say to a Medium Gray here, and let's go
| | 02:58 | back to that default color theme.
| | 02:59 | Well, what about this? Full Screen with menus.
| | 03:02 | Well, in order to access that, we
saw that we would press the F key.
| | 03:05 | Well, everything got darker when we went
to that mode. You can see that's because
| | 03:09 | of the default setting.
| | 03:10 | We could also customize this here as
well and then also choose our border.
| | 03:14 | My preference is to use None.
| | 03:17 | Full Screen mode, we can either have
that really dark, or we could have that
| | 03:20 | bright or even use a custom color.
| | 03:22 | So here, you can see you can customize
the interface so it really suits your needs.
| | 03:26 | So choose the options which will
work well with your own workflow.
| | Collapse this transcript |
| Opening up documents in tabs| 00:00 | Here, we're going to continue to work
with some interface preferences, and we're
| | 00:04 | going to focus in on a few options
that you might want to customize.
| | 00:07 | So in the Preferences dialog, go
ahead and click on the Interface tab.
| | 00:10 | Next, let's make our way
down to this Options area.
| | 00:13 | For the most part, these default
settings will work really well.
| | 00:16 | Yet there are a couple of preferences
that you might want to customize.
| | 00:20 | These two rights here, these allow us
to open documents up as tabs. And also,
| | 00:25 | they allow us to dock images or
dock documents which are floating.
| | 00:29 | Let's see how these preferences work just
turned on here with the default settings.
| | 00:34 | Let's go ahead and click OK.
Let's navigate to the Adobe Bridge.
| | 00:37 | We can do so by going to the File pulldown
menu and then selecting Browse in Bridge.
| | 00:43 | Down here in Adobe Bridge, I want to
open up this picture which is located in
| | 00:47 | our Chapter 03 folder.
| | 00:49 | Let's go ahead and double-click
the image to open it up in Photoshop.
| | 00:52 | You notice that by default it opened
this picture up inside of a new tab.
| | 00:57 | In order to navigate between these two
photographs, we can just click on these tabs.
| | 01:01 | Yet let's say we have one of those
scenarios where we want to combine an image
| | 01:05 | with another document.
| | 01:07 | Well, how can we do that?
| | 01:08 | One way that we can do that is we can click
and drag this tab out of that tabbed area.
| | 01:13 | Now this is floating.
| | 01:15 | We could then bring that back to the
tabbed area by clicking and dragging it
| | 01:18 | here. You see that highlight blue is telling
me I can then drop that into that tabbed area.
| | 01:24 | Again, it's as simple as
clicking and dragging in or out.
| | 01:27 | And that's because of that preference
which allows us or enables us to dock
| | 01:31 | these floating windows.
| | 01:32 | If I want to bring this image into
this other document, it's as simple as
| | 01:36 | clicking and dragging and
dropping using the Move tool.
| | 01:39 | Here, we now have this
photograph inside of this document.
| | 01:42 | In this case, I actually don't want this here.
I just wanted to illustrate that.
| | 01:46 | So I'll delete this layer by clicking on the
trash can icon at the base of the Layers panel.
| | 01:50 | After having done that,
something interesting is going to happen.
| | 01:53 | I have this image up which is tabbed,
but where is the other photograph?
| | 01:58 | I haven't closed it yet.
| | 02:00 | We just can't see that
picture because it's floating.
| | 02:03 | To access it, we would have to go
back to this Window pulldown menu.
| | 02:07 | Here, at the very base, it will
show you all of your open documents.
| | 02:11 | I'll click on that other document, shaun_tomson.jpg
and you can see I can now access that.
| | 02:17 | So when you are working with floating
documents, it can be helpful because you
| | 02:20 | can kind of see these one on top of another.
| | 02:23 | Yet whenever you have a document
which is floating, eventually you will most
| | 02:26 | likely want to tab this or add this to
the tabbed group, so you want to make sure
| | 02:30 | you have that preference turned on.
| | 02:32 | Let's go back to our Preferences now.
| | 02:34 | Here, we'll go to Photoshop >
Preferences and choose Interface.
| | 02:38 | So again, you want to make sure that
this option is always turned on so that
| | 02:41 | it allows you to dock those floating windows.
And then this one. Well, it's really up to you.
| | 02:46 | If your workflow is all about
compositing and combining multiple images or
| | 02:50 | multiple documents together, you may
want to have this option turned off.
| | 02:54 | With this option turned off, what
will happen is when we go to the Adobe
| | 02:58 | Bridge to open up a document, it will open that
document up in a way where it will be floating.
| | 03:03 | So let's go back to the Bridge by
navigating to our File pulldown menu, choose
| | 03:07 | Browse in Bridge, and let's select
another picture, this time a photograph of my
| | 03:12 | wife and my oldest daughter Annie here.
| | 03:14 | We'll go ahead and double-click
that file to open it up.
| | 03:17 | You'll notice that this image now
comes into Photoshop, and it is floating.
| | 03:21 | Because I have the preference turned
on which allows me to dock this, I could
| | 03:25 | then drag and drop this into this area.
| | 03:27 | So this preference in regards to having
tabbed documents or floating documents
| | 03:32 | is really up to you.
| | 03:33 | In my own workflow, what I find that
typically works best is having this
| | 03:37 | preference turned on, Open Document as Tabs.
| | 03:40 | And the reason is, is that I then can
always drag one of these tabs out if I need to.
| | 03:45 | That being said, when I'm in that mode
where I'm really combining together a lot
| | 03:50 | of different photographs, every once in
a while, what I'll do is I'll navigate
| | 03:54 | to my Preferences and turn this option
off, just so it opens these images up in
| | 03:58 | a way where they are all floating.
| | 03:59 | Well, now that you know these options,
hopefully this information will help you
| | 04:03 | make the best choice for your own workflow.
| | 04:05 | In order to apply those settings, you
want to turn those options on and then
| | 04:09 | eventually, you will simply click OK.
| | Collapse this transcript |
| Reviewing file-handling preferences| 00:00 | Here, we're going to take a look
at our file handling preferences.
| | 00:03 | You know, for the most part, these
default settings, they're almost perfect.
| | 00:07 | So what I want to do is just
highlight a few things here and then give you
| | 00:11 | a few suggestions in regards to a couple of
preferences that you might want to modify.
| | 00:15 | When it comes to your file saving options,
these initial options here are great.
| | 00:20 | Moving down to this area, you want to
make sure to check this box on whenever
| | 00:24 | you use the Save As command, which you
can access from the File pulldown menu.
| | 00:28 | It's really helpful to have this by
default select that original folder,
| | 00:33 | because typically when you're using Save As,
you want to save that image in the same location.
| | 00:38 | The next option you definitely
want to have checked on. This is called
| | 00:42 | the Save in Background.
| | 00:43 | Well, what happens in Photoshop is
you'll have these files which will get
| | 00:47 | really, really big.
| | 00:48 | Well, it will take Photoshop a
while to save those documents.
| | 00:52 | If you turn this off, well,
Photoshop will be frozen.
| | 00:55 | You can't move forward
until that file is saved.
| | 00:59 | If you click this option on, it will
do this saving in the background so that
| | 01:03 | you can continue to work on that image or
other images which you have open in Photoshop.
| | 01:08 | The next option is Background Saver,
Automatically Save Recovery Information.
| | 01:13 | What this does is it allows you to
find how frequently Photoshop is saving
| | 01:18 | things behind the scenes.
| | 01:20 | In other words, you might want
to crank this up say to 5 minutes.
| | 01:23 | In this way, every 5 minutes
Photoshop is going to automatically back up your
| | 01:28 | image, even if you haven't saved it yourself.
| | 01:31 | So why would this be helpful?
| | 01:32 | Well, this would be helpful if
all of a sudden Photoshop crashed.
| | 01:36 | And Photoshop's a pretty stable
application, but it can happen.
| | 01:39 | Your computer can crash or Photoshop can crash,
and you can be in the middle of a project.
| | 01:44 | Well, if you're by having this
option turned on, well, it would have
| | 01:48 | automatically saved that document for you,
and it would have done this behind the scenes.
| | 01:53 | The next time you launch Photoshop, it
would then show you that recovered file.
| | 01:57 | So again, this is kind of like a safety net.
You want to leave that option turned on.
| | 02:02 | Next, down to File Compatibility.
Here there's a new button to access our
| | 02:05 | Camera RAW Preferences.
| | 02:07 | You can go ahead and click on that,
and it'll open up those Preferences.
| | 02:10 | We'll be talking about those later,
but I just want to highlight that this
| | 02:13 | button is new in this version of Photoshop.
| | 02:16 | Next, you want to leave these default
settings on to Prefer Adobe Camera Raw
| | 02:20 | for Supported RAW Files, of course.
| | 02:22 | Next, for this one though, I
recommend you turn off: Ask Before Saving
| | 02:27 | layered TIFF Files.
| | 02:28 | The TIFF file format is a really
powerful file format, and if you're using other
| | 02:32 | application, say like Adobe Lightroom,
like I use, well, I use that TIFF file
| | 02:37 | format a lot, and I almost
always have layered TIFF files.
| | 02:40 | Therefore, I don't want to see this dialog
every time which asks me about these TIFF files.
| | 02:46 | So in my own workflow, I turn that option off.
| | 02:48 | The next thing you might want to
customize is this here: Maximize PSD and
| | 02:53 | PSB File Compatibility.
| | 02:55 | In previous versions what we would tell
people was to turn this perhaps to Never.
| | 02:59 | You would only use this option if
you needed to save a Photoshop document
| | 03:03 | and then share it with someone who's going
to be using an older version of Photoshop.
| | 03:07 | Well, now though, it's helpful to have
this turned on, because if you use a
| | 03:11 | program, say, like Lightroom,
| | 03:13 | well, Lightroom can't work with
Photoshop documents unless the Maximize PSD
| | 03:18 | File Compatibility has been turned on.
| | 03:21 | Therefore, you may want to choose Ask.
| | 03:23 | In this way, as you save your PSD
files, you can then determine to either
| | 03:28 | choose that or not.
| | 03:30 | Well, what is Maximize PSD Compatibility?
| | 03:32 | Well, what this does is if you have
a layered file, it also saves inside of
| | 03:37 | your document a flattened
version of that layered file.
| | 03:41 | When working with Lightroom, Lightroom
can then access and read and work with
| | 03:44 | that flattened version of the file.
| | 03:46 | The downside is that it increases your
file size. That's why you might want to
| | 03:51 | have this option turned on, Ask, so that
you're just maximizing those files that
| | 03:56 | you know that you need
that option turned on for.
| | 03:58 | The last thing to highlight
here is your Recent File List.
| | 04:02 | In my own workflow I crank this up,
because you can access the Recent Files that
| | 04:06 | you've worked on from your File pulldown
menu, and this option won't slow down
| | 04:11 | Photoshop performance. Rather, it will
help you access and open files which
| | 04:15 | you've opened recently.
| | 04:16 | All right. Well, now that we've dialed
in all of these settings, let's go ahead
| | 04:20 | and click OK. And I just want to
highlight the Recent File List for you to show
| | 04:24 | you where you can find that option.
| | 04:26 | If you navigate to the File pulldown
menu. Here you'll see Open Recent, and it
| | 04:30 | will show you all of the files
which you've opened recently.
| | 04:33 | In my case, I've only opened these
three files, but because I changed that
| | 04:38 | number to 20, it would remember the
last 20 files that I've worked with.
| | 04:42 | As I continue to open these files, this
list would grow, and I find this is just
| | 04:47 | a really helpful way to access and
find files that I've worked on recently.
| | 04:51 | Because you know, sometimes you work on
an image, then you accidentally close it.
| | 04:55 | Well, you can then go to this Open
Recent dialog and reopen it really easily
| | 04:59 | without having to search around, or without
having to navigate back to the Adobe Bridge.
| | Collapse this transcript |
| Setting performance preferences | 00:00 | Here, we're going to take a look at
our Performance Preferences, and these
| | 00:04 | preferences are obviously important
because who doesn't want Photoshop to
| | 00:08 | perform at its peak?
| | 00:10 | These preferences, they're also dynamic.
| | 00:12 | They're tapping into your own
specific hardware configuration.
| | 00:16 | These will then help you try to figure
out how you can best set these up so you
| | 00:19 | can work with Photoshop most effectively.
| | 00:22 | Let's start off with Memory Usage.
| | 00:24 | Here, it's going to show you your
available RAM, and then you can define how much
| | 00:28 | RAM you want to dedicate to Photoshop.
| | 00:30 | Now, Photoshop really likes RAM.
It's hungry for it.
| | 00:35 | The more that we can dedicate to
Photoshop, the better it will run.
| | 00:38 | Yet this really depends
on our overall workflow.
| | 00:41 | Let's say that when you work in Photoshop,
it is the only application you have open.
| | 00:46 | Well, in a situation like that, you
might want to dedicate even more RAM to this
| | 00:50 | application so that it's really
taking up almost all of your RAM on your
| | 00:53 | computer, therefore, it
will just run incredibly well.
| | 00:56 | Yet perhaps in another scenario, maybe
you're running Photoshop and also your
| | 01:01 | web browser, and iTunes, and maybe you're
also doing some video editing in another
| | 01:05 | application as well.
| | 01:07 | Well, in situations like that, you're
going to need to decrease this amount so
| | 01:11 | that you can share the RAM
between these various applications.
| | 01:14 | Well, here the default setting is 70%.
| | 01:16 | What you'll need to determine
is how you use Photoshop and also
| | 01:20 | other applications.
| | 01:21 | In my own workflow, I typically--when I'm
working with Photoshop--I am really focused.
| | 01:26 | In other words, I don't have a ton of other
applications open, so I really crank this up.
| | 01:30 | I bring it up to something
like 80 or sometimes even 90%.
| | 01:34 | And again, the preference you choose
here is really depending upon your own
| | 01:38 | workflow and also your machine and the
other applications that you'll be using.
| | 01:42 | The next options are called History & Cache.
You notice that there are three buttons here.
| | 01:48 | You can click on these in
order to change these options.
| | 01:51 | Now, these options are kind of curious.
| | 01:53 | The first one is Tall and Thin.
| | 01:55 | It's valuable when you have those
documents which have smaller dimensions,
| | 01:59 | perhaps, you're designing something for
a web site, yet you have a lot of layers.
| | 02:04 | Well, in situations like that,
you'd want to choose this option.
| | 02:07 | Well, when we change this to Default,
you'll notice it changes our Cache
| | 02:11 | Level up a little bit.
| | 02:12 | It also increases our Cache Title Size.
| | 02:15 | Now, the Tile Size is kind of interesting.
| | 02:17 | This is telling Photoshop how much
information it can process at once.
| | 02:21 | We want to have a larger Cache Tile
Size when we're working with larger files.
| | 02:25 | So the default setting for
most people will work really well.
| | 02:28 | We also though have this
other option, Big and Flat.
| | 02:32 | What this is helpful for is those
situations where we have really high
| | 02:36 | resolution files, or you have these
files which have really large dimensions
| | 02:40 | but not a lot of layers.
| | 02:42 | So again, depending upon your own
workflow, you want to make the choice
| | 02:45 | which makes sense to you.
| | 02:47 | For most people, this Default
setting will work really well.
| | 02:50 | The last thing I want to highlight
here in this area is History States.
| | 02:54 | This is how much Photoshop
remembers what you've done.
| | 02:57 | In other words, as you're working in
Photoshop, it's going to remember your
| | 03:01 | brush strokes, the adjustment layers
that you make, the filters that you apply.
| | 03:05 | It's going to save those, all of
those last 20 steps that you've taken.
| | 03:09 | You can either increase or decrease this.
| | 03:12 | If you increase it, well, it might slow
Photoshop down because it has to remember more.
| | 03:16 | Yet sometimes by increasing it, it's going to
give you a little bit of a bigger safety net.
| | 03:21 | If you're new to Photoshop, I
recommend that you take this up a little bit
| | 03:25 | so that you can always step backwards,
and you can move back between what
| | 03:29 | you've done in the past.
| | 03:30 | Well, if you're really good at
Photoshop, I mean if you are an expert, you
| | 03:34 | don't need a safety net.
| | 03:35 | In other words, if you're a rock
climber that doesn't use ropes, well, then you
| | 03:39 | can go ahead and take this
down and use a smaller number.
| | 03:42 | But in this case, you know that you
just won't have as many history states.
| | 03:46 | So, perhaps in your own workflow you
want to start off with the default setting
| | 03:49 | or maybe just a little bit more so
you have a bit more of a safety net.
| | 03:53 | The next thing to highlight
is our Graphics Processor.
| | 03:56 | It's really important that you turn
this option on because a lot of our
| | 03:59 | different filters like Puppet Warp or
lighting effects or Liquify, well, they
| | 04:03 | tap into the graphics processor and
that processor allows us to make changes
| | 04:08 | really quickly on the fly. As we're
actually making the adjustment, we can see
| | 04:12 | what's taking place.
| | 04:14 | So again, just make sure that you have
that option turned on so that you can
| | 04:17 | take advantage of your graphics
processor when you're working with those
| | 04:20 | different types of adjustments.
| | Collapse this transcript |
| Choosing cursor preferences| 00:00 | Let's take a look at some of the
options that we have when it comes to
| | 00:03 | working with our cursors.
| | 00:05 | So go ahead and click on the
Cursors tab in your Preferences panel.
| | 00:09 | The first thing we're going to
look at is our Painting Cursors.
| | 00:12 | We have a few different options here,
and the first few options, I don't think
| | 00:15 | they're very relevant or good.
| | 00:17 | Let me show you why.
| | 00:18 | If we choose Standard, we're going to
see an icon which replicates the tool we
| | 00:22 | were working with, but it
is just not very precise.
| | 00:24 | We can't see very much.
| | 00:26 | Precise on the other hand
will show us these crosshairs.
| | 00:29 | This can be helpful, but also it
doesn't really show us the size of our brush.
| | 00:34 | So typically, what you going to want to
choose is either Normal or Full Size Brush Tip.
| | 00:39 | Let me first show you Normal.
| | 00:41 | I'll go ahead and click OK and then
select one of my Brush tools, whether
| | 00:45 | it's a Healing brush, the brush itself,
Clone Stamp tool, Eraser, Blur, or Burn and Dodge.
| | 00:51 | Again, we can select any of these.
To keep it simple, I'll use the Brush tool.
| | 00:54 | Now when I hover over this
area, I can see my brush size.
| | 00:58 | I can change this by going to the Options bar.
| | 01:01 | Here, we have our brush size,
also a brush Hardness.
| | 01:04 | Notice that as I change the Hardness
to make this a harder brush, you can see
| | 01:08 | that my brush looks different.
| | 01:09 | Notice how big the circle is here.
Let's then compare that to a smaller size.
| | 01:14 | Now my brush is much smaller.
| | 01:16 | So this brush is changing size based on the
overall hardness or softness of the brush.
| | 01:22 | Yet what's interesting about this is
that when I have a soft edge brush,
| | 01:26 | it's actually not that accurate,
yet it's really helpful.
| | 01:30 | Let me show you why.
| | 01:31 | Well, here if I go ahead and paint
on this background here--and I'll just
| | 01:34 | paint with this default black--what you'll
notice is that it's kind of filling up the circle.
| | 01:39 | If I paint back and forth, eventually
it's going to fill this up and go beyond
| | 01:44 | the actual size of this brush.
| | 01:46 | In other words, it's just showing me how
I'm going to initially paint with this tool.
| | 01:50 | If ever I want this to be Precise, well,
you can press the Caps Lock key.
| | 01:55 | That then goes to these crosshairs.
| | 01:57 | Notice that the Caps Lock key, though,
is a sticky key. Once you press it, you
| | 02:01 | have to press it again in order to undo that.
| | 02:04 | The advantage of this is sometimes
you want to get rid of that circle.
| | 02:07 | Well, now I can, and I can paint.
| | 02:08 | The disadvantage is that if I change
my brush size--here I'll make it really
| | 02:13 | big--well, the crosshairs
they're still really small.
| | 02:15 | So again, you can toggle back and forth
between these modes by pressing Caps Lock.
| | 02:20 | Another way that we can work with
cursors is if we go back to your Preferences.
| | 02:24 | Here, for those cursors, is we can
change this to a Full Size Brush Tip.
| | 02:29 | Let's look at that option.
Here, I'll click OK.
| | 02:31 | Well, now my brush, it appears much differently.
| | 02:34 | You can see that the edge shows me that I
have some kind of an interesting type of a brush.
| | 02:39 | What it's showing is that
this is a soft edge brush.
| | 02:43 | If we go back for Options bar and
change the Hardness--also going to decrease
| | 02:47 | the Size here so it's a
little bit easier to look at--
| | 02:50 | what you'll notice now is my brush has changed.
| | 02:52 | It's a bit more of a straight line.
| | 02:55 | So with this particular perspective,
it's going to give us a more accurate
| | 02:58 | perspective in regards, or
accurate view or preview of the brush.
| | 03:02 | In other words, it's going to show me how
far out this brush will eventually extend.
| | 03:07 | Some people prefer to work with this.
| | 03:09 | In my own workflow, I find
this view just distracting.
| | 03:12 | I prefer the brush which
is a little bit more simple.
| | 03:15 | So let's go back to our Preferences. Here
we'll choose Preferences and then the Cursors.
| | 03:20 | In my own workflow, I find that
normal brush tip typically works best.
| | 03:24 | Now you have two other options as well.
| | 03:27 | You can choose to Show the Crosshairs
inside of the Brush Tip, or you can choose
| | 03:31 | to Only Show the Crosshair when you're Painting.
| | 03:33 | In other words, when you press
down, the crosshairs will show up.
| | 03:36 | Well, again, in my own workflow, as a
photographer I'm using these different
| | 03:40 | tools to retouch or to Burn and
Dodge or to heal different areas,
| | 03:44 | so I want my brush to be as simple as possible.
| | 03:47 | Therefore, I choose to just
use this Normal Brush Tip.
| | 03:50 | Yet what you'll want to do
is experiment a little bit.
| | 03:53 | Try out these different settings and see what
settings might work well for you. All right!
| | 03:57 | Well, what about other cursors?
| | 03:59 | Well, other cursors, say,
like the Eye Dropper tool.
| | 04:01 | You can either use an
icon of the tool or Precise.
| | 04:04 | Precise, again, shows us this
little bit of a crosshair perspective.
| | 04:08 | You want to choose the option
which makes sense to your own workflow.
| | 04:11 | The last thing I want to
highlight here is Brush Preview.
| | 04:14 | Do you remember when we talked about
that heads-up preview and we could change
| | 04:18 | the brush size and also the hardness
or softness of the brush by using that
| | 04:22 | shortcut, which was clicking
and dragging with a few keys?
| | 04:25 | Well, the preview color was red.
| | 04:27 | We can change this to
something different if we prefer.
| | 04:30 | Here, I'll go ahead and try, say, perhaps blue.
Click OK and then go ahead and click OK again.
| | 04:36 | Now with one of your Brush tools selected,
you can hover over your image and then
| | 04:40 | press those shortcut keys.
| | 04:41 | On a Mac, it's Command+Option-click.
On Windows, that's Alt+Right-drag.
| | 04:46 | And here you can see the preview--
the heads-up preview that I'm seeing of
| | 04:49 | this brush--is now blue, rather than
previously it was red. And so by using
| | 04:55 | this option, again, it just changes the way
that you're previewing that heads-up preview.
| | 04:59 | To change that back to the normal
setting, go back to Preferences and choose
| | 05:03 | Cursors. And here I'll go back to my
color chip and I'll change this back to
| | 05:07 | the default red there. All right!
| | 05:09 | Well, that wraps up our look and how we
can customize our Cursor Preferences.
| | Collapse this transcript |
| Reviewing guides and type preview preferences| 00:00 | Here, we are going to walk our way
through the rest of our preferences.
| | 00:03 | We've taken a look at these, and there
won't be a lot to comment on in regards to
| | 00:07 | customizing these, because for the
most part, the default settings will work
| | 00:11 | well. Rather, I am just going to highlight
a few preferences and then share with you
| | 00:14 | a few things that you might want to customize.
| | 00:16 | Let's start off here with Transparency & Gamut.
| | 00:19 | For the most part, this gray and
white grid works really well when
| | 00:23 | showing Transparency.
| | 00:25 | I'll show you that in a minute, but
let's just leave the default setting as is.
| | 00:29 | We also have the ability to
choose a gamut warning color.
| | 00:32 | We can see this when we go to our View
menu and see what colors or tones are out
| | 00:36 | of gamut, that won't be
reproducible when we are creating prints.
| | 00:40 | Again, I'll show you that in a minute,
but I think all of these default settings
| | 00:43 | here work really well.
| | 00:45 | Next, let's go to Units & Rulers.
| | 00:48 | For Rulers, you want to choose
your increment of Inches, because as a
| | 00:52 | photographer you're really tuned in to
that, is this an 8x10 or a 4x6 document?
| | 00:57 | Next, when you open up a new document,
you have some Preset Resolutions.
| | 01:01 | Again, these default settings are great.
| | 01:03 | Typically, photographers will
work with say 300 Pixels per Inch.
| | 01:07 | Yet if your workflow is different and
if you're typically using 240, you could
| | 01:11 | then change that here.
| | 01:13 | Next, we'll explore how we can work with Guides.
| | 01:16 | Guides allow us to drag something
out of our ruler so that we can align
| | 01:20 | things in our photographs.
| | 01:22 | The default color is Cyan. We could
change that by clicking on this menu.
| | 01:27 | Well, so far we haven't seen Guides or
Rulers or any of these things, yet again
| | 01:31 | let's just continue to walk through
these preferences, and then I'll show you
| | 01:34 | these things in Photoshop in a minute.
| | 01:36 | In regards to Plug-Ins, this would be
if you had third-party plug-ins.
| | 01:40 | In this case, I don't have any.
So I am going to go ahead and skip that.
| | 01:43 | The last thing to highlight here is
Type, and as you can read with these
| | 01:46 | particular preferences, all of the
default settings again look really good.
| | 01:50 | Okay. Well, let's go ahead and click OK.
| | 01:52 | When we do that, we can
navigate back to Photoshop.
| | 01:56 | One of the first things that I want
to do is I want to open up my Rulers.
| | 01:59 | To do so, on a Mac press Command+R, on
Windows press Ctrl+R, or you can always
| | 02:04 | navigate to your View pulldown
menu and here you can select Rulers.
| | 02:08 | You can see the increments
for the Rulers are Inches.
| | 02:11 | If you click into one of the Rulers,
you can click and drag out a Guide.
| | 02:15 | Notice it's this cyan color, which was
the default color in the preference dialog.
| | 02:20 | You can also click and drag from your
top ruler in order to bring out a ruler
| | 02:24 | which is horizontal.
| | 02:25 | Now when you're clicking and dragging
out a ruler, you can put these away
| | 02:29 | by also hovering over them and then just
putting them back inside of this ruler here.
| | 02:33 | You can think of this
almost like a little drawer.
| | 02:36 | Another way that you can work with
Guides is if you click and drag and bring
| | 02:39 | one out, you can hold down the Option
key or the Alt key--Option on a Mac, Alt
| | 02:44 | on Windows--and it will rotate that from
vertical to horizontal or horizontal to vertical.
| | 02:49 | So again, that modifier key can be
helpful when working with Guides.
| | 02:53 | Another thing we talked
about was the Gamut Warning.
| | 02:56 | You can access that by going to
your View pulldown menu and here by
| | 03:00 | choosing Gamut Warning.
| | 03:02 | In this case, you can see all of this
gray here on my image, showing me that
| | 03:06 | these colors are out of gamut.
| | 03:08 | Those are colors or tones which will
be hard to print when I get to that
| | 03:12 | stage of my workflow.
| | 03:14 | The last thing I want to
take a look at is Transparency.
| | 03:16 | So let's go ahead and double-click our
Background layer and then just click OK.
| | 03:20 | This will just unlock this Background
layer so that we can use our Move tool in
| | 03:24 | order to move this over.
| | 03:26 | When we move it over, we can see
that we have this gray and white grid.
| | 03:30 | This represents Transparency.
| | 03:32 | In other words, if we were to print this
image, there wouldn't be anything here.
| | 03:36 | Now that we've seen all of these
different options in real life, let's go back
| | 03:40 | to our Preferences dialog.
| | 03:42 | Here, we'll go to Photoshop > Preferences
and then choose Transparency & Gamut.
| | 03:46 | Well, with this Preference dialog, you can
see that here we have that gray and white grid.
| | 03:50 | You can change that by using these
color chips here. You want to have something
| | 03:54 | different show up as Transparency.
| | 03:56 | Typically, it's best to keep this
really minimalistic and simple, so again, the
| | 03:59 | default settings there are great.
| | 04:01 | We can also change that Gamut Warning.
| | 04:03 | You can see that here again by simply
clicking on that color chip, and we could
| | 04:07 | choose a different gamut warning color.
| | 04:09 | In regards to our Units and Rulers, we
saw how we are using Inches up top and
| | 04:14 | then when it comes to those Guides, we
can choose different colors for these
| | 04:17 | guides if we want something which
is a little bit less distracting.
| | 04:20 | Here, though, I'll go back
to that default setting.
| | 04:23 | That wraps up our conversation about how
we can dial in our Preferences so that
| | 04:28 | we can most effectively work with
our photographs inside of Photoshop.
| | 04:32 | After you've finished customizing your
Preferences, simply go ahead and click
| | 04:35 | OK, and then you can continue to
work with your pictures with those new
| | 04:39 | Preferences now dialed in.
| | Collapse this transcript |
|
|
4. Foundations of Color ManagementExploring two simple steps for more accurate color| 00:00 | Here, I want to introduce you to the
topic of color management. And I also want
| | 00:04 | to share with you two simple steps
that you can take in order to have more
| | 00:08 | accurate color in your overall workflow.
| | 00:11 | So for starters, what is color management?
| | 00:13 | Well, color management refers to the way
that we work with and manage color and
| | 00:18 | also how we can communicate
that color on different devices.
| | 00:22 | Let's say how we can view this picture
on our monitor, and also how we can send
| | 00:26 | that image to the printer so that the
color that were seeing on our monitor can be
| | 00:31 | accurately reproduced, say, on a printer.
| | 00:33 | In other words, color management, it's
all about clarity. It's about clarifying
| | 00:38 | communication between multiple devices.
| | 00:41 | And you know, there are some things
that we can do in Photoshop in order to
| | 00:44 | ensure that we have good
color management practices.
| | 00:48 | Before we even begin to work in
Photoshop, there are two things that I recommend
| | 00:52 | you do in order to ensure that
you have more accurate color.
| | 00:56 | Let's go ahead and talk about those.
| | 00:57 | The first one is Monitor Calibration,
the second one has to do with the Ambient
| | 01:02 | Lighting that you have in
your studio or your office.
| | 01:05 | Let's talk about Monitor Calibration first.
| | 01:07 | Monitor Calibration is really important,
and what you can do is you can use a
| | 01:12 | device in order to calibrate your monitor.
I'll actually be doing this later in this chapter.
| | 01:17 | But I just want to introduce the topic here.
You can use a device like this, the ColorMunki.
| | 01:22 | This is the one that I use on my own monitors.
| | 01:24 | This is a Colorimeter which
measures the color on your monitor.
| | 01:29 | In other words, what it does is it
allows you to accurately create a profile
| | 01:33 | which describes and displays
the color on your monitor.
| | 01:36 | That way you can be certain that the
color that you're seeing can be reproduced
| | 01:40 | on different devices.
| | 01:42 | The other thing that we need to do is
to make sure that we have good ambient
| | 01:46 | lighting in our studio or our offices.
| | 01:49 | Typically, the light sources that we
gravitate towards are really warm.
| | 01:54 | Well, those light sources are inviting
and sometimes beautiful, yet the trick is,
| | 01:58 | is that all of that warm yellow light
will be bouncing off of your walls and
| | 02:03 | reflecting on your monitor.
| | 02:05 | Therefore, when you're staring at a
color on your monitor, what looks like white
| | 02:09 | will actually look a little bit yellow.
| | 02:11 | It'll really skew your overall perspective.
| | 02:13 | So what you want to do is you want to
get a light source which is daylight
| | 02:18 | balanced, and you can do this by
purchasing really expensive light sources like
| | 02:22 | this one here, or you can just go to
your local hardware store and look for a
| | 02:26 | light bulb which says
that it's daylight balanced.
| | 02:29 | Now initially when you first start
working with a light source like this, it'll
| | 02:33 | seem a little bit too neutral,
maybe even a bit sterile.
| | 02:36 | But eventually you'll come to enjoy and
appreciate it because it will give you
| | 02:40 | a really neutral and clean color
palette so that you can then more accurately
| | 02:45 | analyze and view the color on your monitor.
| | 02:47 | All right. Well, after having set up
these two things, what we need to do next is
| | 02:51 | take a look at how we can manage color
when working in Photoshop.
| | 02:55 | Let's talk about that in the next movie.
| | Collapse this transcript |
| Introducing color profiles| 00:00 | Here, I want to continue our
conversation about color management.
| | 00:03 | But this time I want to focus in on working
with different color profiles or color spaces.
| | 00:09 | I want to pose this question:
| | 00:11 | Why do color profiles or
color spaces even matter?
| | 00:15 | One of our previous movies, we talked about
setting up different color spaces or profiles.
| | 00:19 | I want to go ahead and open up that
dialog here briefly just to remind you.
| | 00:23 | I talked about how you could choose a
color space and you could select one
| | 00:27 | from this pulldown menu.
| | 00:28 | Well, we can also choose color
profiles for images which are based on these
| | 00:33 | different color spaces.
| | 00:35 | Well, why do these matter and what does
this have to do with color management?
| | 00:39 | Let's go back to our slide and
let's talk a little bit about this.
| | 00:42 | We have a few different main color spaces
that we use, sRGB, Adobe RGB, and Pro Photo.
| | 00:49 | These color spaces allow us to create
and work with a certain gamut of colors.
| | 00:54 | Here, you can see a 3D model which shows
a few different color spaces. And a lot
| | 01:00 | of times when we get into this whole
topic of color spaces and profiles, well,
| | 01:04 | it gets a little bit abstract and vague.
| | 01:06 | So I like to make this really simple.
Let's think of it this way.
| | 01:10 | You can think of that sRGB color space kind
of like having a really small box of crayons.
| | 01:15 | You have a limited color palette.
| | 01:18 | Adobe RGB on the other hand, well,
that's like having that bigger box of crayons
| | 01:22 | with the built-in sharpener
that never really works.
| | 01:24 | And then we have Pro Photo. Pro Photo is huge.
| | 01:28 | It's like having that box of
crayons with 200 crayons in it.
| | 01:32 | Again, we have more color options,
more variations, more shades and tones and
| | 01:37 | different types of saturation.
| | 01:40 | So we have these different color spaces,
and these different color spaces, well,
| | 01:44 | they're really important.
| | 01:46 | As you can imagine, as we choose a
color space or as we tag one of our
| | 01:50 | images with a profile based on one
of these, well, it really defines the
| | 01:55 | color in the image.
| | 01:57 | If we were to look at this in perhaps
a little bit more of a specific way, we
| | 02:01 | can see one of these color space models.
| | 02:03 | Here, in this inner model you can see I
have the RGB or Adobe RGB (1998) color space.
| | 02:10 | The outer one--the one which
reaches further--is Pro Photo.
| | 02:14 | With Pro Photo, you can see that we
can create reds which are more saturated,
| | 02:18 | greens which are brighter and more saturated.
| | 02:21 | It gives us a wider gamut of color.
| | 02:23 | So these color spaces and
profiles, well, they really matter.
| | 02:27 | Well, how then does this relate to
Photoshop and why does this matter?
| | 02:31 | Well, if we go back to this concept, we
can see that I have an image here and
| | 02:35 | I have two devices.
| | 02:36 | Well, if I'm going to display this
image on this device, the color is going to
| | 02:41 | be created versus RGB.
| | 02:43 | That's how color is created via light.
| | 02:46 | On the other hand, if I'm going to
print this image, well, the printer is going
| | 02:50 | to create the color for this photograph
in a color space which is called CMYK,
| | 02:56 | and that's the color space that is
used when color is created via ink.
| | 03:00 | Let's dig a little bit deeper into this topic.
| | 03:02 | Let me pull up another slide which illustrates
the differences between these two color spaces.
| | 03:08 | One of the things that's different
about this is that one color space is
| | 03:11 | additive while another is subtractive.
| | 03:14 | Here, I think you can see that.
| | 03:16 | The RGB color space, the more color we
have, you can see in the overlap, the
| | 03:21 | more white it becomes.
| | 03:23 | CMYK on the other hand, the more we have,
well, the darker it becomes--the more black.
| | 03:29 | You've experienced these different
color spaces really without even knowing it,
| | 03:33 | and what's interesting about this is
that that RGB color space, well, it's how
| | 03:37 | monitors create color.
| | 03:39 | The printer, well, it creates
color just completely differently.
| | 03:43 | So let's go back to the other slide here.
| | 03:45 | So as we're thinking about working
with our monitor and also our printer and
| | 03:49 | trying to have these good practices
when it comes to color management, what we
| | 03:53 | have to keep in mind is that when we
have a photograph, we have to have a few
| | 03:57 | elements combined together in order to
be able to clearly translate the color
| | 04:02 | that we're seeing here say to another device.
| | 04:05 | We've talked about these elements already.
| | 04:07 | We need to have a good ambient
light source so that we're viewing color
| | 04:11 | accurately in our setting.
| | 04:13 | We also need to make sure
that we have a monitor profile.
| | 04:17 | We need to calibrate our monitors.
| | 04:18 | And then finally, we need a color
profile for the image itself, and we can
| | 04:24 | choose that profile from inside of Photoshop.
| | 04:26 | We'll be talking about how we can do
that in the next movie, but for now I just
| | 04:30 | want to refer to that.
| | 04:31 | And so what will happen is if we
have good ambient lighting, if we have a
| | 04:35 | monitor profile and a color profile on
our image, well, if we send all of those
| | 04:40 | things to another device, well, ideally
we'll be able to reproduce that color.
| | 04:44 | And this will ensure that our odds at
reproducing the color that we're seeing
| | 04:48 | on our monitor will more closely match the
colors that will be created on another device.
| | 04:53 | In other words, color management,
it's all about clarifying communication.
| | 04:58 | And what we need to do is think
about these different elements and how we
| | 05:01 | can bring these elements together in order
to create more accurate and beautiful color.
| | 05:06 | Well, now that we've been introduced to
this whole topic conceptually, let's go
| | 05:11 | ahead and really dig into it and see
how we can start to work with these concepts.
| | 05:14 | And let's do that in the next movie.
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| Opening and saving files with embedded profiles| 00:00 | Here, we are going to take a look at how
we can work with color spaces and color
| | 00:04 | profiles, and how we can work
with different type of images.
| | 00:07 | We will be working with these four
photographs here that you can find in
| | 00:10 | the Chapter 04 folder.
| | 00:12 | Let's start off in Photoshop.
| | 00:14 | To navigate to Photoshop from the Adobe
Bridge, you can click on this boomerang
| | 00:18 | icon here, and that will take you to Photoshop.
| | 00:21 | Next inside of Photoshop, what I
want you to do is to navigate to your Edit
| | 00:24 | pulldown menu and then select Color Settings.
| | 00:28 | This will open up our Color Settings dialog.
| | 00:31 | And I want to do this just to
highlight our current working space.
| | 00:34 | Currently the color space that I've
chosen is Adobe RGB (1998). I've also asked
| | 00:41 | Photoshop to let me know if there is a
profile mismatch. In other words, it will
| | 00:46 | let me know if I open up a file which
isn't in this current working space.
| | 00:51 | Well, let's go ahead and click OK here.
| | 00:53 | Let's go back to the Adobe Bridge.
You can do so by choosing File and
| | 00:58 | then Browse in Bridge.
| | 00:59 | Here, in the Adobe Bridge, I am going
to open up this file, Adobe_RGB.jpg.
| | 01:05 | This image is in the color space of
Adobe RGB (1998), the same working space
| | 01:10 | that I have in Photoshop.
| | 01:12 | So to open up this file, we will simply
double-click it, and it will open in Photoshop.
| | 01:17 | Again, there is no problem because
this is in the accurate color space.
| | 01:21 | Okay. Well, let's go back to Bridge and
see what will happen if we have an image
| | 01:25 | which isn't in the same color space.
| | 01:27 | Once again, choose File then Browse in Bridge.
| | 01:30 | Here, I will select this file.
| | 01:32 | This one has been converted
to the sRGB color space.
| | 01:36 | Let's go ahead and double-click
that in order to open it up.
| | 01:39 | When we do that Photoshop
gives us this warning message.
| | 01:43 | Now this warning message makes it
seem like something bad has happened.
| | 01:47 | Well, not necessarily.
Let's read what we see here.
| | 01:50 | Well, it shows us that this image has
an embedded color profile that doesn't
| | 01:55 | match our current space.
| | 01:57 | What's embedded is the sRGB workspace.
| | 02:00 | We are working in Adobe RGB (1998).
So what do you want to do?
| | 02:04 | Well, there are three options,
yet in reality there are only two.
| | 02:08 | The last option of Discard the
embedded profile or don't color manage
| | 02:12 | just isn't a good idea.
| | 02:13 | So you very rarely will ever choose
that option. So we can almost just cross
| | 02:17 | that one off instantly.
| | 02:18 | Well, what about these top two?
| | 02:20 | We can either choose to use the
embedded profile, or we can convert this to the
| | 02:25 | current working space.
| | 02:26 | Well, you might want to choose the
embedded profile if you know that this image
| | 02:30 | is going to go online.
| | 02:32 | Well, the sRGB color space is great for that.
| | 02:35 | As a matter of fact, you'll want your
pictures to be in that sRGB color space if
| | 02:39 | you are going to be posting them online.
| | 02:41 | On the other hand, you may decide that
this image is going to be printed.
| | 02:45 | In a situation like that, you might want to
choose to convert the document's color
| | 02:48 | space to the working space.
| | 02:51 | So again, you can choose the appropriate
option here based on what you want to do.
| | 02:54 | In my case, I want to use the embedded profile.
| | 02:57 | I am just going to post this image, say,
on my blog or maybe email it to someone.
| | 03:01 | So here I will go ahead and click OK.
That will then open up this photograph.
| | 03:06 | Now what's great about this is we
can see the way that the photograph is
| | 03:09 | going to be displayed.
| | 03:11 | And let's say that we've decided that,
you know what? While this is in this sRGB
| | 03:15 | color space, I have actually decided
I want to change that color space.
| | 03:19 | Well, how can we do that?
| | 03:20 | What you can do is you can
navigate to your Edit pulldown menu.
| | 03:24 | Then you can choose this
option Convert to Profile.
| | 03:28 | You can do this with any file format.
| | 03:31 | In this case, you can see the
Source Space, currently sRGB.
| | 03:35 | Well, I could change that to another
profile here, and if you click on this
| | 03:39 | pulldown menu, you can see we
have different color profiles.
| | 03:42 | So we could select another one. Let's
choose this, Adobe RGB (1998), just for
| | 03:47 | demo purposes and then go ahead and click OK.
| | 03:51 | That has now converted this
file to this new color space.
| | 03:55 | Well, what's important is whenever
you're working with files is that when you
| | 03:59 | save your files that you're sure to
embed the color profile with the document.
| | 04:04 | Let's take a look at that.
| | 04:05 | We will navigate to File, and
here I am going to choose Save As.
| | 04:08 | This will open up my Save As dialog,
and I am going to name this one--rather
| | 04:14 | than sRGB--I'll go ahead and call this
RGB-2, another version of that same file
| | 04:20 | that we have there.
| | 04:21 | In this case, we want to make sure this
check box is turned on, Embed Color Profile.
| | 04:28 | And I can't emphasize this
enough. This is so critical.
| | 04:32 | In order to have good color management,
we just need to have that on because that
| | 04:37 | profile ensures that as we work with
this image, well, that profile will then
| | 04:42 | travel with that file so that this
color can be accurately translated to
| | 04:46 | different devices wherever this image goes.
| | 04:49 | So again, as you're saving your
photographs, whatever you're doing, just make
| | 04:53 | sure this check box is always turned on.
| | 04:55 | Here, I will go ahead and click Save
in order to save that file out and
| | 04:58 | then simply click OK.
| | 05:00 | Well, what about other files,
say, like RAW files?
| | 05:04 | Here, let's go back to the Adobe Bridge.
| | 05:05 | I will click on File and
then choose Browse in Bridge.
| | 05:09 | In Bridge, I have these two RAW files
that I captured. Let's start off with
| | 05:13 | this first one here.
| | 05:14 | I will just double-click it and it
will open it up in Adobe Camera Raw.
| | 05:18 | Well, when you're working with Adobe
Camera Raw, the default color space--which
| | 05:22 | you can see down here--is Adobe RGB (1998),
therefore if I simply click Open, it
| | 05:29 | will then open this image up in the
working space and it's good to go.
| | 05:33 | Well, what about those situations
where we want a wider gamut?
| | 05:37 | We want more colors. We want that tub of
crayons--of 200 crayons. We want pro photo.
| | 05:41 | Well, we can access that in Adobe
Camera Raw. Let's take a look at it.
| | 05:46 | Here, we will go back to the Adobe
Bridge, File > Browse in Bridge.
| | 05:51 | Let's select this image here and
double-click it to open it in Camera Raw.
| | 05:55 | Well, you notice that this is our
current color working space, but this also
| | 06:00 | looks kind of like a link
because it's underlined.
| | 06:03 | If you click on it, it will
open up a Workflow Options dialog.
| | 06:07 | Now we haven't talked a lot about
Camera Raw yet, but I just want to highlight
| | 06:11 | this here that we can change our color space.
| | 06:14 | In this case, I am going to go to this
ProPhoto RGB color space. This will then
| | 06:19 | convert this to that
color space and then click OK.
| | 06:22 | Now once I open the image, we will see
that we will also have a dialog which will
| | 06:26 | tell us there is some sort of an issue here.
| | 06:29 | Again, the Embedded profile, it's
ProPhoto. We are working in Adobe RGB.
| | 06:34 | Well, in a situation like this, I would
want to use the Embedded profile because
| | 06:39 | that would allow me to take
advantage of that wider gamut of colors.
| | 06:43 | So in this case, just simply click OK in
order to open this image up inside of Photoshop.
| | 06:48 | So just to recap this a little bit, one
of the things that you can see is that
| | 06:52 | our color working space and also the
profile that we choose are both really
| | 06:57 | important decisions.
| | 06:58 | We went to our Edit pulldown menu,
and here we selected Color Settings.
| | 07:03 | This is where we defined our working space.
| | 07:06 | You want to define the working space for
the color profile that you are going to
| | 07:09 | be using most frequently.
| | 07:11 | In the case of this training movie,
I'll be using the Adobe RGB working space.
| | 07:16 | Next, as you're working with your
files and as you save those out, you want
| | 07:20 | to make sure that you're always tagging
your files with that embedded color profile.
| | 07:24 | Here, in this case, you want to make
sure you leave that check box on in order
| | 07:28 | to ensure that all of that color information
and that profile is part of the document.
| | Collapse this transcript |
| Setting up your studio| 00:00 | As a young kid I had the privilege of
growing up in a house that was designed
| | 00:05 | and built by my dad in Northern
California, and it was a beautiful home.
| | 00:09 | And what that thought me as a
young guy was that space matters.
| | 00:13 | I could remember those days when I was having
just a horrible day, and then I would come home.
| | 00:16 | And I would look up with the exposed
wood beam ceilings and also at this
| | 00:20 | one wall, an entire wall of windows
which looked out on creeks and Oak
| | 00:24 | trees and rolling hills.
| | 00:26 | And somehow that affected my spirit.
| | 00:28 | And as a creative professional, I've come
to believe even more so that space matters.
| | 00:33 | Whether it's your studio or your office,
somehow the space that we have and the
| | 00:37 | space that we create affects us.
| | 00:40 | Well, here we are at my office. What I
want to do is talk a little bit more about
| | 00:43 | space. So let's go ahead and
head on in. Come on, let's go.
| | 00:47 | Have you ever walked into someone's
home studio or workspace and just felt like
| | 00:52 | the environment was kind of
stifling? Or worse, depressing?
| | 00:56 | On the other hand, have you ever gone
to someone's workspace or home and been
| | 01:01 | invigorated, been excited, been
intrigued by all of the little details?
| | 01:05 | One of the things that I've come
to discover is that space matters.
| | 01:09 | Now a lot of times when we are working
in Photoshop, we have tunnel vision.
| | 01:12 | We think it's all about the computer.
| | 01:13 | But it's also about what
surrounds us and our computer.
| | 01:18 | Because if we are in a creative
environment, that will show up in our photographs.
| | 01:22 | Now another thing that's really
important about your space is light.
| | 01:26 | What kind of light source do you have?
Is it something that's neutral like a
,
| | 01:29 | daylight balanced light source, so
you're seeing really good and accurate color?
| | 01:33 | Also, you want to watch out for reflective color.
| | 01:36 | Like if you have a bright red wall
right next to your computer, well, the light
| | 01:38 | is going to bounce off of that, then
bounce right back onto your monitor so that
| | 01:43 | you are you are not seeing
very accurate or very good color.
| | 01:46 | So I have two questions for you.
| | 01:48 | First question: what do you need
to do to transform your space into a
| | 01:52 | creative greenhouse?
| | 01:54 | Second question: what do you need to do to
improve the overall lighting where you work?
| | Collapse this transcript |
| A demonstration of monitor calibration| 00:00 | Color management is all about clarifying
communication between multiple devices.
| | 00:05 | And color management is incredibly
important, because when we look at an image
| | 00:09 | on our monitor, what we're seeing
is the image created via light.
| | 00:13 | Yet when we print that image,
it's being created via ink.
| | 00:17 | Therefore, what we need to do is clarify
the communication between what we see on
| | 00:21 | our monitor and our printer.
| | 00:23 | And one way to do that is to create a
profile for our monitor and also a profile
| | 00:28 | for our printer and the paper type.
| | 00:30 | The device that I use in order to do
this is called the ColorMunki, and I like
| | 00:34 | this device because it's compact and
because it works incredibly well and
| | 00:38 | because I can use one device to create
profiles for my monitor, my printer, and
| | 00:42 | also for projectors.
| | 00:44 | One of the advantages of using
something like this is that it comes with a
| | 00:48 | software program which you can run, you
can then take this device and hang it on
| | 00:53 | your monitor--as I am doing here--and
then run this little software program.
| | 00:58 | And what this will do then is it
will send different colors at different
| | 01:03 | brightness values to the device.
| | 01:05 | The device will then read those values
and it will create an accurate profile.
| | 01:09 | Now this profile is really helpful
because what it will do is it will help
| | 01:13 | interpret what we're seeing here, so
we can get really good, really accurate
| | 01:18 | prints when they come out of our printer.
| | 01:21 | So if you want to improve your overall
color manage workflow, you may want to
| | 01:25 | consider getting a device like this.
| | 01:27 | Now of course, if you don't have a
budget for it right now, it may be something
| | 01:30 | that you want to schedule into your budget.
| | 01:33 | Because once you use this type
of device, you'll never go back.
| | 01:37 | You'll soon discover that this type of
accuracy pays for itself and also, it
| | 01:42 | makes the overall process much more enjoyable.
| | Collapse this transcript |
| Finding color management resources| 00:00 | I hope that this brief chapter has
increased your awareness and interest in
| | 00:04 | working with color and in creating
a better color management workflow.
| | 00:08 | And if you're interested in digging
deeper, you may find these next two web sites
| | 00:13 | that I'm going to share with you helpful.
| | 00:15 | The first one is dpbestflow.org.
| | 00:18 | This web site is phenomenal because
there are so many valuable resources here.
| | 00:23 | What you'll want to do is navigate to
this site and then hover over the Best
| | 00:27 | Practices button and then click on Color.
| | 00:29 | This will take you to a section where
you can learn about color management,
| | 00:33 | monitor calibrating, camera profiling,
color space, desktop printing, and more.
| | 00:38 | And again, there are some really great
resources here, and the best thing is
| | 00:42 | that it's all free, and it's really good.
| | 00:44 | Another section of the web site that
you may find helpful is Resources.
| | 00:48 | Here, you can find some helpful books
and links which will help you learn more
| | 00:52 | about these different topics.
| | 00:54 | The next web site that I want to share
with you is put together by someone who's
| | 00:57 | really inspired me and who is also a friend.
| | 01:00 | It's this one here. It's johnpaulcaponigro.com.
| | 01:04 | John Paul is a phenomenal photographer,
and he is also one of the world's leading
| | 01:09 | experts when it comes to color.
| | 01:10 | You may want to click on this section
here, Workshops, and here you can see that
| | 01:15 | he offers many different types of workshops.
| | 01:17 | Some focus in on printing,
others on color management.
| | 01:21 | Also, if you dig around a little bit
on this site, you can find some free
| | 01:25 | resources which can really help you get
a handle and how you can work with color
| | 01:29 | and how you can have a
better color manage workflow.
| | Collapse this transcript |
|
|
5. Getting Started with PhotoshopIntroducing the Tools panel| 00:00 | Here, in this chapter we are going
to start to work with Photoshop.
| | 00:03 | Yet one of the first things that I want
to do is focus in on some of the basics
| | 00:07 | so that we are all on the same page.
| | 00:09 | Let's start off by taking
a look at the Tools panel.
| | 00:12 | The Tools panel is
located over here on the left.
| | 00:15 | There are a number of different tools
in this panel, and at first glance it's
| | 00:19 | kind of a little bit confusing.
| | 00:21 | So what I want to do is deconstruct
the Tools panel so that we can really
| | 00:25 | understand what's here.
| | 00:27 | And also want to talk about how we can
select and work with different tools.
| | 00:31 | Well, in order to do that, I am
going to click on this tab here for this
| | 00:34 | document that I have.
| | 00:36 | This is just a demo slide.
| | 00:37 | I am going to go ahead and take a look
at this demo slide, and I want to do this
| | 00:41 | in full-screen mode.
| | 00:42 | I am going to go ahead and
zoom in on the Tools panel.
| | 00:45 | The first thing I want to do is compare the
Tools panel from Photoshop CS5 Photoshop CS6.
| | 00:52 | Here, you can see for the most part,
these panels look really similar and most of
| | 00:56 | the tools are in the same location.
| | 00:59 | And that's really good news if you've
used a previous version of Photoshop,
| | 01:03 | because basically it's the same thing.
| | 01:06 | Now onto deconstructing what we have here.
| | 01:09 | You'll notice that there are
these little dividing lines.
| | 01:12 | These tools, well, they're grouped
together intentionally. Up at the top we have
| | 01:17 | our selection tools.
| | 01:19 | One of the Photoshop mantras is
select before you correct. That's why these
| | 01:24 | tools are located up near the top.
| | 01:26 | We also have the ability to crop or to measure.
| | 01:29 | Next, we have our retouching
tools and painting tools.
| | 01:33 | These give us the ability to heal
or clone or paint or erase and more.
| | 01:38 | In the next group, we have tools which
allow us to draw or add type or custom shapes.
| | 01:44 | Then finally, down below we
have our Move and Zoom tools.
| | 01:48 | Now that we have seen that, what I am
going to do is navigate back to Photoshop
| | 01:51 | here and bring back all the panels
and go back this image, lynda-1.jpg.
| | 01:57 | Let's take a look at how we can now
select tools and also how we can modify some
| | 02:01 | of the options for the
various tools that we have here.
| | 02:04 | One of the first things that you'll
notice is that many of these tools have a
| | 02:08 | little triangle next to them.
| | 02:10 | If they have this triangle,
you can click and hold down.
| | 02:13 | This allows you to have access to other
tools which are located underneath the main tool.
| | 02:19 | Again, just simply click and hold down, and you
can see that you can access these other tools.
| | 02:23 | You'll also notice that each tool
has a shortcut associated with it.
| | 02:28 | One of the ways that you can toggle
between these different tools is you can
| | 02:32 | press the shortcut key and also a modifier key.
| | 02:36 | Let me show you what I mean.
| | 02:37 | Let's say we want to select one of our
Lasso tools and we have the Move tool selected.
| | 02:42 | Well, you can press the L key in order
to select that tool and then Shift+L and
| | 02:48 | that will then go through the
other tools underneath that tool.
| | 02:51 | We could do the same thing
with other tools as well.
| | 02:53 | Let's look at this, say, with the Brush tool.
| | 02:55 | We will press B and then Shift+B. You
can see how I can move through these other
| | 03:00 | tools which are located in the
same area with the Brush tool.
| | 03:04 | So again, that's just a
handy way to select tools.
| | 03:07 | The next thing I want to point out is
that when we select a tool, we have Options
| | 03:11 | up here in what's called the Options bar.
| | 03:14 | We can change these options by
simply clicking on these menus.
| | 03:17 | Here, I will change a new option in
regards to the Crop aspect ratio.
| | 03:20 | And each of these different tools, well,
they have a different set of options.
| | 03:24 | I will go ahead and click Don't Crop and then
select another tool like the Clone Stamp tool.
| | 03:28 | Here, you can see the options for that tool.
| | 03:31 | Well, the last thing that I want to
highlight here is how we can zoom and also
| | 03:35 | move around the image.
| | 03:36 | At the base of the tool panel we
have the Hand tool, also the Zoom tool.
| | 03:41 | We can click on the Zoom tool to
simply click to zoom in, hold down Option or
| | 03:45 | Alt, and then click again to zoom out.
| | 03:48 | There also are a few really handy shortcuts
when it comes to viewing or moving our files.
| | 03:52 | And that have to do with these two tools.
| | 03:54 | Well, the Hand tool. The
shortcut key is the H key.
| | 03:58 | That tool allows us to click and drag
in order to reposition our photograph.
| | 04:03 | The Zoom tool is the Z key.
| | 04:06 | This allows us to zoom in
and out as I just demonstrated.
| | 04:10 | There a couple of different ways
that we can work with these two tools to
| | 04:13 | quickly change what we are looking at.
| | 04:15 | With the zoom tool, if you double-click
on it, it will take your image to 100%.
| | 04:20 | Here, we can see the image up close.
| | 04:23 | If we want to take the zoom back to a
fit in view mode, well, what we can do
| | 04:27 | is go ahead and double-click the
Hand tool and that way we can see the
| | 04:30 | entirety of our document.
| | 04:32 | So as you can see, you can work with
these different tools and you can access
| | 04:36 | them either by clicking on them or by
using their shortcut, and sometimes these
| | 04:41 | tools will have other shortcuts
associated with them as well.
| | 04:44 | Now that we've become familiar with the
Tools panel, let's talk a little bit more
| | 04:48 | about the rest of the Photoshop interface,
and let's do that in the next movie.
| | Collapse this transcript |
| Changing the view mode and working with panels| 00:00 | Next, I want to briefly review our
different Screen modes and also talk about
| | 00:04 | how we can change the work area behind
the image and then take a look at how
| | 00:08 | we can work with panels.
| | 00:10 | Now as I've mentioned, we've already
highlighted how we can work with Screen
| | 00:13 | modes, but I just want to
point that out here again.
| | 00:15 | If you go to your View pulldown menu
and select Screen mode, you can choose the
| | 00:19 | different Screen modes. You can see those here.
| | 00:22 | You can always just click on one of
these options, or you can press the F key in
| | 00:26 | order to move forward through
these different Screen modes.
| | 00:29 | Now in each of the different Screen
modes, you can hover over the area
| | 00:33 | behind the image, then you can right-click
or Ctrl-click. Here, you can
| | 00:38 | change this background color.
| | 00:39 | You can see it's now really dark or
you can make this nice and bright.
| | 00:43 | You want to choose the option which
you think will work well with your own
| | 00:46 | workflow and also which kind of
matches the work area that you're in.
| | 00:50 | Well, another thing that we need to
know how to do is how to work with all of
| | 00:54 | these different panels in our workspaces.
| | 00:57 | We can choose our workspaces by going
to Window > Workspace, and we have some
| | 01:01 | options here, or we can choose
these from this pulldown menu.
| | 01:05 | As I mentioned previously, we are going
to be using this Photography Workspace.
| | 01:10 | Let's take a look at how we can
customize it and also how we can work with
| | 01:13 | the different panels.
| | 01:15 | Some of the panels, like these
here, are collapsed to icons.
| | 01:19 | We can open those up by clicking on
this double arrow icon so that we can now
| | 01:23 | see all of the details of these panels.
| | 01:26 | Now the advantage of doing this is
that we can obviously see the details.
| | 01:30 | The disadvantage is that we lost
a lot of screen real estate.
| | 01:33 | So to go back to collapsing these, you
can just click on this icon here and then
| | 01:39 | you can just click on one of these
panels at a time in order to open it up.
| | 01:42 | Now if ever you kind of forget what one
of these icons are, what you can always
| | 01:47 | do is go to your Window pulldown menu.
| | 01:50 | Let's say you need to change the way the
typography appears. You could choose Character.
| | 01:55 | It would then trigger or open up that panel.
| | 01:57 | So you can access these panels either
by clicking on their icons or by going to
| | 02:02 | the Window pulldown menu.
| | 02:04 | Okay to close a panel, just click on the icon.
| | 02:08 | Well, what about these panels over here?
Let's say we want to collapse those.
| | 02:12 | Well, once again, we have this double-arrow
icon, you can click that, and it will
| | 02:16 | then collapse those.
| | 02:17 | So if you want to work with layers,
you just click on the icon for layers.
| | 02:22 | One of the things that people like to
do if you use this Icon mode is to change
| | 02:27 | your preference which auto closes or
auto collapses these panels so that
| | 02:32 | they're not as distracting or
not hovering over our image.
| | 02:35 | To do that, navigate to your
Preferences and go to the Interface tab.
| | 02:41 | In the Interface tab, we have an
option for Auto-Collapse Iconic Panels.
| | 02:46 | If you click that on and then click OK
to apply that, what will happen is that
| | 02:50 | when you open up a panel, you'll see it,
you can work with it, but then when you
| | 02:54 | click off of it, it will automatically collapse.
| | 02:57 | In that way, you don't always have to
double-click that icon to open and close,
| | 03:02 | rather it's just really as simple as
clicking on something and then clicking off
| | 03:06 | of it so that it auto collapses.
| | 03:08 | Again, you'll want to choose that
preference that fits your own workflow.
| | 03:12 | What I find is that Auto-Collapse is
kind of handy because it allows you to have
| | 03:16 | one of these panels open.
| | 03:18 | For most of us, we'll have this view
where we view all the details in these, and
| | 03:23 | then in the less important panels
we'll just go ahead and click to open them,
| | 03:26 | perhaps work with them. And then
to close, we can just click off.
| | 03:30 | So I recommend that you turn that
preference on, but of course, make the choice
| | 03:34 | which fits your own workflow.
| | 03:35 | Another thing that I want to
highlight is how we can work with these
| | 03:38 | different panel groups.
| | 03:40 | Let me show you what I mean.
| | 03:41 | One of the panels that we have
allows us to make adjustments.
| | 03:45 | If we click on one of these adjustment
icons, say Brightness/Contrast, it will
| | 03:49 | open up our Properties panel.
| | 03:51 | Well, some people may prefer to have
this Properties panel located right next to
| | 03:56 | the Adjustments panel as it was in
the previous versions of Photoshop.
| | 03:59 | Well, to change where this shows up,
what you can do is click on the panel tab.
| | 04:04 | You can then drag and drop
this into another panel group.
| | 04:07 | Here, you can see it's now
part of this panel group.
| | 04:11 | In order to open up Adjustments now,
if I click on one of these adjustment
| | 04:14 | layers, it will then create that
adjustment and then just jump to this
| | 04:17 | particular panel group.
| | 04:19 | Now here in this situation, I would
obviously need to click on this dividing line
| | 04:23 | and in order to open up more
space for this Properties panel.
| | 04:26 | We can make a lot of
different adjustments as well.
| | 04:29 | One of the things that you can do is
you can go ahead and collapse panels.
| | 04:33 | Let's say that you're not really going
to use these Type panels here, the Type,
| | 04:37 | Character, or the Paragraph panels.
| | 04:39 | Well, to close this entire group,
you can click on this icon in the
| | 04:42 | far right-hand corner.
| | 04:43 | This will give you access to different
controls in the panel, but it also allows
| | 04:48 | you to close this or to
close the entire tab group.
| | 04:51 | I'm going to select that.
| | 04:53 | You can see those two
icons are now completely gone.
| | 04:57 | Well, after you've customized things a
little bit, you may decide that you want
| | 05:01 | to go back to the default
settings of this workspace.
| | 05:04 | Maybe you've messed things up a bit too much.
| | 05:07 | Well, to do that, just go
to your pulldown menu here.
| | 05:10 | We'll go ahead and select Reset Photography.
| | 05:12 | That will reset everything back to its
default setting so that you can now see
| | 05:17 | that we have when we create our adjustments,
this Properties panel located over here.
| | 05:21 | All right! Well, now that we have looked
at how we can work with our panels, let's
| | 05:25 | go ahead and dig into how we can start
to work with our documents and how we can
| | 05:29 | work with multiple documents at once.
And let's do that in the next movie.
| | Collapse this transcript |
| Opening and arranging multiple documents| 00:00 | Another important part of working
with Photoshop is knowing how to open and
| | 00:04 | arrange and work with multiple documents.
| | 00:07 | Well, let's take a look at
how we can do that here.
| | 00:10 | In order to do that, let's go ahead and
navigate to Bridge, and let's do so by
| | 00:13 | either going to the File pulldown
menu and selecting Browse in Bridge or by
| | 00:17 | pressing the shortcut key.
| | 00:19 | That's Option+Command+O on a
Mac, Alt+Ctrl+O on Windows.
| | 00:23 | Here, in Adobe Bridge, let's click on one
of these images which we can see in our
| | 00:27 | Chapter 05 folder and then hold down
the Command key on a Mac, or Ctrl key on
| | 00:32 | Windows, in order to select multiple files.
| | 00:35 | I want to open up all of these files
in Photoshop. Well, how can we do that?
| | 00:40 | If we just double-click on one of these images,
it will only open up one, not all five of these.
| | 00:46 | To open up all of the images, we need
to navigate to the File pulldown menu
| | 00:50 | and then select Open.
| | 00:52 | Or alternatively, you can hover over one
of the images which you've selected and
| | 00:57 | then right-click or Ctrl-click.
| | 01:00 | Here, we have access to that same menu
item Open, or we could always choose Open
| | 01:04 | With and then choose the software
application that we want to use.
| | 01:07 | Well, let's go ahead and use this method
of right-clicking or Ctrl-clicking and
| | 01:11 | choosing Open in order to open up
all of these images in Photoshop.
| | 01:16 | Well, here you can see these
photographs are now in tabs.
| | 01:19 | To view the different pictures I can
simply click on one of these tabs in order
| | 01:23 | to view the picture or the document.
| | 01:26 | There's also a really handy shortcut
that you can use which allows you to cycle
| | 01:31 | through your open documents.
| | 01:33 | That shortcut is the Ctrl key plus Tab.
| | 01:36 | Go ahead and press that shortcut, and
you'll see that what you can do is you can
| | 01:40 | cycle through your open documents.
| | 01:42 | Now why is that important?
| | 01:43 | Well, that's especially important because
when you're in the Full Screen mode you
| | 01:48 | can't see all of those tabs.
| | 01:50 | Let me illustrate this.
Here, I will press the F key.
| | 01:53 | Well, now in full screen I can view
this image but I really can't see any of
| | 01:57 | my other documents.
| | 01:59 | One way I could open up another
document would be to go to the Window pulldown
| | 02:03 | menu and then select the document name.
| | 02:07 | Well, here now I can see this image.
| | 02:09 | Yet that gets to be a little bit tedious
when you have a lot of documents open at once.
| | 02:14 | So this is where that
shortcut really comes in handy.
| | 02:17 | It's Ctrl+Tab and it allows you to
scroll through all of your open documents as
| | 02:21 | you can see that I'm doing here.
| | 02:22 | Well, let's go ahead and exit Full Screen mode.
| | 02:26 | We can do that by pressing Shift+F and
that will take us back to the Standard View.
| | 02:31 | Now that we're back in the Standard
View, I want to talk about how we can
| | 02:35 | arrange our documents so that we
can see more than one document at once.
| | 02:41 | In order to do that, navigate to the
Window pulldown menu and then select Arrange.
| | 02:47 | Here, we have a number of different options.
Let's say we want to tile these all vertically.
| | 02:51 | You can see that we can now
see a small slice of each image.
| | 02:55 | We could also go to something,
say, like Arrange > 6-up.
| | 02:58 | This then allows us to see this
little zoomed in view of these
| | 03:02 | different photographs.
| | 03:03 | Here, we can see six images or six of
the open documents that we have at once.
| | 03:09 | And whenever you're working in a view
like this, you may want to customize the
| | 03:12 | way you're working with your
Hand tool or your Zoom tool.
| | 03:16 | Let me show you what I mean.
| | 03:17 | Well, if you click on the Hand tool,
one of the things that you can do is
| | 03:21 | click on this option here, Scroll All
Windows so that as I click and drag
| | 03:26 | one of these images here, what it's
going to do then is it's going to move
| | 03:29 | all of the images as well, and you can
see that I'm controlling all of these
| | 03:33 | different documents.
| | 03:35 | If you prefer not to do that, click
that off and then you can just move one of
| | 03:38 | these photographs so that you can
then focus in on that particular image.
| | 03:43 | Another thing that you can do is
you can click on your Zoom tool.
| | 03:47 | There's an option which
allows you to zoom all windows.
| | 03:49 | In other words, if you click on one
image to zoom in, it will zoom in the
| | 03:54 | other images as well.
| | 03:56 | The same thing is true if we zoom out.
| | 03:58 | Let's go ahead and turn this option off
for a second, and with this image here,
| | 04:02 | I'm going to zoom out.
| | 04:04 | Hold down Option or Alt and then click
on the image, and I am going to do this
| | 04:08 | just to change my zoom rate a little
bit, and I'll do that on a few other
| | 04:11 | photographs, too, just so we can see
that we have some different zoom rates.
| | 04:15 | I am going to try to alternate this.
| | 04:17 | Currently, I have different zoom
rates for all of these different images.
| | 04:22 | Another way that we can unify the
way that we're viewing these is if you
| | 04:26 | navigate to the Window pulldown menu
and choose a range again, you'll notice
| | 04:31 | you have some options for matching
your Zoom, Location, Rotation, or just
| | 04:36 | matching all of the different characteristics.
| | 04:38 | If we choose one of these options, say
like Zoom, we will then change all of
| | 04:43 | those to the same zoom rate.
| | 04:45 | If you look at the top here, you can
see they're all zoomed out to 12.5%.
| | 04:50 | So again, this is just a handy way to
be able to change what you're looking at.
| | 04:54 | If we wanted to zoom in on all of
the pictures, well, we could do that by
| | 04:58 | clicking on this icon here, and then
with our Zoom tool selected go ahead and
| | 05:03 | zoom in on the picture.
| | 05:04 | You can see how it's bringing
in all of those photographs.
| | 05:07 | In this case, we're seeing different
details in the pictures because each of
| | 05:11 | these files, well, they
have a different resolution.
| | 05:14 | So as you can see here, this can
be really handy for when you have
| | 05:17 | multiple documents.
| | 05:19 | But sometimes it can be just too much.
| | 05:21 | Let's say that what you really want to
do is after seeing all these, you want to
| | 05:25 | go back to just seeing one image at a time.
| | 05:28 | To do that, again, we go to that Arrange menu.
| | 05:31 | Here, in Arrange we're going to
choose at the very bottom of this top menu,
| | 05:35 | Consolidate All to Tabs.
| | 05:37 | In this way, we have them now consolidated
back to the Tab view so that we can
| | 05:41 | then click through the different tabs
to view or to work on those documents.
| | 05:46 | Well, currently my tabs are a bit out of order.
| | 05:49 | I have lynda-1 here and
then lynda-2 way over here.
| | 05:54 | I want these two tabs side by side.
| | 05:57 | Well, to change the tab order, it's
really as simple as clicking and dragging, so
| | 06:02 | now you can see I have these two tab
documents right next to each other.
| | 06:05 | Well, now that we've looked at how we
can work with multiple documents, how we
| | 06:09 | can arrange the view, how we can
change the zoom or the position of these
| | 06:13 | documents, and also how we can cycle
through these different documents by way of
| | 06:17 | a shortcut, what I want to do next is
continue to work with multiple documents.
| | 06:22 | So go ahead and leave all of these files
open, and we'll continue with this whole
| | 06:26 | topic of working with multiple documents,
and we'll do that in the next movie.
| | Collapse this transcript |
| Combining, saving, and closing multiple documents| 00:00 | Here, we're going to continue our
conversation about working with multiple
| | 00:03 | documents, and in particular, we're
going to focus in on how we can combine two
| | 00:08 | documents together and also how we can
save and close our files and how we can
| | 00:12 | do this a little bit more efficiently.
| | 00:14 | Well, here we have these two
portraits, lynda-1 and lynda-2.
| | 00:19 | I want to combine these together in one
document, and these are portraits of one
| | 00:24 | of my favorite people in the world.
| | 00:26 | This is lynda, lynda who co-founded
lynda.com with her husband Bruce.
| | 00:30 | Well, in order to combine these two
images together, what I'm going to do is I'm
| | 00:34 | going to click and drag
this tab out of that tab group.
| | 00:38 | In this way, I can now see
that this window is floating.
| | 00:41 | This really gives me a nice view of this, so
I can see this other image in the background.
| | 00:46 | With the Move tool selected, I'll go
ahead and click on this image and then drag
| | 00:50 | and drop this into the other image.
| | 00:53 | If I want this to be centered, well, you
can hold down the Shift key and it will
| | 00:56 | come in centered or justified.
| | 00:59 | Next, I'm going to zoom out.
| | 01:00 | This time I'm going to
zoom by way of a shortcut.
| | 01:03 | The shortcut to zoom out is Command+Minus
on a Mac, Ctrl+Minus on Windows.
| | 01:08 | Well, as I zoom out, you can
see the image is now smaller.
| | 01:12 | You can also see in the Layers
panel that I have two different layers.
| | 01:16 | If I want to position these side by side,
as we've seen before, we can just
| | 01:20 | click and drag, and here I'll go ahead and
click and drag and push this one off to the side.
| | 01:25 | Well, now it's completely outside of my canvas.
| | 01:28 | I can't see the image at all, yet I
know it exists because there it is.
| | 01:33 | Well, in order to expand our canvas size,
again, as we've seen previously, we can
| | 01:38 | go to our Image pulldown
menu and then choose Reveal All.
| | 01:42 | This will then extend the size of the canvas.
| | 01:44 | In this case, I have these
two portraits now side by side.
| | 01:47 | Well, in this case, let's say that I've
decided, you know what, I don't really like this.
| | 01:52 | I want to go back or revert to
the original state of this file.
| | 01:56 | Well, there are a couple of
different ways that we can do that.
| | 01:59 | One of the easiest ways is
to use our undo shortcuts.
| | 02:03 | Under Mac, you press Command+Option.
On Windows, you press Ctrl+Alt.
| | 02:08 | Then you tap the Z key.
| | 02:10 | As you do that, it will step backwards in time.
| | 02:13 | You can see now it's just
back to the original file.
| | 02:16 | Well, let's then take a look at how we
can make changes to our photographs and
| | 02:19 | how we can more
effectively save and close our files.
| | 02:23 | Here, what I'm going to do is go ahead
and add an adjustment layer by simply
| | 02:26 | clicking on the
Adjustment layer icon for Curves.
| | 02:29 | Now I'm not going to do anything with curves,
but I'm just going to create that curves layer.
| | 02:34 | I'll do this with one other document as well.
| | 02:37 | Let's go to chaulk_01 and I'll click
on, again, the Curves icon to create
| | 02:41 | a curves adjustment.
| | 02:42 | Well, now these two images
have a new adjustment with them.
| | 02:46 | If I go to the first image, what I
obviously need to do is to save this out.
| | 02:50 | To do that, I'm going to go to my File
pulldown menu, and here I'll choose File >
| | 02:55 | Save or Save As, and either way, this
will trigger this dialog of asking me,
| | 02:59 | well, how do I want to save this
document? Because I've made that change to it
| | 03:03 | and because it was a JPEG
and JPEGs can't have layers.
| | 03:07 | So in this case, I'll save this to
the same folder simply as this PSD file
| | 03:12 | format, making sure to embed my color profile.
| | 03:15 | Here, we'll go ahead and
click Save and then click OK.
| | 03:19 | Well, if we go to this other image,
rather than using the menu, what I want to do
| | 03:23 | here is use the shortcut.
| | 03:25 | On a Mac, you press Command+S, on
Windows that's Ctrl+S, and this will open
| | 03:30 | up our Save dialog.
| | 03:32 | Here, we'll simply click Save
in order to save this file out.
| | 03:35 | Well, what about closing our files?
| | 03:38 | Well, we can either close our files by
navigating to the File pulldown menu and
| | 03:42 | choosing Close, or we can use this
shortcut or even another shortcut.
| | 03:47 | Let me show you what I mean.
| | 03:49 | Let's go ahead and take a look at the shortcut.
| | 03:51 | It's Command+W on a Mac,
that's Ctrl+W on Windows.
| | 03:56 | Let's use the shortcut.
| | 03:58 | So again, once we've saved the file,
we'll go ahead and press that shortcut and
| | 04:02 | it will then close that document.
| | 04:04 | Let's say that what we really want to
do is close all of our files, everything,
| | 04:09 | all of these multiple
documents which we have open.
| | 04:12 | Rather than doing this one at a time,
pressing Command+W or Ctrl+W over and over
| | 04:17 | again, we just kind of want to clean house.
| | 04:19 | We want to close all these files.
| | 04:21 | Well, to do all of those that once, you
press Command and Option on a Mac or
| | 04:27 | Ctrl and Alt and then the W key.
| | 04:30 | And by doing that, it will
then close all of those documents.
| | 04:34 | Now if any of these documents haven't
been saved, well, it'll then open up that
| | 04:38 | Save dialog and say, "Hey, what do you
want to do with these files?" Or, "How do you
| | 04:41 | want to save those documents?"
| | 04:43 | That wraps up our look at how we can
work with multiple documents, also how we
| | 04:47 | can combine two images together, and
then how we can save and close these files
| | 04:52 | in different ways, and here I've shared
with you a few shortcuts which will help
| | 04:56 | you be a little bit more effective.
| | 04:58 | Yet if you don't like the shortcuts, by all
means, don't feel like you have to use those.
| | 05:03 | You can always simply go to the menu
and choose these options here as well
| | 05:06 | rather than using the shortcut.
| | 05:08 | I just like to include the shortcut
just to highlight those in case you're
| | 05:12 | interested in picking those up in
order to speed up your overall workflow.
| | Collapse this transcript |
| Creating custom keyboard shortcuts| 00:00 | In our conversation in the previous
movie, I started to mention shortcuts, and I
| | 00:04 | talked about how we can start to
work with shortcuts. And here, I want to
| | 00:08 | continue that conversation, and I want
to focus in on how we can create our own
| | 00:12 | custom shortcuts and also how we
can customize the Photoshop menus.
| | 00:18 | Let's start off by taking a look at the
menus and then next, talk about shortcuts.
| | 00:22 | Well, one of the things that you'll
discover is that when you navigate to a
| | 00:25 | menu, say like the Filter menu, you're
going to see a lot of different options.
| | 00:30 | Yet let's say that you find a menu item,
like this one here, Oil Paint, and you
| | 00:34 | realize--you know what? You are never
going to use that particular filter.
| | 00:38 | Well, you can always hide that option,
and you can do this by navigating to
| | 00:43 | a location where you can change the
visibility of menu items and also
| | 00:47 | keyboard shortcuts.
| | 00:49 | Let me show you how you
can access this and do this.
| | 00:51 | You can either go to your Edit
pulldown menu, by doing so you can then select
| | 00:56 | Keyboard Shortcuts or menus, or you
can go to the Window pulldown menu,
| | 01:01 | Workspaces, and then make
that same selection here.
| | 01:04 | Either way it'll open up this dialog
where we can modify keyboard shortcuts, or
| | 01:10 | if we click on this tab, menus.
| | 01:12 | Remember I mentioned that Filter menu?
| | 01:14 | Let's expand this little
Filter dialog and then scroll down.
| | 01:18 | What you can do is find the filter or
whatever the menu item is that you don't
| | 01:23 | want to see, that's just
distracting, that you're never going to use.
| | 01:26 | You could then click on this Eye
icon and go ahead and click OK.
| | 01:30 | Well, now when you go back to that Filter menu,
that particular option, well, it's hidden.
| | 01:36 | To bring it back, just go back to Window >
Workspace > Keyboard Shortcuts & Menus...
| | 01:42 | and here we can scroll down.
| | 01:44 | I'll go ahead and scroll back to that
option, and turn the visibility of that
| | 01:48 | one back on, because I might
want to use that at some point.
| | 01:51 | Here, I just want a highlight how
you can customize these menus here.
| | 01:54 | If you ever find items that you want
to hide, well, just go to this location.
| | 01:59 | Next, let's talk about keyboard shortcuts.
| | 02:01 | I'm going to go ahead
and click OK to apply that.
| | 02:04 | If you go to your File pulldown menu,
you'll notice you have a number of
| | 02:07 | different shortcuts for creating New
documents, Opening documents, Browsing in Bridge.
| | 02:12 | But there isn't a shortcut
for Browse in Mini Bridge.
| | 02:16 | In Mini Bridge, in this version of
Photoshop, well, it's a really handy tool.
| | 02:20 | It allows you to quickly view and
preview and open up your images.
| | 02:24 | So I really want to create a
shortcut for this menu item.
| | 02:29 | To do this, we'll go back to that dialog.
| | 02:32 | Go to Window, choose Workspace, and
then select Keyboard Shortcuts & Menus...
| | 02:37 | Here, what we're going to do is click on
Keyboard Shortcuts, and then we'll go to our File menu.
| | 02:42 | In the File menu, if you navigate down
to Browse in Bridge, you actually notice
| | 02:47 | that there are two
shortcuts associated with this.
| | 02:51 | We can either press Option+Command+O or
Shift+Command+O on a Mac, and that would
| | 02:55 | be Alt+Ctrl+O or Shift+Ctrl+O on Windows.
| | 02:58 | Well, let's say that what we want to do
is actually use one of those shortcuts
| | 03:02 | for Browse in Mini Bridge.
| | 03:04 | Well, let me show you how we could
do this and also how we can resolve
| | 03:08 | conflicts when those arise if we
create a shortcut key which is already in use
| | 03:13 | for another menu item.
| | 03:14 | Well, here I'll go ahead and click
into this field for Browse in Mini Bridge.
| | 03:18 | I'll press Shift and then Command and
then O on a Mac, or Shift+Ctrl+O on Windows.
| | 03:24 | When I do that, it says, "Hey, you know
what? This key combination, it's already
| | 03:28 | in use, and it will be removed from
this particular File menu, File > Browse in
| | 03:33 | Bridge, if you accept that."
| | 03:34 | Here, what we can do is click Accept and
Go to Conflict, if we really want to do
| | 03:39 | that, and it will then take us to
where the conflict was previously.
| | 03:44 | In this case, it's showing me
it was for Browse in Bridge.
| | 03:47 | Well, there's not really a problem
with this because I'm using this
| | 03:50 | other shortcut here.
| | 03:52 | So what I could then do is simply remove
this, I could delete the shortcut, or I
| | 03:56 | could accept what's happened
here by clicking on Accept.
| | 04:00 | It would then remove that.
| | 04:02 | You'll notice that now my
shortcuts have been modified.
| | 04:04 | The Photoshop defaults are now no
longer default, they're rather modified.
| | 04:09 | If ever you need to go back to the original
defaults, you can always just select that here.
| | 04:13 | Well, let's go ahead and Apply this and
then click OK in order to save that out.
| | 04:18 | Now when we go our File pulldown menu,
next to Browse in Mini Bridge will be the
| | 04:23 | shortcut that we just created or that we added.
| | 04:26 | This is our custom shortcut, Shift+Command+O
or Shift+Ctrl+O on Windows.
| | 04:31 | To use that, we can just go
ahead and press those keys together.
| | 04:35 | You notice now that that will open up
Mini Bridge, and this gives us a really
| | 04:39 | handy way to open up Bridge, rather
than always having to double-click on that
| | 04:44 | little tab in order to open it up.
| | 04:47 | The point here isn't just the Mini
Bridge, although this shortcut is really
| | 04:50 | helpful and it's one that I use on
my own version of Photoshop so that I
| | 04:54 | can open Mini Bridge.
| | 04:56 | Rather the point is, is that if you're
ever working with Photoshop and if you're
| | 05:00 | ever going to a menu over and over
again, and you notice that there isn't a
| | 05:04 | shortcut associated with that menu item,
well, you can always create one of your
| | 05:08 | own in order to access that particular item.
| | Collapse this transcript |
| Working with a Wacom tablet| 00:00 | In Photoshop, one of the ways that
we make precise adjustments to our
| | 00:04 | photographs is by painting them in,
whether we're painting in contrast or
| | 00:08 | sharpness or burning and dodging, and
what we do is we use our Brush tools in
| | 00:12 | order to make those adjustments.
| | 00:14 | Now a lot of us start off by using a
mouse, and the mouse will work fine, but it's
| | 00:18 | kind of like painting with a bar of soap.
| | 00:20 | If you really want to step up your
game, if you want more precision, you're
| | 00:23 | going to want to do is use the stylus
tablet, because what this will allow you
| | 00:27 | to do is to actually
change the shape of your brush.
| | 00:30 | So, for example, what you can do is you
can have a brush that tapers off, maybe it
| | 00:35 | starts small and gets bigger
and then becomes small at the end.
| | 00:38 | Or if you press really hard on this,
you can then increase the effect with more
| | 00:43 | intensity, more delicate brush strokes.
You can paint that in in multiple passes
| | 00:48 | and slowly build this up.
| | 00:50 | So eventually, if you want to step up
your game in Photoshop, you want to get a
| | 00:54 | stylus tablet like this
one. It's a Wacom Intuos4.
| | 00:57 | Now you may be thinking, "Okay, that's
great, but I don't have room in my budget
| | 01:01 | for picking one of those up right now."
| | 01:03 | Well, no big deal. Simply schedule it
in your budget, because once you start
| | 01:07 | using one of these, you'll never go back.
| | Collapse this transcript |
|
|
6. Understanding Digital ImagesThe foundation of digital imaging: pixels and bit depth| 00:00 | I need to give you a little bit of an
advance warning here because we're about
| | 00:04 | to dig into a complicated topic.
| | 00:07 | We are going to take a look at the
foundation of digital imaging pixels and bit depth.
| | 00:12 | Yeah, we are going to take a look at
this complicated topic and see if we can
| | 00:15 | make it simple and understandable.
| | 00:18 | So why do pixels and bit depth really matter?
| | 00:20 | Well, if we can understand these topics,
it can help us create better images.
| | 00:25 | It also can help us have more control
when we are working on our photographs
| | 00:29 | inside of Photoshop.
| | 00:30 | Well, to really understand these topics,
what I think we need to do is to go back
| | 00:34 | in time for a moment.
| | 00:36 | James Clerk Maxwell was a person who
discovered that what you could do is you
| | 00:40 | could create a color image with three
different colors: red, green, and blue.
| | 00:46 | And it's a really fascinating story if
you're interested in photography and the
| | 00:49 | history of photography.
| | 00:51 | But basically, what he discovered is
that he could have these three different
| | 00:54 | negatives, he could then shine light
through these negatives with a red or a
| | 00:59 | green filter on each of these.
| | 01:00 | Well, together, these would
then create a color photograph.
| | 01:05 | It was actually really just amazing.
It was the discovery of color photography.
| | 01:10 | Well, to this day, the same way that we
view images when they're created via light
| | 01:14 | is with these three
channels: red, green, and blue.
| | 01:18 | And let's say that we have
a color, for example, orange.
| | 01:21 | Well, just to kind of create something,
to try to illustrate this, we could say
| | 01:26 | that this orange is made up of
240 red, 12 green, and 15 blue.
| | 01:31 | In other words, it's kind of like mixing
paint together, and all that you need is
| | 01:35 | to be able to mix together these three
colors and it can give you a huge range
| | 01:40 | of different options.
| | 01:41 | Well, how is that possible?
| | 01:43 | Well, that's possible
because of pixels in bit depth.
| | 01:47 | Let's take a look at a photograph, for example,.
| | 01:48 | Well, here we have an image, and if we
zoom in on an area of this photograph, we
| | 01:53 | can see that it's made up of all
of these different little pixels.
| | 01:56 | Well, what is a pixel?
| | 01:58 | Well, the pixel is the concatenation or
combination of two words, picture and element.
| | 02:05 | At its base it's this small little
picture element, and if we are really
| | 02:10 | getting close into one of these little
elements, what we will discover is that
| | 02:14 | these are made up of bits.
| | 02:16 | Now the word bit is a combination
of these two words, binary and digit.
| | 02:22 | And I know this sounds a little bit
abstract here, but let's dig deeper into
| | 02:26 | what a bit actually is.
| | 02:28 | What is a pixel made up of?
| | 02:31 | Well, a bit is some information, and we
can have a certain kind of bit depth.
| | 02:37 | If we have bit depth, you can see that as
we have more bits, well, we have larger
| | 02:41 | file size. We have more info.
| | 02:43 | And bits are made up of this whole
concept of you can have something which is
| | 02:48 | either on or off. It's binary.
We have two options.
| | 02:52 | Well, the more options that we have,
the more colors, the more tonality, the
| | 02:57 | more smoothness that we have in an image so
that it looks like a photo realistic picture.
| | 03:02 | Let me explain this.
| | 03:03 | Well, here you can see we have one bit.
This can either be black or white.
| | 03:08 | Two bit, we can have black or different
shades of gray as we get up to 8 bit or higher.
| | 03:14 | All of a sudden, we have enough variation
so that it looks like continuous tone.
| | 03:21 | And this is really the basis for
how our digital images are made.
| | 03:25 | In other words, you know when you
zoom in close, you can see that this is
| | 03:28 | pixelated. You're seeing all
the corners of the pixels.
| | 03:32 | Yet when you have enough information,
you see an image as continuous tone.
| | 03:37 | And in the RGB color space, we have these
8 bits of red, of green, and also of blue.
| | 03:44 | Each of these channels give us 256
possibilities. In other words, as we
| | 03:50 | combine these different colors or
tones together, this gives us a chance to
| | 03:55 | create the 16 million colors.
| | 03:58 | And this is all because of bit depth.
| | 04:00 | So when we go back to our photograph,
really we are able to see this picture
| | 04:05 | as continuous tone, as all of these beautiful
and vibrant colors, because of these pixels.
| | 04:11 | And these pixels really are created by
these different pieces or these different bits.
| | 04:16 | These bits give us options.
| | 04:19 | This as I mention, gives us the
ability to view these beautiful photographs,
| | 04:22 | whether we want to see the colors of a
sunset or the pictures in a portrait.
| | 04:27 | And where we start to see this in Photoshop--
or where the rubber meets the road--is here.
| | 04:32 | We will discover, say, in our Levels
panel that we will have 256 levels,
| | 04:39 | everything from 0 to 255.
| | 04:42 | You can see those levels here.
| | 04:44 | In this histogram, well, it displays
information that we have in our photograph.
| | 04:48 | We will also find this in
other places like in curves.
| | 04:52 | Again, we have that grayscale, 256 levels.
| | 04:56 | You'll also notice were viewing this
in the RGB composite channel, these
| | 05:01 | three channels together.
| | 05:02 | Or you can target the specific
channels, the red, the green, or the blue, and we
| | 05:07 | will also see this, say, in our Channels panel.
| | 05:11 | Here, you can see our image, it's made up
of these three different channels together.
| | 05:16 | And as I mentioned in the beginning of
this movie, I know that this concept is a
| | 05:20 | little bit complicated.
| | 05:22 | Yet I want to share this topic with
you because this really is the foundation
| | 05:26 | for our digital images. It's really all
about how we have pixels and bit depth.
| | 05:31 | And if we can have somewhat of a working
understanding of how our digital images
| | 05:36 | are made, well, it can ultimately help
us make better images, and it can give us
| | 05:41 | more control. And as we dig into those
controls, whether that's levels or curves
| | 05:46 | or the channels, we can start to
understand that what we're working with are
| | 05:50 | these different channels. We know why
these exist because these give us this
| | 05:55 | continuous tone full-color image.
| | 05:58 | And by having this just initial
familiarity with this whole concept of pixels
| | 06:02 | and bit depth, well, it can just help us
out in our overall process as we seek to
| | 06:07 | become better and more efficient at
creating compelling digital photographs.
| | Collapse this transcript |
| Introducing image resizing| 00:00 | After having spent a few minutes talking
about pixels and bit depth, here what I
| | 00:04 | am going to do is take a look at how
we can handle and deal with those pixels
| | 00:08 | when it comes to image resizing inside
of Photoshop. And you know, image sizing
| | 00:13 | is really important, because if we do
this incorrectly, it will negate all of
| | 00:18 | the rest of the work that
we've done with our pictures.
| | 00:20 | Well, let's go ahead and open up the
Image Size dialog here. And at first glance
| | 00:25 | this dialog, it's just a little bit confusing.
| | 00:27 | We have Pixels and Document Size.
Well, how does all of this make sense?
| | 00:33 | Well, because this topic is a little bit
confusing, what I want to do is try to
| | 00:36 | make this a bit more practical or
simple, and I want to do this by way of
| | 00:41 | telling you a story and
walking through a few slides.
| | 00:44 | At first it won't seem to really make
sense, but then at the end, hopefully
| | 00:48 | by talking about this in a comparative or
analogous way, it will start to become clear.
| | 00:53 | Well, let me move ahead to my next slide.
| | 00:56 | My wife is a teacher, and one day I was
visiting her classroom, and the students
| | 01:00 | were working on these art
projects using dried seeds.
| | 01:03 | They were gluing these seeds down on
different pieces of paper in order to
| | 01:07 | create mosaics, or pictures. And I thought, "Gosh!
| | 01:10 | That's a lot like working with pixels."
| | 01:13 | So let's go with that comparison for a second.
| | 01:16 | Let's say that we're in that classroom
and we go to the teacher, my wife,
| | 01:19 | Mrs. Orwig, and she gives us a
certain amount of kidney beans.
| | 01:22 | Well, we have this raw material.
It has a certain weight or maybe file size.
| | 01:28 | We then resolve to create our art project
on a 10-inch piece of paper or paper plate.
| | 01:33 | Well, here our picture, the smiley face,
it doesn't look very good because we
| | 01:39 | didn't have enough raw information or raw data.
| | 01:43 | We didn't have enough pixels.
So we go back to the teacher.
| | 01:48 | She once again gives us the
same amount of information.
| | 01:51 | But this time, we resolve to use a
smaller paper plate, a 5-inch paper plate.
| | 01:56 | Well, now our project, it
kind of makes sense, it works.
| | 02:01 | So here you can see the raw material
or the kidney beans, and also how we
| | 02:05 | resolve to display those, well, it
really matters. And ideally what we do, is we
| | 02:11 | have enough information in order to
create something which is stunning and we
| | 02:15 | choose an appropriate resolution to do
so, kind of like my niece here, Evie, who
| | 02:20 | created this fun mosaic
here around Thanksgiving time.
| | 02:24 | Well, enough with the story. Let's now go
back to the Image Size dialog and start
| | 02:27 | to make some comparisons.
| | 02:29 | Well, if you look at this top
area, the Pixel Dimensions,
| | 02:33 | this is all about the raw material.
| | 02:35 | These are the kidney beans.
This is how much stuff we have.
| | 02:39 | You know, if we scoop up some
kidney beans, this weighs something.
| | 02:44 | You can see here that the pixel dimensions--
what really affects our overall file
| | 02:48 | size, this document--it's 20 Megs.
| | 02:51 | Well, how then does this
compare to, say, the document size?
| | 02:56 | Well, the document size is
kind of like that paper plate.
| | 02:59 | We have certain dimensions.
| | 03:01 | We also have Resolution, in other words
we can define how close together these
| | 03:06 | pixels are displayed.
| | 03:08 | So if we take this a little bit further
and compare this to our project, again,
| | 03:12 | the pixel dimensions, the raw material,
that's kind of like our kidney beans.
| | 03:17 | The Document Size, it's very similar to
that paper plate, and we need to know how
| | 03:22 | to work with these two different areas
of this Image Size dialog together in
| | 03:27 | order to effectively resize our photographs.
| | 03:30 | So now that I've introduced this whole
topic of the Image Size dialog and pixel
| | 03:34 | dimensions and document size, let's really
see how this works when we work on an image.
| | 03:39 | And let's do that in the next movie.
| | Collapse this transcript |
| Resizing images effectively| 00:00 | Now that we've been introduced to the
topics of pixels and bit depth and also
| | 00:04 | the image size dialog, let's take a
look at how we can resize a photograph.
| | 00:09 | We'll be working with this
photograph here, annika.jpg.
| | 00:12 | So go ahead and open that one
up and also open up this document,
| | 00:16 | resize_instructions.jpg.
| | 00:19 | Next, navigate your Window
pulldown menu and choose Arrange.
| | 00:23 | I want to arrange these so that
we can view both images at once.
| | 00:27 | We can do so by clicking on 2-up
Vertical, so we can see these side by side.
| | 00:32 | Next, click in the image Annika
and then press the Spacebar key and
| | 00:36 | click and drag to reposition it, just
so that we can focus in on the picture.
| | 00:40 | This is a picture of my oldest daughter Annie.
| | 00:44 | Let's take a look at how we can
resize this one, and let's follow these
| | 00:48 | instructions over here.
| | 00:50 | To open up the Image Size dialog, you can
go to Image and then click on Image Size.
| | 00:55 | Here, you can see we have this dialog
open, and there are a few steps that we want
| | 01:01 | to take in order to
properly resize this picture.
| | 01:05 | And let's say that what we want to
do is we want to change the overall
| | 01:08 | dimensions of this photograph
so that we can print this smaller.
| | 01:12 | Currently, this is printing as
a 10x6 at 240 pixels per inch.
| | 01:17 | Well, we want to change the
size and also the resolution.
| | 01:21 | In order to do so effectively, we have
to go through these sequence of steps, and
| | 01:25 | we have to follow this order.
| | 01:27 | The first thing you want
to do is turn Resample off.
| | 01:31 | By turning this off, what it will do
is it will disable the pixel dimensions.
| | 01:36 | In other words, as we make changes
here, we won't add or remove pixels, and
| | 01:42 | that's really important.
| | 01:43 | You want to next, then, choose your resolution.
| | 01:46 | Typically, people start off with
printing, say, at 300 pixels per inch.
| | 01:50 | That's a very common resolution, so
let's go ahead and choose that here.
| | 01:54 | After having defined the resolution, the
third step is to turn Resample back on.
| | 01:59 | So here we'll go ahead and
click on that Resample icon.
| | 02:03 | The final step is to resize.
| | 02:06 | We can do resizing with this dialog and
also with the Crop tool, as we'll look at
| | 02:10 | in some other movies as well.
| | 02:13 | For this fourth step, this resizing step,
we need to make sure we're choosing an
| | 02:17 | appropriate image interpolation.
| | 02:20 | The best one for photographs
is Bicubic Automatic.
| | 02:23 | Therefore, whether you're increasing or
decreasing the file size, it will then
| | 02:28 | pick the appropriate interpolation
which will work best for your picture.
| | 02:31 | Well, now that I've done that,
I want to resize this picture.
| | 02:35 | As I mentioned, I want to
print this in a way that's smaller.
| | 02:38 | I'll go to the height and press 4.
So, now I can print this out. It's about a 4x6.
| | 02:42 | I could go to the Width
and take this up as well.
| | 02:46 | So, I'm approximately at a 4x6 print.
| | 02:49 | You'll notice that when I made these
last changes with Resample on, my file size
| | 02:55 | decreased. It went from about
12 megs to now about 6 megs.
| | 03:00 | And the reason that happened is because
with Resample on, when you make changes
| | 03:05 | in this area, well, it gets rid of information.
| | 03:09 | That's why previously we had that
checked off, but now after defining a
| | 03:14 | resolution, we want it turned on and
then we can choose the appropriate size, in
| | 03:18 | this case 4x6. In order to resize this
image, you simply click OK, and that will
| | 03:24 | then resize the document.
| | 03:25 | Here, we can see our newly resized
photograph. Just to double check the image to
| | 03:32 | make sure that it's good, you can go
back to your image size dialog by going to
| | 03:36 | Image and Image Size. And here you can
see that basically what we have is a 4x6
| | 03:41 | document. It rounded those values off
for us, and we can now print this image at
| | 03:46 | 300 pixels per inch.
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| Resizing and straightening with the Crop tool| 00:00 | As you start resizing your own photographs,
you'll discover that with certain
| | 00:04 | images all that you'll need to
use is the Image Size dialog box.
| | 00:08 | In other situations you may want to use
other tools, say, like the Crop tool.
| | 00:12 | And here, let's take a look at how we can
straighten this image and also how we can
| | 00:16 | resize it by using the Crop tool.
| | 00:19 | To select the Crop tool, press the C key
or click on the tool in the Tools panel.
| | 00:24 | From the top menu over here in the
Options Bar, go ahead and click on this
| | 00:28 | pulldown option. What we are
going to choose is Size & Resolution.
| | 00:32 | Here, I am going to define a specific
Width, Height, and also Resolution, and this
| | 00:37 | little dialog is really handy, because
let's say that what the client needs is
| | 00:41 | kind of a unique crop.
| | 00:43 | Here, I'll go ahead and type that out,
8x6, and then I will give my Resolution
| | 00:48 | of 300 Pixels/Inch.
| | 00:50 | Next, once I've done that I
can go ahead and click OK.
| | 00:53 | Well, here you can see that it
will change the Crop Ratio in order to
| | 00:58 | appropriately match those
dimensions that I've entered in here.
| | 01:01 | Now these aren't correct or if I want
to change these, I can go ahead and do so.
| | 01:06 | In this case, let's say that what I
want to do is change my overall height.
| | 01:10 | I'll change this to 4, and you can see
that it gives me a different crop dimension.
| | 01:14 | All right. Well, then to crop and
resize the image, I just would need to
| | 01:17 | reposition this crop area.
| | 01:20 | Yet I noticed that the image also isn't
level. You can see the horizon is tilted.
| | 01:26 | Well, to straighten a picture with the
Crop tool, you click on the Straighten icon.
| | 01:30 | Here, I'll go ahead and click and drag
across something that I think should be straight.
| | 01:34 | In this case, the horizon line,
it will then rotate the crop.
| | 01:39 | Here, again, it's going to rotate it
based on the criteria which I've entered,
| | 01:44 | the Dimensions and also the Resolution.
| | 01:47 | And you can see now that this really
fixes things up for me so that I have
| | 01:50 | this nice composition so that I can
create this crop which will fit well
| | 01:55 | for the project at hand.
| | 01:57 | In order to apply this crop, all that we
need to do is to press Enter or Return
| | 02:02 | or to click on this check box here.
That will then apply the crop.
| | 02:06 | Just to double check what we've created
here, let's go ahead and navigate to
| | 02:10 | our Image Size dialog.
| | 02:11 | If you go to Image > Image Size, you
can now see that what we have is an image
| | 02:16 | which is 8 inches by 4
inches at 300 Pixels/Inch.
| | 02:21 | So in this situation, you can see how
you can use the Crop tool in order to
| | 02:24 | quickly crop, straighten,
and resize your photographs.
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| Creative tip: sizing images correctly| 00:00 | Hey, welcome back! Now in order to get good at digital
imaging, it's helpful to have a working
| | 00:05 | understanding of resolution.
| | 00:07 | So what exactly is resolution? And why
do people say, you know, you should print
| | 00:11 | your images at 300 pixels per inch?
| | 00:14 | What they're referring to
is an actual physical inch.
| | 00:18 | So if we were to measure an inch by
inch here, we would have 300 pixels across
| | 00:23 | and also vertically.
| | 00:25 | So why then this magic number of 300?
| | 00:28 | Well, actually, resolution is a little bit more
varied than that magic number. Let me explain.
| | 00:34 | Let's say, for example, take this print,
a smaller version of the same image on
| | 00:38 | a different paper type.
| | 00:39 | Well, here with this photograph, I
printed this at 240 pixels per inch,
| | 00:44 | whereas the image in the background--
this big huge photograph--I printed at
| | 00:48 | 180 pixels per inch. Well, why is that?
| | 00:51 | Well, many times the larger the
print size, the lower the resolution.
| | 00:56 | Now I know that that sounds counterintuitive,
but let's exaggerate this even further.
| | 01:00 | Say, for example, a billboard.
| | 01:02 | Now are we going to print that
at 300 pixels per inch? No way.
| | 01:06 | You would have irrelevant information.
| | 01:08 | What we want to do is have enough
information so that we have something which
| | 01:12 | looks like continuous tone
and photographic quality.
| | 01:16 | Yet so in order to achieve that we
typically say the viewing distance of an
| | 01:19 | image is twice the diagonal.
| | 01:21 | So therefore, to enjoy and appreciate
this photograph, typically we're going to
| | 01:25 | be back quite a distance.
| | 01:26 | With a billboard, we'll be back even further.
| | 01:29 | Therefore, that viewing distance, in a way,
will determine what resolution we choose.
| | 01:34 | Now the point here isn't to say one
resolution is better than another, yet the
| | 01:39 | point is to begin to get you to
think about this and also to experiment.
| | 01:43 | Here is what I want you to do.
| | 01:44 | Pick one of your favorite photographs
and then print that at different sizes and
| | 01:49 | also use different paper types.
| | 01:51 | What you'll discover is that
certain images will look good at different
| | 01:54 | resolutions, at different sizes, and with
different paper types. And by doing this
| | 01:59 | exercise or by taking the time to do
this, what you'll do is develop an overall
| | 02:04 | working understanding how resolution
actually works and how you can select the
| | 02:08 | best resolution in order to
create the most compelling prints.
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|
|
7. Working in Camera RawWhat is Camera Raw?| 00:00 | Adobe Camera Raw gives you an incredibly
flexible and powerful way to enhance
| | 00:05 | and to correct your photographs.
| | 00:07 | And people are really excited
about Camera Raw and rightly so.
| | 00:12 | So what I want to do here is ask a question.
What is Camera Raw? And why does it matter?
| | 00:17 | I want to try to demystify the mystery
behind the madness or the excitement
| | 00:21 | with Camera Raw so that we can really
understand this tool and use it most effectively.
| | 00:26 | One of the first things that we need to
do in order to understand this tool is
| | 00:31 | to differentiate between Raw
Capture and also Raw Processing.
| | 00:36 | These are two different things,
even though we use similar words when
| | 00:40 | we're describing them.
| | 00:42 | First, let's take a look at Raw Capture.
| | 00:44 | Well, Raw Capture as opposed to capture, say,
when we were capturing JPEGs is very different.
| | 00:50 | It just comes straight off of the sensor.
| | 00:53 | When we are shooting in JPEG mode,
our files go through a certain process.
| | 00:58 | When we are shooting in Raw mode,
well, again those images, they just come
| | 01:02 | straight off the sensor.
| | 01:04 | On the other hand, how does
this compare to Raw Processing?
| | 01:07 | Well, Raw Processing has to do with
using a tool like Adobe Camera Raw or
| | 01:12 | Lightroom, and what Raw Processing
allows us to do is to take actual physical
| | 01:18 | pixels and then modify them.
| | 01:21 | But we modify them by using Raw Instructions.
| | 01:25 | The Raw Instructions, well, it's just
kind of like this text file which says
| | 01:28 | here's what the saturation should be
or here is what the contract should be,
| | 01:33 | here's what the color should be.
| | 01:34 | The end result is that we can then
change the way our image appears.
| | 01:38 | We can make enhancements and corrections
to our photographs, and we can do this
| | 01:43 | in really creative and flexible ways.
| | 01:45 | We can also apply this kind of Raw
Processing to different file formats, whether
| | 01:50 | that's Raw straight from our Camera, or
files which have been converted to the
| | 01:54 | DNG format or TIFF or JPEG files.
| | 01:58 | So why use Adobe Camera Raw?
| | 02:00 | Well, one of the top reasons is
because it allows you to make
| | 02:04 | non-destructive adjustments.
| | 02:06 | In other words, we're not
actually changing the pixels.
| | 02:10 | We're just modifying them by
way of a set of instructions.
| | 02:13 | These instructions can
always and forever be changed.
| | 02:17 | This, of course, gives us a lot of flexibility.
| | 02:20 | It also improves the overall speed of
our workflow, because when you're working
| | 02:24 | with Camera Raw, there's really nothing to save.
| | 02:28 | As you make a change you see it,
and then you can simply click OK.
| | 02:32 | There's no render time.
| | 02:34 | Another reason why people like Camera
Raw, including myself, is because it allows
| | 02:38 | you to be really creative.
| | 02:40 | This flexibility and speed, it opens up
other creative options or possibilities
| | 02:44 | when working with your images.
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| Accessing the Camera Raw preferences| 00:00 | Before we start to work with Camera RAW,
I want to take a look at, here, how we
| | 00:04 | can access the Camera Raw Preferences by
way of Adobe Bridge or Adobe Photoshop.
| | 00:10 | So let's start off in Bridge.
| | 00:12 | Here, you can navigate to the Adobe
Bridge pulldown menu and then choose
| | 00:15 | Camera Raw Preferences.
| | 00:17 | Here, you can see you have different
preferences for Camera Raw, and we can
| | 00:21 | customize those here.
| | 00:23 | Yet before we actually do that,
let's also take a look at how we can
| | 00:26 | access these in Photoshop.
| | 00:28 | So to go to Photoshop--we'll click on the
Boomerang icon--and in Photoshop, if you
| | 00:33 | go to your pulldown menu and choose
Preferences and then File Handling, you'll
| | 00:38 | notice in this area of the Preferences,
about halfway down the page, there is a
| | 00:42 | button for Camera Raw Preferences.
| | 00:45 | Click on this, and it will
open up that same exact dialog.
| | 00:48 | So again, it's just two different
ways to access the same settings.
| | 00:51 | Let's take a look at our Preferences.
| | 00:54 | Now for the most part these Default
Preferences are good to go, straight out of the box.
| | 00:59 | So there's not a lot that we're
going to change here, if really anything.
| | 01:02 | Yet I do want to walk through these
different preferences so that you have a
| | 01:06 | working understanding of some of
the more important preferences.
| | 01:09 | One of the first ones is this: Save image
settings in Sidecar XMP files. This is critical.
| | 01:17 | In this way, as you modify an image with
Camera Raw, all those XMP settings will
| | 01:22 | be saved right next door to that image.
| | 01:25 | So that if you were to copy it to another
hard drive, those settings would go with it.
| | 01:28 | The other option is to Save these
settings in the Camera Raw database.
| | 01:33 | Well, this isn't a good idea because if
you were to copy the file to another hard
| | 01:37 | drive, well, you would lose all
of those Camera Raw Settings.
| | 01:40 | So again, I recommend you leave
that default setting turned on.
| | 01:45 | The next thing I want to highlight
are some Default Image Settings.
| | 01:48 | The one that you want to leave checked
on, again, is the default setting of auto
| | 01:52 | apply the grayscale mix.
| | 01:54 | This will give you a good starting
point when converting your images
| | 01:57 | to black and white.
| | 01:59 | Finally, I want to jump
down to JPEG and TIFF Handling.
| | 02:03 | You know that you can process all sorts of
different file types with Adobe Camera Raw.
| | 02:08 | Two file types are JPEG and TIFF.
| | 02:10 | Here, you can define how you want
Photoshop to open up these files.
| | 02:14 | Do you want it to Automatically open
these files in Camera Raw, if they have
| | 02:18 | already been modified by Camera Raw? Or
on the other hand, you could disable this
| | 02:24 | JPEG support so that if you have JPEGs,
they will just go straight to Photoshop,
| | 02:28 | regardless of whether they have
been modified with Camera Raw or not.
| | 02:32 | Or on the other side of the spectrum,
you could choose to Automatically open
| | 02:37 | all supported JPEGs.
| | 02:39 | Therefore, if you simply open up a JPEG, it
will first go to Camera Raw before Photoshop.
| | 02:45 | In My Opinion, the best preference,
again, is the default option to automatically
| | 02:49 | open these with settings.
| | 02:51 | That is, to open the files which you
have already previously worked on inside
| | 02:56 | of Adobe Camera Raw.
| | 02:57 | The same thing goes for TIFFs.
| | 02:59 | I just want to highlight these
different options so that you can choose the
| | 03:02 | appropriate preference here which
matches your workflow in the way that you want
| | 03:06 | to work with Adobe Camera Raw.
| | 03:08 | Now that we've taken a look at these
preferences, let's go ahead and dig into
| | 03:12 | how we can work with Camera Raw.
And let's do that in the next movie.
| | Collapse this transcript |
| Improving your images with the basic controls| 00:00 | Let's take a look at how we can open and
improve our photographs using Adobe Camera Raw.
| | 00:05 | We'll be working with these three files
here, which you can find in the subfolder
| | 00:09 | basic which is a subfolder of our
Chapter 07_camera_raw folder.
| | 00:14 | Let's select all three of these files.
| | 00:16 | We can do so by pressing Command on a
Mac, Ctrl on Windows, and clicking on
| | 00:20 | these three documents.
| | 00:22 | Next, I want to share with you two
different techniques that you can use for
| | 00:25 | opening these files in Camera Raw.
| | 00:27 | The first is to navigate to the File pulldown
menu and then to select Open in Camera Raw.
| | 00:33 | Another technique is to hover over one
of your selected images, whether you have
| | 00:38 | one or more images selected, you can
then right-click or Ctrl-click, and here in
| | 00:43 | this Contextual menu, you will notice
there is an option for Open in Camera Raw.
| | 00:48 | So go ahead and select one of those techniques
in order to open these files up in Camera Raw.
| | 00:53 | Well, here you can see I now have these
files open in Camera Raw, yet one of the
| | 00:58 | things that's kind of interesting is
it's hard to focus in on the image.
| | 01:02 | That's because Camera Raw isn't running
in full-screen mode. Let's change that.
| | 01:07 | To do that, you can click on this icon here so
that it covers up the rest of the interface.
| | 01:13 | That's much better.
We can focus in on the task at hand.
| | 01:17 | With this first image, one of the things
that you are going to notice is we have
| | 01:20 | a filmstrip over here, and this image is
selected, and in the bottom corner there
| | 01:25 | is an exclamation point.
| | 01:27 | This is showing me that this file has been
worked on in a previous version of Camera Raw.
| | 01:32 | To take advantage of the latest and
greatest controls in Camera Raw, we'll just
| | 01:37 | click on this icon, and it
will then update that file.
| | 01:40 | Well, now that we have the updated
process version, let's explore how we can use
| | 01:45 | some of our basic controls in
order to improve this image.
| | 01:49 | One of the things that I want to do here is I
want to go ahead and brighten this image up.
| | 01:54 | I want to brighten up some of our shadow detail.
| | 01:56 | Well, we can use these different
sliders that we see here in order to work on
| | 02:01 | specific areas of our image,
for example the shadows.
| | 02:06 | Let's go to the Shadows slider and
just click and drag this to the right.
| | 02:10 | As we do that, we can see that we now have
more detail in this area of the photograph.
| | 02:15 | And what's great about these sliders
in this latest version of Camera Raw is
| | 02:19 | that it allows us to tap into a lot of
the data in the file in order to make
| | 02:24 | some pretty dramatic corrections
and enhancements to our pictures.
| | 02:28 | Let's take a look at the preview
just with that simple adjustment.
| | 02:31 | Well, here is our before, and now our after.
| | 02:35 | You can see that this adjustment really
is primarily targeting this side of the
| | 02:38 | image. But what about the Highlights?
| | 02:41 | Well, the Highlights over here--if we
want to darken those we can click and
| | 02:45 | drag this to the left.
| | 02:47 | You can see that I now have
more detail in the sky area.
| | 02:51 | We can constantly modify these in order
to come up with the correct combination
| | 02:55 | of working with this file in
order to make it look its best.
| | 02:59 | What about some of the
other controls like Exposure?
| | 03:01 | Well, exposure will allow us to
brighten everything, just to add a little bit
| | 03:05 | more vibrance or brightness
to the overall image.
| | 03:08 | Contrast, as you would imagine--click
and drag to the right--and here it's going
| | 03:13 | to increase the overall contrast. Drag
to the left, and it's going to decrease
| | 03:17 | the contrast and makes the image appear
a little bit softer and less saturated.
| | 03:22 | So these controls give us the ability
to make these really fascinating and
| | 03:26 | specific adjustments.
| | 03:28 | Let's deconstruct a little bit
more about how these controls work.
| | 03:32 | To do that, I want to click
on this demo slide here.
| | 03:35 | This demo slide is just a screen grab
of these controls, and what I want to
| | 03:39 | highlight is the way that we
work with these controls is this:
| | 03:43 | drag to the left and things become darker,
drag to the right and things become brighter.
| | 03:48 | Let's take a look at this with
one more image, this one here.
| | 03:52 | Well, with this file, one of the things
that I want to do is I want to try to
| | 03:56 | modify the overall exposure,
brightening this up a little bit.
| | 03:59 | I want to bring in some detail into my shadows,
so I'll go ahead and crank that up as well.
| | 04:05 | Next, for the sky or the Highlights
I'll bring that down, so I am going to go
| | 04:09 | ahead and darken that so you can
see that we have more detail there.
| | 04:12 | I am also going to add some contrast
and then work on the overall whites or the
| | 04:16 | brightness, and also those
blacks, those deeper blacks there.
| | 04:20 | Here, we have the ability to
add what's called Clarity.
| | 04:24 | This is midtone contrast, and midtone
contrast can kind of make your image have a
| | 04:28 | nice texture or look or feel.
| | 04:31 | We have some color controls in the
Basic panel. Vibrance, that works with more
| | 04:35 | muted colors, helps you to bring the
saturation out and colors which aren't
| | 04:40 | saturated. Saturation will just
boost all of the colors in your picture.
| | 04:45 | So again, here you can see
we've modified this photograph.
| | 04:48 | We have modified it in a pretty interesting way.
| | 04:50 | Let me just make a few more adjustments
here, and then let's take a look at our preview.
| | 04:55 | You can do so by clicking on the
Preview icon or by pressing the P key.
| | 05:01 | Let's press the P key this time.
Here is our before, and now our after.
| | 05:06 | As you can see, these Basic
Controls are anything but basic.
| | 05:11 | I think they are referred to as
basic because this is our starting point.
| | 05:15 | This is where we are going to make
some important global corrections to our
| | 05:18 | photographs, and as you can see, these
controls can really help you when it
| | 05:21 | comes to making enhancements or
corrections to your pictures, and once you've
| | 05:25 | applied some adjustments to your
photographs, you don't need to save them in
| | 05:29 | the traditional sense.
| | 05:31 | In other words, all that you really
need to do is to click on this Done button,
| | 05:36 | and then all of these settings
will be applied to your files.
| | 05:39 | If you do want to save these files out,
though, in another format, you can click on
| | 05:44 | the Save button, which will
open up the Save Options dialog.
| | 05:47 | Well, here you can choose to save
these files out perhaps as a different file
| | 05:51 | format, but that's really only in those
situations where you really need to save
| | 05:55 | these files in a different format.
| | 05:57 | In most workflows, what you are
going to do is simply go ahead and apply
| | 06:01 | these settings by clicking Done or
just open up the images in Photoshop with
| | 06:06 | these settings applied.
| | 06:07 | Again, in either situation, the
settings or the adjustments which you've made
| | 06:11 | here, they will be applied to your image.
| | 06:13 | Well, let's go ahead and click Done
here in order to see how these differences
| | 06:17 | can be shown inside of the Adobe Bridge.
| | 06:19 | Well, inside of Bridge, as I click on
these photographs, again, you can see that
| | 06:24 | these files have been adjusted in Camera Raw.
| | 06:26 | Well, if ever you want to go back to
Camera Raw, well, again what you can do is
| | 06:31 | you can navigate to your File pulldown
menu and then choose Open in Camera Raw.
| | 06:36 | And let's do that with this image here.
I don't quite like the contrast.
| | 06:40 | I'll go ahead and increase that and also
maybe decrease the exposure just a little bit.
| | 06:44 | So as you can see, these adjustments,
well, they are really flexible.
| | 06:49 | Once you're ready to go to Photoshop, you
go ahead and click on that Open Image button.
| | 06:53 | This will then open up that file in
Photoshop with those Raw settings applied to
| | 06:58 | it as you can see here.
| | Collapse this transcript |
| Correcting color and white balance| 00:00 | So far, we've been discovering that
Camera Raw is easy to use. It's fast, it's
| | 00:04 | flexible, and this is the reason why so
many people go to Camera Raw first in
| | 00:09 | order to process their images
before they get to Photoshop.
| | 00:13 | And this is a really good workflow.
It's a really good way to go.
| | 00:16 | And here, we are going to focus in on a
few more features in Camera Raw that we
| | 00:20 | can take advantage of.
| | 00:21 | And this time I want to focus in on color.
| | 00:24 | Let's go ahead and select these three
files here, which you can find in your
| | 00:27 | white_balance folder.
| | 00:29 | Hold down the Command key on a Mac, Ctrl
key on Windows, and click on these files
| | 00:33 | and then navigate to File
and choose Open in Camera Raw.
| | 00:36 | I want to start off with this demo
file here, and I have this here just to
| | 00:41 | illustrate this whole idea that we
can have different color temperatures.
| | 00:46 | We already know this intuitively that
certain color temperatures are warm, say,
| | 00:50 | like candlelight, and other color
temperatures, well, they are cool.
| | 00:54 | And there are different times of
day when we can capture different
| | 00:57 | color temperatures.
| | 00:59 | When it comes to working on our images,
sometimes we'll have a color shift, say,
| | 01:03 | for example, like with this photograph here.
| | 01:07 | And initially looking at it, it might be
difficult to determine the actual color shift.
| | 01:13 | We can use our Temperature and Tint
sliders in order to correct the color, and
| | 01:18 | we can use these in combination
with a really powerful tool.
| | 01:22 | It's the third tool up here.
It's the White Balance tool.
| | 01:25 | Let's go ahead and click on it.
| | 01:27 | What this tool allows us to do is to
sample something in our image that we
| | 01:31 | know should be neutral.
| | 01:33 | In this case, I know that this camera should
be neutral, so I'll go ahead and click on that.
| | 01:38 | As I do that, you'll notice that it
changes my Temperature and my Tint.
| | 01:43 | Let's take a look at that Preview.
Here is before, and now here is after.
| | 01:48 | What had happened was this was a bit
too cool and green, and so these sliders
| | 01:53 | were moved over to the right in
order to make this value neutral, and it
| | 01:57 | color-corrected the photograph,
and now it just looks a lot better.
| | 02:01 | You know, sometimes we want images which
are color correct and perfect and accurate.
| | 02:06 | Other times we might want to
be a little bit expressive.
| | 02:09 | Let's say we want this image to be a bit warm.
| | 02:12 | We can click on this slider and drag it
over to the right in order to add a bit
| | 02:16 | more warmth, or of course,
we can cool it off as well.
| | 02:19 | So you can make both objective and
subjective decisions when working with your
| | 02:24 | images in regards to color.
| | 02:26 | Let's go to another photograph. This one here.
| | 02:29 | With this picture, I want to highlight
a couple of ways that we can change the
| | 02:33 | way we view the picture and
also how we can work on its color.
| | 02:37 | Down at the base, you'll
notice we have our zoom rate.
| | 02:40 | I can change this by clicking on this
menu and changing how far I am going to
| | 02:44 | zoom in or how far I want to
zoom out on the photograph.
| | 02:49 | We can also do this with the Zoom tool.
| | 02:51 | Select the tool and click on your image
in order to zoom in, hold down Option or
| | 02:56 | Alt, just like in Photoshop.
| | 02:58 | That will change the icon to a Minus sign
inside of the magnifying glass and
| | 03:03 | then click again and you can zoom out.
| | 03:05 | Do you remember those other zoom shortcuts?
| | 03:08 | They were--if you double-click the Hand
tool in Photoshop, it takes this to Fit in
| | 03:12 | view, double-click the Zoom tool, it
takes it to that 100% view. So again, just
| | 03:17 | some handy techniques in regards to zooming.
| | 03:20 | With the Hand tool, it works
just like it does in Photoshop.
| | 03:23 | We can click and drag to
reposition the photograph.
| | 03:26 | Well, here I have a photograph of a
very famous professional surfer, and I want
| | 03:30 | to try to white balance this picture,
so I select the White Balance tool.
| | 03:35 | I might think that this black on his shirt
would be a good sample point, so I click on it.
| | 03:40 | Yet when I do that, all of a sudden the
picture, well, it's really yellow and green.
| | 03:45 | Well, most likely this is the result of
the fact that this black isn't really a
| | 03:50 | neutral black. This went too far.
| | 03:53 | So let's go ahead and take a look
at how we can reset these values.
| | 03:56 | Well, here you notice you have this
White Balance option of Custom.
| | 04:01 | That's because we made a change.
| | 04:02 | Well, you can take this back to As Shot
by choosing that option here in the menu.
| | 04:07 | Then I can just make a subjective edit.
| | 04:09 | Let's say I want to warm this up a little
bit and also add perhaps a bit of magenta.
| | 04:14 | And these sliders allow you to make
subtle and also really dramatic adjustments
| | 04:18 | as you can see as I move these.
| | 04:20 | So here we are just looking to make a
little subtle warming effect, or warming
| | 04:24 | the image up a little bit,
changing the overall color Temperature.
| | 04:28 | Let's look at our results.
| | 04:30 | By clicking on the Preview icon, we
can see that before and now after.
| | 04:34 | So even in this Basic panel, you
have a lot of control when it comes to
| | 04:38 | working with color.
| | 04:39 | Whether you're trying to correct
the color or just come up with some
| | 04:42 | creative color enhancements.
| | Collapse this transcript |
| Processing multiple images at once| 00:00 | Here, we are going to continue to talk
about how we can use Camera Raw in order
| | 00:04 | to correct and enhance our photographs,
whether that's working on tone or color.
| | 00:09 | And I also want to talk about how we
can work with multiple files, in a sense,
| | 00:13 | how we can kind of batch process these files
using Camera Raw in order to speed up our workflows.
| | 00:20 | So let's go ahead and
select a few images to work on.
| | 00:22 | We are going to work with this first
file here, then hold down Command and Ctrl,
| | 00:27 | and click on these two other images as well.
| | 00:29 | The first two were captured with my Canon
5D Mark II, this last one with my iPhone.
| | 00:35 | So let's open up both these
Raw and JPG files in Camera Raw.
| | 00:40 | To do so, we'll go to the File pulldown
menu and then choose Open in Camera Raw.
| | 00:46 | Once all these images are open in Camera
Raw, we can access them in the Filmstrip.
| | 00:51 | If ever you want to change the size of
the Filmstrip, you can click and drag
| | 00:54 | over it so you can open up more
space or less space for your image.
| | 00:58 | We'll go ahead and decrease
that just a little bit there.
| | 01:01 | Well, with this first image of my family
playing in the snow, one of the things
| | 01:05 | that I notice is I don't have a
lot of good detail here in the snow.
| | 01:09 | To bring some detail back,
I'll use the Highlight slider.
| | 01:13 | As I drag this down, you'll see that we now
have more texture in this area of the image.
| | 01:18 | I also want to add a little bit of
contrast and perhaps some clarity and
| | 01:22 | vibrance and a touch of color saturation.
| | 01:24 | Next thing I want to do is I want
to change the color of my daughter
| | 01:29 | Sophie's ski pants here.
| | 01:31 | To do that, we can go to
one of our other panels.
| | 01:34 | Each of these different tabs
allows us to access different controls.
| | 01:39 | The tab that I want to go to
is this one here, HSL/Grayscale.
| | 01:43 | We have different tabs, Hue,
Saturation, and Luminance.
| | 01:48 | With the Hue tab, what I am going to do
is change the purple, and I want to change
| | 01:52 | that to a nice bright blue.
| | 01:54 | So I'll go ahead and click
and drag this to the left.
| | 01:57 | Next, I'll go to my Saturation tab and
increase the Purples saturation, which is
| | 02:02 | now blue, so now I have a brighter blue here.
| | 02:05 | Next, I can go to Luminance,
and on the Luminance tab,
| | 02:09 | this allows me to control
the brightness of these tones.
| | 02:12 | I can either make these brighter
or darker as you can see here.
| | 02:16 | So these controls give us the ability to
make really specific adjustments to our
| | 02:20 | images based on color.
| | 02:22 | Luminance is about brightness of those
colors, Saturation, well obviously, is how
| | 02:27 | saturated they are, and then Hue
allows us to change the color.
| | 02:31 | Well, here with this image,
we've made a few adjustments.
| | 02:34 | We've adjusted some HSL controls.
| | 02:37 | We've also made some
adjustments in the Basic panel.
| | 02:40 | Well, I want to apply both of these
adjustments--or both of these sets of
| | 02:44 | adjustments--to the other image, this
one here, so that this one has good detail
| | 02:50 | in this front area and also
so that her pants are blue.
| | 02:53 | Well, to do that, you can click on the
first image and then hold down Command or Ctrl.
| | 02:59 | That's Command on a Mac, Ctrl on Windows.
And then click on the second image, and
| | 03:04 | then you'll notice you have a
Synchronize button. Let's click on that.
| | 03:08 | This Synchronize button allows us
to synchronize various settings.
| | 03:12 | We can choose specific Settings, just
settings in the Basic panel, or we can
| | 03:16 | choose to synchronize Everything.
| | 03:18 | Let's go ahead and click on
Everything in order to synchronize all of the
| | 03:22 | settings from this file to the other file.
| | 03:25 | Next, click OK in order to apply those settings.
| | 03:28 | And here, what I want to do is then
click on this other image, and what we'll
| | 03:32 | see is that we now have better detail in the
snow, and the pants are now a different color.
| | 03:37 | So as you can see, you can really work
quickly with Camera Raw, especially when
| | 03:42 | you have photographs which
were captured in a similar way.
| | 03:45 | Let's move to this next image here.
With this iPhone picture, it's a little bit drab.
| | 03:51 | This photograph, it needs some
contrast, so I'll increase the contrast.
| | 03:55 | I'm also going to increase my
color saturation and my exposure.
| | 03:59 | I really want to make this one snap.
| | 04:01 | I want to make those blacks deep, so I'll
click and drag that to the left. All right!
| | 04:05 | Well, let's take a look at our before and after.
Here is before. Now here is after.
| | 04:11 | I'm liking that much more. This is
really coming to life, and it illustrates the
| | 04:15 | graphic nature of the subject or of
the content that I was photographing.
| | 04:18 | Well, with this one, how can I then
batch process or synchronize these settings
| | 04:24 | with all of those other photographs?
Because I forgot to open them.
| | 04:28 | Well, what you can do is you can apply
adjustments to one image and then simply click Done.
| | 04:35 | Back in the Adobe Bridge, we'll see
that this image has now been updated.
| | 04:38 | Well, you can select a file which has been
updated, and you can right-click or Ctrl-click.
| | 04:46 | Make your way down to Develop Settings,
and here you can choose Copy Settings.
| | 04:51 | This will copy all of those Camera Raw settings.
| | 04:55 | Next, we'll click on these three images.
You can do that by holding down Command
| | 04:59 | on a Mac, Ctrl on Windows, as you know,
and then right-click or Ctrl-click, and
| | 05:05 | here's really where the magic happens.
You go back to Develop Settings and just
| | 05:09 | choose Paste Settings.
| | 05:10 | Here, we are going to paste everything.
We've seen this dialog before.
| | 05:15 | We'll go ahead and click Everything,
or select Everything, and then click OK.
| | 05:19 | Well, now here, you can see these images
have really snapped. They've come to life
| | 05:23 | in a completely different way.
| | 05:25 | All of these images have been
modified with those settings which we applied
| | 05:29 | to this first image.
| | 05:30 | So as you can see here, Camera Raw is a
tool which not only gives you flexibility
| | 05:35 | and speed when working with one image,
it gives you incredible flexibility when
| | 05:40 | it comes to your overall photographic workflow.
| | 05:44 | Because as photographers, we so often
work on multiple images, and by being able
| | 05:49 | to process more than one image at a
time, well, this can just speed up your
| | 05:53 | workflow by leaps and bounds.
| | Collapse this transcript |
| Utilizing the Crop tool to recompose your pictures| 00:00 | Another need that will arise as you
start to work on your photographs is the
| | 00:04 | need to crop and recompose your pictures.
| | 00:07 | Well, let's take a look at how we can do
this using the Adobe Camera Raw Crop tools.
| | 00:11 | We'll go ahead and select these
three files and then navigate to the File
| | 00:15 | pulldown menu and choose Open in Camera Raw,
and let's start off with this file here.
| | 00:21 | You'll notice that at the top of
Camera Raw we have these different tools.
| | 00:25 | One of the tools is the Crop tool, and
right next door to it is this Straighten tool.
| | 00:30 | If you click on this tool, what you can
do is you can then click and drag across
| | 00:35 | an area of your photograph
that you think should be straight.
| | 00:38 | In this case, I'll click
across the railroad tie here.
| | 00:41 | You notice that what will happen is it
will create a new crop for my image, and
| | 00:46 | it'll also rotate that so
that that line is straight.
| | 00:50 | To see the results, press Enter or Return, and
you can now see that this is much more level.
| | 00:56 | Except here, I went a little bit too far.
| | 00:59 | It's almost like it's leaning
a little bit to the right.
| | 01:02 | To change that, well, I
can just reactivate my crop.
| | 01:06 | To do so, you can press the C key
or you can click on your Crop tool.
| | 01:11 | Next, what I want to do is hover over
one of these corner points, or near one of
| | 01:14 | these corner points I should say,
and I'll see a cursor that's changed.
| | 01:18 | It's a bend cursor.
| | 01:19 | In this case, I'm going to click and drag
this to the right a little bit and then
| | 01:23 | I'm also going to click and extend this.
| | 01:26 | So that this goes out a little bit further.
| | 01:28 | I can reposition the crop by
moving this from one spot to another.
| | 01:33 | I'll reposition that, and this time
rather than pressing Enter or Return,
| | 01:37 | I'll double-click in the crop
area in order to apply that.
| | 01:41 | Now that looks much better.
Let's take a look at this in another scenario.
| | 01:45 | Here, we'll click on this
image here, russell_brown.
| | 01:49 | This time we'll start off with the Crop
tool because we want to crop this image.
| | 01:53 | Yet as we start to crop, we realize,
well, this one isn't level or straight.
| | 01:58 | Well, we can access the Straighten tool
from the Crop tool by pressing Command or Ctrl.
| | 02:05 | Notice, all of a sudden, my cursor changes.
| | 02:08 | Here, I can go ahead and click and drag
across something that I think should be straight.
| | 02:12 | In this case these letters, and then
let go, and it will activate that crop and
| | 02:17 | rotate it so that those elements are straight.
| | 02:21 | Let's press Enter or Return in order to
apply that so that you can now see that.
| | 02:26 | And the great thing about this is
that this is really, really flexible.
| | 02:30 | We can always modify this or change this
or tweak this, as we've seen previously.
| | 02:35 | Well, let's look at one
more photograph, this one here.
| | 02:39 | With this last picture, what I want to
do is I want to activate the Crop tool.
| | 02:42 | So I'll go ahead and click on the Crop tool,
and then we want to click and hold down.
| | 02:47 | Here, you'll notice that you
have different aspect ratios.
| | 02:50 | What we can do is we can go
ahead and select a different ratio.
| | 02:54 | For example, I'll choose 2 to 3.
| | 02:57 | Here, when I click and drag across this,
it's now locked into that 2 to 3 ratio.
| | 03:02 | If I change this by choosing something
different--let's say 1 to 1--it will now
| | 03:07 | show me this square crop which I could then use.
| | 03:10 | So we can choose to either use a
completely custom ratio, or we can use one which
| | 03:15 | is a little bit more locked down.
| | 03:17 | In my case, I'll go back to that normal ratio.
| | 03:19 | This allows me to flexibly change this,
and here you can see I'm just changing it
| | 03:23 | simply by clicking and dragging these handles.
| | 03:26 | Well, let's say that we
want to get out of this crop.
| | 03:29 | We don't really like this particular crop.
We want to undo the crop.
| | 03:33 | Well, to do that, what you can do is
simply have your crop activated and then
| | 03:38 | press the Escape key.
| | 03:40 | And what I mean by that is if we go
back to one of our previous images,
| | 03:44 | if you click on the Crop tool,
it will activate that crop.
| | 03:47 | Then you can press the Escape
key in order to remove that.
| | 03:51 | The last thing I want to highlight here
is that if you want to straighten your
| | 03:54 | images we did before by dragging. You
can also do this with vertical lines.
| | 03:59 | Here, I think that this
letter should be straight.
| | 04:01 | So it will then create a crop so that
that then stands up straight top to bottom.
| | 04:07 | So this works whether
it's horizontal or vertical.
| | 04:10 | Well, actually, I want to do one
more thing here with this image.
| | 04:13 | Let's crop this file in order to improve it.
| | 04:16 | We'll click on the Crop tool, and we'll
click and hold down and just choose Normal.
| | 04:20 | Next, I'm going to go ahead and click
outside of the image and click and drag
| | 04:24 | over the entirety of the frame.
| | 04:26 | Many times you want to maintain the
same aspect ratio, and one way to lock this
| | 04:32 | down is to hold the Shift key.
| | 04:34 | When you do that, you'll notice that
it constrains that aspect ratio for me.
| | 04:39 | Here, I can then click and drag to
reposition this or move over those corner
| | 04:42 | points if I want to rotate the crop,
and you can see how we can change this.
| | 04:47 | To apply the crop again, we'll just
press Enter or Return, and now this is a
| | 04:51 | much stronger image.
| | 04:53 | Sometimes you're going to use the
Crop tool in order to make corrections,
| | 04:57 | to level things out, or to correct
issues or problems that happened when
| | 05:01 | you captured the image.
| | 05:02 | In other situations, like with this
picture, you may just use that Crop tool in
| | 05:07 | order to recompose the picture,
in order to make a stronger frame.
| | 05:12 | Well, once you've finished working
with this tool, in order to apply these
| | 05:16 | settings, we simply go down to the
bottom of Camera Raw and click Done.
| | 05:20 | That will then update all of our images
here inside of Bridge so that we can now
| | 05:25 | see these new crops for these photographs.
| | Collapse this transcript |
| Creating dramatic black-and-white conversions| 00:00 | Let's take a look at how we can
create dynamic and dramatic black and white
| | 00:04 | conversions with our photographs.
| | 00:06 | We'll be working with this image
here, and let's open it in Camera Raw by
| | 00:10 | using the shortcut.
| | 00:12 | The shortcut is Command+R in
a Mac or Ctrl+R on Windows.
| | 00:17 | One of the ways that we could convert
this to grayscale or black and white is by
| | 00:21 | simply decreasing the saturation.
| | 00:24 | If we drag this to the left, we can remove
the color, yet it doesn't really look very good.
| | 00:30 | There isn't much drama here.
| | 00:32 | So a better way to convert to
black and white is to use another panel.
| | 00:37 | In order to reset the saturation
slider, you can double-click it.
| | 00:41 | And this is true with any slider.
| | 00:43 | Once you've adjusted it to reset it,
again, just double-click that little tab, and
| | 00:47 | it'll take it back to the default setting.
| | 00:50 | The panel that we want
to go to is the HSL panel.
| | 00:54 | This panel allows us to control Hue,
Saturation, Luminosity, and also Grayscale.
| | 01:00 | Here, we are going to
choose Convert to Grayscale.
| | 01:03 | Once again, the starting
point, well, it isn't amazing.
| | 01:06 | Yet what you can do is use these sliders
in order to change the brightness or
| | 01:11 | luminance value of
different areas of your image.
| | 01:13 | For example, we know that the sky, it was blue.
| | 01:17 | So here, if we darken up the sky, you can
see that we can really create some nice drama.
| | 01:22 | There also probably was a little
bit of the aquas in the sky, so we'll
| | 01:26 | bring that down as well.
| | 01:27 | Well, already this image,
it's just looking much better.
| | 01:32 | Another color or tone we have here were Greens.
| | 01:35 | We had all of these grasses,
and so I could modify that.
| | 01:37 | You can see I am darkening
up these grasses a little bit.
| | 01:41 | Yellows, well, we had a lot of Yellows
in the field, and so we could control the
| | 01:44 | brightness of the field there.
| | 01:46 | And here, what I want to do is
just bring those down a little bit.
| | 01:48 | Now these controls are so powerful that many
times people think, "Well, I am done. That's it."
| | 01:55 | Yet there are so much more that can be done.
| | 01:58 | After having use these controls,
let's go back to the Basic panel.
| | 02:02 | Here, in the Basic panel, I
want to increase my Clarity.
| | 02:05 | This will add nice texture and
midtone contrast to the image.
| | 02:09 | I also want to build up
or increase the contrast.
| | 02:13 | I can control my blacks here by
darkening or brightening those.
| | 02:16 | In other words, I can really fine tune
the image, and by using these controls
| | 02:21 | together, well, now I'm
really starting to like this image.
| | 02:25 | Well, the next thing that I want to do
with this photograph is I want to paint
| | 02:29 | in an adjustment to a specific area.
| | 02:32 | I want to brighten up this path even more.
| | 02:36 | To do that, we can use a tool which is
called the Adjustment brush, and you can
| | 02:40 | use this tool for so many different reasons.
| | 02:43 | You'll find it in the Tools panel above.
Let's go ahead and click on it.
| | 02:47 | When you click on it, all of a sudden, you
have all of these new options over here.
| | 02:51 | You can paint in Exposure, Contrast,
Highlights, Clarity, Sharpness, Noise Reduction.
| | 02:56 | Again, you have a lot of options.
| | 02:59 | Yet what I want to do here is just
increase my exposure and contrast a little
| | 03:03 | bit, and so I'll then scroll
down and change my brush size.
| | 03:06 | I am going to make this a smaller
brush with a nice Feather edge, and I'll
| | 03:11 | decrease the Flow a little bit.
| | 03:13 | The Flow controls the
intensity of the brush stroke.
| | 03:16 | In other words, with a lower flow, you
have to paint back and forth multiple times.
| | 03:22 | With a higher Flow amount, you
just have to paint once or twice.
| | 03:26 | Next, I want to turn on Auto Mask.
| | 03:28 | Auto Mask limits this
adjustment to a specific area.
| | 03:33 | In other words, I want to
limit my adjustment to the path.
| | 03:37 | So here, I'll just go ahead and click
and drag crosses this path, making sure
| | 03:41 | that the crosshairs on my icon is
really right on that path there.
| | 03:45 | As I do this, you can see how this is
starting to come to life and how this is
| | 03:49 | brightening up this part of the image.
| | 03:52 | After I painted this in, I can
modify this after the fact as well.
| | 03:57 | Let's say, for example, that
we don't like this adjustment.
| | 04:00 | Well, you could go back to your sliders,
your Exposure, and you can see how I can
| | 04:04 | change this. I could darken
the path, or I could brighten it.
| | 04:07 | In my case, I'm going to brighten it
back up because I think that looks pretty
| | 04:10 | good, and I'll add a little bit of
contrast and also some clarity. I'll add a bit
| | 04:15 | more texture to that area of the picture.
| | 04:18 | If we click on the Preview icon here,
we can see that before and after. Here's
| | 04:22 | before, previously when we thought the
path looked good, and now here's after,
| | 04:27 | where it's looking even better.
| | 04:29 | It's a little bit over the top there, so I am
just going to bring this back just a touch more.
| | 04:34 | But here, you can see you can use
these controls to create some incredibly
| | 04:38 | powerful and dynamic black and white conversion.
| | 04:42 | Once you're done with your Adjustment
brush, all that you have to do is to select
| | 04:46 | another tool in order to
bring back the other panels.
| | 04:49 | Well, just to reiterate, what we did
here was rather than start off in the Basic
| | 04:54 | panel, we went all the way over to the HSL
controls and we clicked on Convert to Grayscale.
| | 05:00 | Next, we dragged these sliders in order
to change the brightness values of the
| | 05:05 | different colors in our image.
| | 05:07 | After having accomplished that, we
then went to the Basic panel and we really
| | 05:11 | finished this photograph off using some
of these different adjustments in order
| | 05:15 | to make the image snap and come to life.
| | 05:18 | And then, finally, we explored how we
could use the Adjustment brush in order to
| | 05:22 | paint in adjustments to specific areas
in our photograph. And by using all of
| | 05:27 | these techniques together, well, they
altogether helped us to create a really
| | 05:31 | dynamic and interesting to
black and white conversion.
| | Collapse this transcript |
| Reducing noise and making tack-sharp photos| 00:00 | An important step in your overall
Camera Raw workflow is sharpening and noise
| | 00:05 | reduction, and here what I want to do
is take a look at how we can use the
| | 00:08 | sharpening and noise reduction
controls and also how we can integrate these
| | 00:12 | steps into our overall workflow.
| | 00:15 | So go ahead and select these two files here.
| | 00:17 | Then navigate to the File pulldown
menu and choose Open in Camera Raw.
| | 00:22 | Let's start off with this first photograph here.
| | 00:25 | This is a picture that I captured in
a low light setting with a high ISO.
| | 00:30 | Yet at this zoomed out perspective, well,
the image, it looks fine, yet if we zoom
| | 00:35 | in to 100%, we'll see that the image
actually isn't in that great of shape.
| | 00:40 | Let's go ahead and click on this icon
here and go to 100% and then press the
| | 00:44 | Spacebar and then click and
drag to reposition the photograph.
| | 00:48 | What you'll notice is that when you
get up close, well, there's a lot of noise
| | 00:52 | in the background and on the texture of the
skin and all the different areas of the photograph.
| | 00:57 | Let me zoom in even closer
so that you can see this.
| | 01:00 | Well, we can correct this by
navigating to our Detail panel.
| | 01:04 | You can do so by clicking on this icon here.
| | 01:07 | And with this initial image, I just want to
deconstruct how we can use these controls.
| | 01:12 | Let's start off with our
Noise Reduction controls.
| | 01:15 | Here, I'll go ahead and click and drag
this up, and what it will do is it will
| | 01:19 | remove all of the luminance
variation that we see in the image.
| | 01:23 | Yet there still are some color problems here.
| | 01:26 | So we'll increase our
Color Noise Reduction as well.
| | 01:29 | Well, now with these simple adjustments,
this image is already looking much better.
| | 01:34 | Let's take a look at the preview.
| | 01:36 | Here is before, you can see all the
texture and color variation, and then I'll
| | 01:41 | click that again, and there is after.
| | 01:43 | So these controls really help to
improve our photographs, yet at the same time,
| | 01:48 | something has happened.
| | 01:50 | The image is now a little bit more soft,
that's why these two sets of controls
| | 01:55 | are right next to each other, because
you know, when you reduce noise, you are
| | 01:59 | also softening a bit because
you're removing some detail.
| | 02:03 | When you sharpen your picture,
sometimes you're adding a little bit more noise.
| | 02:07 | So you need to work with these
two sets of controls together.
| | 02:11 | Let's take a look at how we can
work with our Sharpening controls.
| | 02:14 | Here, I'll go ahead and zoom back to 100%
so we can see this image a little but
| | 02:19 | more appropriately here.
| | 02:21 | When you're sharpening, you want to
be up close, ideally right around 100%.
| | 02:26 | Let's see how these sliders work.
You can click and drag the sliders to the right.
| | 02:31 | Yet sometimes it's hard to
know what's actually happening.
| | 02:34 | Well, if you press and hold a Modifier
Key and then click and drag, you get this
| | 02:40 | really interesting preview which can
help you find a more appropriate amount of
| | 02:44 | sharpening, or a more appropriate
radius for what you're trying to do.
| | 02:48 | Hold down Option or Alt and
then click and drag the slider.
| | 02:51 | As we do that, you can see
the Amount really is intensity.
| | 02:55 | And let's crank that up just to
kind of exaggerate things here a bit.
| | 02:58 | Well, what about Radius?
| | 03:01 | Radius will be dependent upon your file
resolution. The lower the resolution of
| | 03:06 | the file, the lower the Radius.
| | 03:08 | Hold down Option or Alt and click on
this, drag to the right. You can see
| | 03:12 | that those edges, well, they really glow.
Drag to the left and that glowing disappears.
| | 03:18 | Typically, you don't want to have your
edges glow. You want to have a really low
| | 03:23 | or subtle amount of your Radius.
| | 03:25 | Next, we have Detail.
| | 03:27 | Drag to the right, you'll
see more texture, more details.
| | 03:30 | This isn't very good for people
photographs, so with people, you want to remove
| | 03:35 | the Detail amount altogether.
| | 03:37 | Next we have Masking.
| | 03:39 | When you hold down Option or Alt and
click and drag on this icon, what you will
| | 03:43 | notice is you get this really
interesting black and white mask.
| | 03:47 | This is showing me that
whatever is black won't be sharpened,
| | 03:51 | whatever is white will be sharpened.
| | 03:54 | So with this slider, we can limit what
areas of our photograph will be sharpened.
| | 03:59 | In this case, it's just
going to focus in on the edges.
| | 04:02 | Well, now that we know how these
controls work, let's go ahead and decrease our
| | 04:06 | Amount to something a
little bit more appropriate.
| | 04:09 | That was a bit too high, and I'll also
modify the Masking amount there, and I'm
| | 04:13 | just trying to make adjustments
which look good to my eye.
| | 04:17 | Let's take a look at our preview.
| | 04:18 | If we click on this icon here, we'll be
able to see that before, lot of texture,
| | 04:23 | lot of noise, and then now the after,
the image is looking much better.
| | 04:28 | Now that we know how all of these
controls work, let's talk about workflow,
| | 04:33 | and let's do that with the next image.
| | 04:36 | We'll go ahead and click on this file
here, and whenever you are working in
| | 04:39 | Adobe Camera Raw, typically you start
off with the Basic panel, and typically
| | 04:44 | you go top to bottom.
| | 04:46 | Here, we might increase the color
temperature a bit to warm this photograph up.
| | 04:50 | We also might increase our exposure,
maybe our contrast, and we can just modify
| | 04:55 | the way that this image appears, and I am
going to make a few adjustments just to
| | 04:59 | change the way I'm viewing this
photograph. And again, I'm just doing this,
| | 05:03 | so that it looks good to my eye.
| | 05:06 | And the reason why I want to illustrate
this is because the amount of contrast
| | 05:10 | and also the amount that you adjust
all of these controls, well, they will
| | 05:14 | modify or change how much sharpening
you need to apply or also how much noise
| | 05:20 | you need to reduce. Because if an image
has a lot of contrast, it looks sharper.
| | 05:25 | If it has a low amount of contrast,
it looks a little bit more soft.
| | 05:30 | So typically, you want to go
through all of your workflow steps first.
| | 05:34 | You want to modify the image with the
Basic panel and the other panels as well
| | 05:39 | and then near the end of your
workflow, head over to the Details panel.
| | 05:44 | Here, in the Details panel what we want
to do is zoom in on this picture, and I'll
| | 05:48 | go ahead and zoom in so I can see
some of the details of this frame.
| | 05:51 | One of the things I notice here is that
I have a little bit of noise, and I also
| | 05:55 | want to make this a bit sharper.
| | 05:57 | Well, to do that, we'll go ahead and
increase our Sharpening amount, and then
| | 06:02 | with the Detail slider, if I drag this
up, what we'll see is it will bring out
| | 06:05 | some of the texture.
| | 06:07 | Well, texture with a photograph like
this--even though it's a people picture--
| | 06:11 | might be kind of nice.
| | 06:12 | Next, we'll increase the Masking
amount, and if we actually want to see that,
| | 06:17 | hold down Option or Alt and click and
drag so we can see what area will be
| | 06:22 | applied in regards to the sharpening or
which areas of the photograph will be sharpened.
| | 06:26 | Again, whatever is white will be sharpened,
whatever is black won't be sharpened.
| | 06:31 | So we can find the appropriate amount there.
| | 06:33 | Then we want to increase our Luminance Noise
Reduction and also our Color Noise Reduction.
| | 06:40 | Finally, we want to go back and make any
needed last-minute adjustments, and that's a wrap.
| | 06:45 | Let's go ahead and zoom out with this
picture so that we can evaluate it.
| | 06:49 | Here, what I wanted to do at the end of
this movie, really, is just illustrate this
| | 06:53 | whole idea that when working with your
Detail panel, you want to integrate that
| | 06:57 | into your overall workflow, and most
importantly, you want to start off by making
| | 07:02 | your basic adjustments and then
eventually go to the Detail panel in order to
| | 07:06 | make those needed final adjustments
in order to finish off your photograph.
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|
|
8. Utilizing LayersIntroducing layers| 00:00 | A layer is to Photoshop as a wheel is to a bike,
and you know, layers are incredibly powerful.
| | 00:07 | They give us a lot of flexibility and
creativity when it comes to different ways
| | 00:11 | that we can process and modify our
photographs, and they're incredibly strong.
| | 00:16 | So what I am going to do here is take
look at a layered project, and I want to
| | 00:20 | do this just as a way to introduce you
to the power of layers. And then later in
| | 00:24 | this chapter we will take a look at how
we can actually start to work with layers.
| | 00:28 | So here let's go ahead and open
up some space for the Layers panel.
| | 00:32 | We can do this by double-clicking
these tabs here, and you can see this, this
| | 00:36 | document it has eleven different layers.
| | 00:39 | Now this project was created in one of
my other more advanced Photoshop training
| | 00:44 | courses, and here is the final result.
| | 00:46 | And one of the things that you can do
with players is you can show or hide
| | 00:51 | layer transparency.
| | 00:52 | I'll go a head and click on this
top Eye icon here for this layer.
| | 00:56 | As I do that, you can see that I'm turning
off these different adjustments that I've made.
| | 01:01 | You'll also notice that whatever is in
the top of Layers panel, well, it will
| | 01:05 | cover what's underneath.
| | 01:07 | So here as I clicked through these, you
can see as I'm kind of stepping back in
| | 01:11 | time all the way back to the original document.
| | 01:15 | So by having layers, it gave me
flexibility to make some corrections.
| | 01:19 | I removed some distracting elements.
| | 01:22 | Next, we did this a little bit further
and then we took this one step at a time,
| | 01:26 | further and further working on the
color in the details and the overall tone
| | 01:31 | until we got to a place with this
project where we liked how this image looked.
| | 01:35 | And this particular photograph is about
a very famous cyclist that I captured
| | 01:39 | inside of this wind tunnel.
| | 01:41 | I wanted to try to recreate the mood
of being there and the sense of speed.
| | 01:46 | And by using layers, I was able to do that.
| | 01:50 | Really, without layers, I couldn't have
accomplished or created an image like this.
| | 01:55 | Sometimes you're going to use layers
in order to create something which
| | 01:58 | is really fantastic.
| | 01:59 | In other situations, you'll use layers
to make important and needed corrections
| | 02:04 | or just minor adjustments to the pictures.
| | 02:07 | So as you can see here, these layers,
they give us a lot of flexibility and
| | 02:11 | creative control, and you can see
that layers are indeed important.
| | 02:15 | Now that we know this, let's go ahead
and take a look at how we can start to work
| | 02:19 | with layers, and let's do
that in the next few movies.
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| Understanding layers and layer transparency| 00:00 | ou won't be able to take full
advantage of the strength of Photoshop until you
| | 00:05 | eally understand layers.
| | 00:07 | nd layers in Photoshop are quite interesting.
| | 00:09 | hat we typically do is let's say we
start with a background image, and we have
| | 00:13 | his image open in a document.
| | 00:15 | hat we can then do is we can add a new
layer on top of that, and in this case,
| | 00:20 | his top layer is stacked up.
| | 00:22 | t's on top of the underlying layer.
| | 00:25 | hatever is on top conceals what's
underneath, and in this case, we'd say that
| | 00:29 | his layer is at full opacity,
meaning we can't see what's underneath.
| | 00:33 | hat we can do in Photoshop though
is, of course, we can change that.
| | 00:38 | ike with all of these images that I
have here, we could take one of these
| | 00:41 | mages and set it on another.
| | 00:43 | e could see through these by applying a
blending mode or by lowering the opacity.
| | 00:47 | nd in this way, we can apply specific
adjustments to localized areas, or if
| | 00:52 | e want to make a global adjustment, we could
apply something in a little bit of a larger scale.
| | 00:58 | ow of course, in this demo this falls
short a little bit because I don't have
| | 01:02 | recise control about the type of
adjustments that I'm making, yet it does
| | 01:07 | llustrate how layers work.
| | 01:09 | nd you want to think of layers as
having a layer underneath and then
| | 01:12 | omething above, and what's above
can either affect the entirety of the
| | 01:16 | nderlying layer, or you can have it
control or effect or modify or enhance
| | 01:21 | ust a specific area.
| | 01:23 | o if you want to get good at Photoshop, learn
how to use layers and learn how to use them well.
| | 01:29 |
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| Working with layer opacity| 00:00 | Now, that we've been introduced to
the topic of layers and also layer
| | 00:03 | transparency, what I want to do here is
start to take a look at how we can begin
| | 00:08 | to work with layers, and I want
to work with this photograph here.
| | 00:12 | This is a picture of one of my
good friends, Matt Kloskowski.
| | 00:15 | He's actually written a great book on layers,
so that would be fitting to use this picture.
| | 00:20 | Well, over here in the Layers panel,
before we start to click around, what I want
| | 00:24 | to do is change the way
these layers are displayed.
| | 00:28 | You can do that by right-clicking or
Ctrl-clicking in the Layers panel, and here
| | 00:33 | I'm going to choose a larger thumbnail
size, I'll choose Large Thumbnails.
| | 00:36 | You can see my layer
thumbnails are now much bigger.
| | 00:39 | Sometimes this is helpful in order to be
able to actually see what's in the panel.
| | 00:43 | You can always change this by simply
right-clicking or Ctrl-clicking and then
| | 00:47 | choosing a different option as well.
| | 00:50 | Okay, we'll go back to that Large
Thumbnail option because it's good for demos.
| | 00:54 | You notice that Background
layer has its visibility turned on.
| | 00:58 | Next, I'm going to turn on the visibility
of this layer, clean up, and a little
| | 01:02 | bit of color adjustment.
| | 01:03 | Here, we can see that before and then after.
| | 01:06 | Basically, removing his tag and then
changing the color of the lens a little bit.
| | 01:11 | Next, I have a color adjustment layer.
| | 01:13 | This particular layer really warms
things up, so it changes the color and tone--
| | 01:18 | kind of did something which
looks a little bit like fire.
| | 01:21 | Here, we can see the before,
and now then the after.
| | 01:24 | Well, if you click in a layer, you have
some controls which allow you to control it.
| | 01:30 | We talked a little bit about transparency,
and in Photoshop, they refer to that by opacity.
| | 01:35 | Well, if something is opaque, you can't
see through it. Well, you can decrease its
| | 01:40 | opacity and make it more transparent.
| | 01:42 | For example, with this color adjustment
layer, if we click and drag the slider
| | 01:47 | to the left, well, now we're going to
have less of a color effect, and you can see
| | 01:50 | I'm slowly diminishing that.
| | 01:52 | Here is 8%, and then bring it
up to 100 by way of comparison.
| | 01:57 | We can also duplicate layers.
We can do so a couple of different ways.
| | 02:02 | You can either click and drag this
to the New layer icon, or you can press
| | 02:06 | Command+J or Ctrl+J. By doing that,
it will then duplicate the layer.
| | 02:12 | Here, you can see I've stacked up
or increased this color effect by
| | 02:16 | duplicating the layer.
| | 02:18 | We can also turn off the visibility
of these layers if we want to diminish
| | 02:22 | this, or we could target one of these
layers that we've turned on, and we could
| | 02:26 | just lower the opacity so that we
can then control how much color we're
| | 02:30 | bringing into our picture.
| | 02:31 | Well, next, up top we have two layers
which have some text in them, layers and
| | 02:37 | then layers are cool.
| | 02:39 | Well, let's say that I want to move
these layers around. Well, we can click in
| | 02:43 | this graphic layer here, and with our
Move tool selected, we can go ahead and
| | 02:47 | click and drag to reposition this.
| | 02:50 | We can also do the same thing with this layer.
| | 02:52 | We'll go ahead and again click
and drag to change that location.
| | 02:55 | Well, if ever you want to move two
layers together, just hold down the Command or
| | 03:00 | Ctrl key, and then click on both layers.
| | 03:03 | With two or more layer selected, you can
then move them by simply clicking and dragging.
| | 03:09 | You can also change some
characteristics about the layers.
| | 03:12 | For example, we could decrease the
opacity so that these will become more
| | 03:16 | transparent, and we can do that two
layers at a time, or you can just target one
| | 03:21 | layer and modify its opacity by itself.
And you can see how I can do this by
| | 03:25 | simply clicking and
changing that opacity amount.
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| Aligning layers| 00:00 | In this brief movie, I want to take
a look at how we can align layers.
| | 00:05 | In the previous movie, we explored how we
could select multiple layers and then move those.
| | 00:10 | Well, here let's take a look at
how we can do that with this file.
| | 00:13 | If I click on that layer number one,
then hold down the Shift key and click on
| | 00:18 | my topmost layer, I can
select all of these layers here.
| | 00:22 | Next, I can hover over the
image with my Move tool and then
| | 00:24 | simply click and drag.
| | 00:26 | Well, here you can see I have all of
these layers, each of them are kind of a
| | 00:30 | film strip of different photographs.
| | 00:32 | Well, I want to align these layers all together.
| | 00:36 | The way that we can do that is first
select the layers which we want to align
| | 00:41 | and then we can use these
options up here in the Options bar.
| | 00:44 | We can either choose to
align them to their center point--
| | 00:47 | this would then cause them all to
be overlapped--or we could choose to
| | 00:51 | align them this way.
| | 00:53 | In this sense, it would align all of
their horizontal centers, and by choosing
| | 00:57 | that, you can now see that all
of these pictures are aligned.
| | 01:01 | As I moved this around, I can't
quite get it in the right spot.
| | 01:05 | Well, if you can't get it in the right
spot with your mouse, you can always use
| | 01:09 | your arrow keys just to nudge these
around, and you can use this technique
| | 01:12 | whether you have one or more layers selected.
| | 01:15 | Those arrow keys will allow you to
just get that in exactly the right spot
| | 01:19 | of where you want it.
| | 01:20 | And so here, you can see it's really
easy to align multiple layers together.
| | 01:24 | Again, it's all about making a selection
and then using these Align icons which
| | 01:29 | we have up here in our Options bar.
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| Creating new layers| 00:00 | Here, I want to take a look at three
different ways that we can create a new layer.
| | 00:04 | Also, I want to explore how we can name
a layer, delete a layer, and then work
| | 00:09 | with different types of layers
and reorder layers in our panel.
| | 00:12 | Well, the first thing that I want to
look at is a really simple technique that
| | 00:16 | we can use to create a new layer.
| | 00:18 | If you go to Layers panel, you'll
notice at the base there is an icon right
| | 00:22 | next to the trash can.
| | 00:24 | If you click on that, it gives you
the ability to create a new layer.
| | 00:28 | You can rename this layer by
double-clicking into the layer name.
| | 00:32 | I will just go ahead and type out the name,
new, there and then press Enter or Return.
| | 00:37 | If you want to delete a layer, you can
either click and drag it to the trash can
| | 00:41 | here, or you can just press Delete or Backspace.
| | 00:45 | Another way that you can create a layer
is by going to the Layer pulldown menu
| | 00:49 | and then choosing New and then selecting layer.
| | 00:53 | You'll also notice there's a shortcut here.
| | 00:55 | The shortcut on a Mac is Shift+Command+N,
on Windows, that's Shift+Ctrl+N.
| | 01:01 | Let's try out that shortcut.
| | 01:02 | We will go ahead and press those keys,
Shift+Command+N on a Mac, Shift+Ctrl+N on Windows.
| | 01:09 | Once again, we can name this layer. I
will just call this one new layer and
| | 01:13 | then click or press OK. And you can see we
now have that layer above our background layer.
| | 01:19 | Another type of a layer that we can
create really easily is a type layer.
| | 01:23 | If you click on your Type tool, you
can then reposition your cursor over your
| | 01:27 | image and just simply click.
| | 01:30 | As you do that, it will
then create a new type layer.
| | 01:33 | Here, I am going to type out something;
| | 01:35 | I'll type out CREATIVITY IS MAKING
THE ORDINARY EXTRAORDINARY, one of
| | 01:41 | my favorite quotes.
| | 01:43 | Then press Command+Return or Ctrl+Enter
in order to apply the type field or
| | 01:48 | exit that type field.
| | 01:50 | Well, here now I have this type layer,
and I want to move it around. Let's select
| | 01:55 | the Move tool and then click
and drag to reposition this.
| | 01:58 | Well, this is now starting to become
kind of an interesting layout with this
| | 02:02 | light and also this type here, but I
want to put a background behind this.
| | 02:07 | I want to put something which is kind of dark.
| | 02:10 | Well, one of the things that you might
want to do is you might want to create a
| | 02:13 | new layer and then add a shape to that layer.
| | 02:17 | Let's take a look at how we could do that.
So here we will click on our new layer icon.
| | 02:22 | I am going to go ahead and name this background.
Next, I am going to select the Marquee tool.
| | 02:29 | The Marquee tool is located right
beneath the Move tool. You can click on it
| | 02:34 | and then simply click and drag
in order to create a shape.
| | 02:38 | So here, I now have this shape that I have
selected, this selected area on this layer.
| | 02:43 | Well, I want to fill this up with something.
| | 02:46 | One of the ways that you can do that is
you can navigate to your Edit pulldown
| | 02:50 | menu and then choose Fill.
| | 02:53 | In this Fill dialog, you can determine
how you want to fill that selected area,
| | 02:57 | and I want to fill it with black, 100% black.
| | 03:01 | Here, we will click OK.
| | 03:03 | Now that we've done that,
we need to do a few things.
| | 03:06 | First I need to deselect.
| | 03:08 | You go to Select, you can then choose
Deselect, which will deselect if we've
| | 03:12 | chosen or if we have used
one of our Selection tools.
| | 03:15 | The next thing I need to do is
solve this problem that I created.
| | 03:19 | Currently this black background bar
here, well, it's covering my text layer.
| | 03:24 | Well, if ever you need to reorder your
layers, you simply click and drag, and you
| | 03:29 | can see how I am doing that here so that
this is now underneath that Text layer.
| | 03:35 | Next, it might be nice to
lower the opacity of this.
| | 03:38 | So I will click on the Opacity slider,
and I'll make this more transparent, and
| | 03:42 | here you can see it's just slightly
darkening that background area, and then I
| | 03:47 | will go ahead and choose the Move tool.
| | 03:49 | What I want to do is just
push my text over a little bit.
| | 03:52 | So I will click in the text layer and
then I will just click and drag and move
| | 03:57 | this over, or you can always just use
your arrow keys to nudge it around.
| | 04:01 | So just to recap a few things
that we covered here in this movie,
| | 04:05 | we took a look at how we
could create new layers--
| | 04:07 | how we could do that by clicking on
this icon or by using the layer menu or by
| | 04:12 | using that shortcut which is listed here.
| | 04:15 | We also explored how we could rename a
layer, how you could double-click into
| | 04:20 | the layer name and just simply type a new name.
| | 04:23 | We as well looked at how we
could create a shape on a layer.
| | 04:26 | We explored how we could fill that shape
with black and then reorder our layers
| | 04:32 | so that one layer was on top of another.
| | 04:35 | And then finally, we looked at
how we could change our opacity.
| | 04:39 | And you know, with these basic skills,
you can do so much with layers because
| | 04:43 | these really are the fundamentals
for working with layers.
| | 04:46 | Well, now that we've covered the
fundamentals, let's dig a little bit deeper
| | 04:50 | into layers, and let's do
that in the next few movies.
| | Collapse this transcript |
| Organizing layers| 00:00 | Here, in this movie, I want to dig a
little deeper into working with layers.
| | 00:04 | In particular, I want to focus in on
how we can organize the layers that we've
| | 00:09 | created and also how we can filter
and find different types of layers.
| | 00:13 | Well, here you can see I have a project open.
| | 00:15 | This is a project from one of my
other training courses where we focused on
| | 00:19 | creative layers and blending, and you
can see I have a number of different
| | 00:23 | layers here in my Layers panel.
| | 00:25 | Well, I want to turn off the visibility of
all of them except the Background layer.
| | 00:30 | One way that you can do that is you
can go ahead and click on one of the Eye
| | 00:33 | icons and just click and drag
across the others in order to turn the
| | 00:37 | visibility of those off.
| | 00:38 | Well, here I have the original file.
| | 00:41 | Next, I have a couple of layers
here, sky and color and blending.
| | 00:45 | Well, it'd be kind of nice to
group these two layers together.
| | 00:49 | One of the ways that you can do that is
you can go ahead and target a layer, and
| | 00:53 | then you can click on
this Group icon right here.
| | 00:56 | When you click on that icon,
it will create a group above.
| | 00:58 | I'm going to call this group Color and Blending.
| | 01:02 | Next, to add images to the group, you
can go ahead and click on a photograph and
| | 01:06 | drag and drop it into that group.
| | 01:09 | You'll notice it's now inside of
what looks like a little folder.
| | 01:13 | The nice thing about this is you can
collapse this group and so you have both
| | 01:18 | of these layers inside of this little group,
and it's just a nice way to organize things.
| | 01:23 | You'll notice I already have a group
here for some creative adjustments.
| | 01:26 | Let's turn on the visibility of that group.
Well, what about these top adjustments here?
| | 01:31 | Well, these really are the
final adjustments in this project.
| | 01:35 | So let's click in this first layer here,
hold down the Shift key, click in the
| | 01:40 | last layer, and let's add all of these to our
group, but this time let's do this more quickly.
| | 01:46 | Let's use a shortcut to create a
group and to group all of these together.
| | 01:50 | The shortcut to do this it's
Command+G on a Mac, Ctrl+G on Windows.
| | 01:56 | Here, we'll go ahead and double-click
that group name and just name this
| | 01:59 | one Final Adjustments.
| | 02:00 | Well, now that I've organized my Layers
panel, this is going to be much easier to
| | 02:05 | work with, because here I can see the
different adjustments that I've made.
| | 02:08 | If I need to get into one of these groups,
I can just click to expand that, and
| | 02:13 | then I can work with these various
layers, and I can turn these on or off in
| | 02:17 | order to evaluate the layer
or to make any needed changes.
| | 02:21 | Well, now that we've organized this
file, let's go ahead and take a look at
| | 02:25 | how we can filter or find
different layers in this file.
| | 02:28 | And let's do that in the next movie.
| | Collapse this transcript |
| Filtering and finding layers| 00:00 | Now that we've talked about how we can
organize our layers, let's take a look at
| | 00:04 | how we can filter and find different
layers inside of our Layers panel.
| | 00:09 | Well, you may have noticed that you have
these options up top here in the Layers panel.
| | 00:13 | These little icons, they allow
us to filter or find layers in a
| | 00:16 | really fascinating way.
| | 00:18 | Let's say that I want to turn off the
visibility of this border layer. Well, rather
| | 00:23 | than digging through all of my layers
and searching for it, what I could do is I
| | 00:28 | could filter what I see here in this panel.
| | 00:31 | To do that, I could go to this
pulldown menu and select Name.
| | 00:34 | This way, I know that this name
or this layer is called border.
| | 00:39 | Here, by typing in that name,
it's now just showing me that layer.
| | 00:44 | I could then turn off the visibility
of this layer, and now that's gone.
| | 00:48 | If I want to turn off the filtering
and see all of my other layers, well,
| | 00:53 | just flip this switch.
| | 00:55 | By doing so, it will then show
you everything that you have here.
| | 00:58 | There are other options as well.
| | 01:01 | Let's go ahead and turn this
back on and then go back to Kind.
| | 01:05 | You notice you have these icons.
These icons allow me to access specific layers.
| | 01:10 | Let's say, like this text layer,
perhaps I want to move that.
| | 01:13 | Well, you could click on the T icon,
that would then show me my text layer, and
| | 01:19 | here I could go ahead and click and
drag to reposition that or put that in a
| | 01:22 | different area or edit or change the text.
| | 01:25 | Again, this is really as simple
as simply clicking on these icons.
| | 01:30 | Another thing that we might want to
do, perhaps, is get to what's called
| | 01:34 | an Adjustment layer.
| | 01:35 | We'll be talking about these later,
yet here I just want to highlight that we
| | 01:39 | can access things like this.
| | 01:41 | We can do this by clicking on this icon.
| | 01:44 | This allows me to see different
adjustments that I've made.
| | 01:47 | For example, here is a layer where I changed
the overall color or look or feel of the image.
| | 01:52 | We could go ahead and click into
that layer, we could also modify this
| | 01:56 | adjustment if we knew how to
work with those color adjustments.
| | 02:00 | So you can see you have a lot of
control when it comes to Filtering.
| | 02:03 | You can also filter based on kind
or name or other criteria as well.
| | Collapse this transcript |
| Adding layer style effects| 00:00 | Here, we're going to take a look at
how we can add, modify, and remove
| | 00:04 | Layer Style effects.
| | 00:06 | In this document, you'll
notice we have a few layers.
| | 00:09 | We have one layer which has a leaf on it.
| | 00:11 | If I turn off the visibility of the
Background layer, you can see that this leaf
| | 00:15 | has been cut out from its background.
| | 00:17 | Above that, I have these two text layers.
| | 00:21 | Let's take a look at how we can
add distinct Layer Style effects to
| | 00:25 | these various layers.
| | 00:26 | Well, the first thing you want to do is
to target the layer you want to work on.
| | 00:30 | Next in the base of the Layers
panel, you'll notice an fx icon.
| | 00:35 | Click on that and you'll see a menu.
| | 00:37 | Here, you have a number of different
Layer Style effects you can choose.
| | 00:41 | Let's select Drop Shadow.
| | 00:42 | This will open up the Layer Style
dialog with the Drop Shadow selected.
| | 00:48 | In this middle area here, we can dial in
how we want this drop shadow to appear.
| | 00:53 | For example, we could change the Angle.
| | 00:56 | In this case, the drop shadow
now shows up off to the left.
| | 01:00 | We can also control the Distance. Here
it now appears further away, and as I
| | 01:05 | change the angle, you'll see
this a little bit more clearly.
| | 01:08 | We can change the overall spread
and also the size of this drop shadow.
| | 01:13 | And you can change these controls
until you create a drop shadow which looks
| | 01:17 | good with your layer.
| | 01:18 | In this case, I'll make this one a
little bit closer here and just bring that in.
| | 01:23 | I think that looks nice.
| | 01:25 | To apply that Layer Style effect, just click OK.
| | 01:28 | You'll notice something
different in the Layers panel.
| | 01:31 | There is now an fx icon here
and the effect listed below.
| | 01:36 | You can turn this off by clicking on the Eye
icon, or turn it back on by clicking there.
| | 01:41 | You can also collapse this view by
clicking on this arrow, and that will either
| | 01:45 | conceal or reveal what effects you have.
| | 01:48 | Now if you want to go back, and if you
want to change this effect, it's really
| | 01:53 | as simple as double-clicking.
| | 01:55 | When you do that, it reopens this
dialog, and here I can go ahead and change
| | 01:59 | the overall effect.
| | 02:00 | So I can change the way that it appears.
| | 02:03 | Well, let's click OK to apply that.
What about these other layers?
| | 02:07 | Well, with this layer here, my top
layer, which is LAYERS, I want to add a
| | 02:12 | Layer Style effect.
| | 02:14 | Another way to do this is to just simply
double-click to the right of the layer name.
| | 02:19 | This will open up the Layer Style effect panel.
| | 02:23 | Here, I'll choose a Layer Style effect,
Drop Shadow, click in Drop Shadow, and
| | 02:27 | then I can customize that here.
| | 02:30 | I also want to add, say, a brush stroke.
| | 02:32 | I'll go ahead and click in that field
and then click on that tab to open up my
| | 02:36 | options for this brush stroke.
| | 02:38 | Rather than black, I want
something which is a nice bright color.
| | 02:42 | So if you choose or click on that Color
chip, you can then select the color there.
| | 02:47 | You can control the size of the
brush stroke and also if it's on the outside of
| | 02:51 | the layer or if it goes to the inside.
And so, again, here you have a lot of
| | 02:56 | options in this middle area. All right!
| | 02:58 | Well, let's go ahead and click OK in
order to apply that Layer Style effect.
| | 03:03 | Now we have one layer left.
| | 03:05 | Well, with this last layer, what I want
to do is I want to add an effect which is
| | 03:11 | already on one of my other layers.
| | 03:14 | I want to copy and paste the Layer
Style effects from one layer to another.
| | 03:19 | Well, how can we do that?
| | 03:20 | Well, if you go to the Layer Style
effect area, and if you hold down Option on
| | 03:25 | a Mac, Alt on Windows, and then click and drag,
you notice that you drag this little fx icon.
| | 03:32 | You can then drop or let go and it will
apply that effect to this other layer.
| | 03:36 | Well, here in this case, this
stroke doesn't really work.
| | 03:40 | I don't want that here, but
I do want the Drop Shadow.
| | 03:43 | So I'll just turn off the visibility
there, and we can see we now have the drop
| | 03:47 | shadow beneath this text layer.
| | 03:50 | It's a little bit too far away.
So you remember how to edit this, right?
| | 03:54 | Double-click, that will reopen this,
I'll go ahead and bring this in.
| | 03:59 | Also, increase its opacity so it's a
little bit darker, and then maybe add
| | 04:03 | another Layer Style effect.
| | 04:05 | I'll try Outer Glow to really
make that text field their glow.
| | 04:09 | Next I'll click OK in order
to apply those adjustments.
| | 04:13 | So here you can see we can modify
these Layer Style effects in some
| | 04:17 | really fascinating ways.
| | 04:19 | What about getting rid of a
Layer Style effect altogether?
| | 04:22 | Well, we've already seen that you can turn off
the visibility of the effect. Okay, that's fine.
| | 04:27 | But what if you're done with it, you're over it?
You just want to get rid of it and trash it.
| | 04:32 | Well, to do that, you can click on the
effect and drag that to the trash can.
| | 04:36 | That will then delete that Layer Style effect.
We're almost done with this movie.
| | 04:41 | There's just one more thing that I
want to share with you here, and that is
| | 04:45 | that you have the ability to collapse
the view of all of your layers with Layer
| | 04:49 | Style effects at once.
| | 04:52 | We saw that we can click on these
icons one at a time to open or close those.
| | 04:56 | Yet if you hold down Option on a Mac
or Alt on Windows and if you click on
| | 05:02 | that icon, well, then it will collapse
everything inside of your Layers panel.
| | 05:06 | This can be especially helpful when
you have lots of layers and lots of
| | 05:10 | Layer Style effects.
| | 05:12 | If you hold down Option or Alt and click
again, it will then expand the view so
| | 05:16 | you can see all of the effects.
| | 05:18 | So again, it's as simple as Option or
Alt clicking on that icon in order to
| | 05:23 | expand or collapse the view of those
Layer Style effects on multiple layers.
| | Collapse this transcript |
| Creating a clipping mask| 00:00 | This is going to be a fun movie
because here we're going to focus in on how we
| | 00:04 | can work with a Layer Clipping Mask.
| | 00:06 | Layer Clipping Masks are fascinating.
| | 00:09 | They allow us to make adjustments so
that one layer only affects another layer
| | 00:14 | rather than affecting all of the layers
in your Layers panel. Let me explain.
| | 00:18 | Well, here you can see I have this
photograph that I captured of the surfer at sunrise.
| | 00:23 | I also have a few other layers as well.
Let's turn on the visibility of this layer.
| | 00:28 | Here, you can see I have a
smaller version of this picture.
| | 00:32 | Let's turn on the layer style effects,
and this will help separate it from the
| | 00:36 | background, and I can click and drag to
move this around if we target that layer
| | 00:40 | and use our Move tool.
| | 00:41 | You can see that I can reposition this.
| | 00:43 | Well, above all of my layers
I have this adjustment layer.
| | 00:48 | For now if we turn on the visibility,
what we'll see is it that changes the
| | 00:52 | overall color of all of our layers.
| | 00:55 | Both layers are now blue.
| | 00:57 | Well, if we want this adjustment
layer, just to be applied to the layer
| | 01:02 | underneath it, you can create
what's called a Layer Clipping Mask.
| | 01:06 | To do so, you press Option
on a Mac, Alt on Windows.
| | 01:10 | Then you hover over this little dividing
line between the two layers, and you'll
| | 01:14 | see your cursor change.
| | 01:16 | When you see that, go ahead and click.
| | 01:18 | This will then add a new icon to the layer,
which is showing you this is a clipping mask.
| | 01:24 | Yet more importantly, you'll notice that
this blue color, it's now only affecting
| | 01:29 | the layer immediately underneath it.
| | 01:32 | Well, this is kind of interesting, isn't it?
| | 01:35 | You can imagine that if you have a lot
of layers, well, layer clipping masks can
| | 01:39 | help you have really specific control
so that you can make adjustments which
| | 01:43 | just apply to a certain part of your
image, rather than to the entire document.
| | 01:48 | Well, let's take a look at another
scenario where we can use layer clipping masks.
| | 01:53 | This one's going to seem a little bit
confusing at first, but the final results
| | 01:57 | will just be kind of interesting.
| | 01:59 | Let's turn off the visibility
of these two layers for a moment.
| | 02:03 | The next thing that I want to
do is focus in on my text layer.
| | 02:06 | Let's turn on the visibility of this text layer.
| | 02:09 | What I want to have happen is I
want my image to fill up this text.
| | 02:15 | Rather than the text sitting on top of
the photograph, I want the photograph
| | 02:20 | inside the text, and I want to be able to
edit or change or free transform the text.
| | 02:25 | Well, we can do this by creating
what's called a Layer Clipping Mask.
| | 02:29 | In order to do this, let's copy
this background layer, sunrise surfer.
| | 02:33 | One way to copy the layer is to click-
and-drag this to the New layer icon.
| | 02:38 | Next, let's go ahead and click and
reposition this or click and drag this so
| | 02:42 | that it's above the text layer.
| | 02:45 | Now for a critical step we need
to turn off the visibility of the
| | 02:47 | background layer for a moment.
| | 02:49 | Well, here I have my photograph,
underneath that I have the text.
| | 02:54 | I'm ready to fill the text with
this photograph layer by creating a
| | 02:58 | layer clipping mask.
| | 03:00 | Let's turn on the visibility.
| | 03:02 | Next, hold down Option or Alt and
hover over between the two layers.
| | 03:07 | When you see the new cursor,
just go ahead and click.
| | 03:09 | Well, now you can see that this image is
filling up this text field or this text layer.
| | 03:16 | If we click on this layer and use our
Move tool, well, we can go ahead and
| | 03:20 | change its position.
| | 03:22 | We could also go to our Edit pulldown
menu and choose Free Transform and we
| | 03:26 | could transform the text field.
| | 03:28 | Again, this is completely dynamic,
because these two layers are now connected.
| | 03:33 | We could use our Type
tool, change the copy here.
| | 03:36 | It's really flexible.
| | 03:37 | Well, the one thing that I want to do
is to click in the top layer and then
| | 03:42 | click and drag this around.
| | 03:44 | You can see that I can reposition
this so that it looks good with
| | 03:47 | this particular type.
| | 03:49 | And by doing this, by creating this
layer clipping mask, it could help me create
| | 03:53 | sometimes some interesting effects.
| | 03:56 | Let's go to the Type layer.
| | 03:58 | With the Type layer, how about if
we add perhaps a layer style effect?
| | 04:03 | We could do so by clicking on the fx icon
and then choosing something like Drop Shadow.
| | 04:08 | Here, you can see it's just separating
that from the background a little bit.
| | 04:12 | Or maybe we want to add a brush stroke,
and by adding these, we're just
| | 04:17 | modifying this text field.
| | 04:18 | In other words, we can
modify this in any way we want to.
| | 04:22 | This is simply filling up what we have here.
| | 04:25 | All right. What would happen if we were
to change, say, its color a little bit?
| | 04:30 | Let's double-click our fx, and
let's go to this Color Overlay here.
| | 04:35 | Here, when we click on Color Overlay,
we're going to choose a Blending mode.
| | 04:39 | I know we haven't covered these in
detail yet, but for now let's just go
| | 04:42 | ahead and try this.
| | 04:44 | If you go to Blending mode, you can then
select one at the bottom which is called Color.
| | 04:50 | Then with this Color chip active, let's
go and select a new color, and I'm going
| | 04:54 | to choose blue just to simulate the
color that we had before and then click OK.
| | 05:01 | Well, now here I have something fascinating, right?
| | 05:03 | We have this Text field which has all
of these different layer style effects,
| | 05:08 | and really what's making the magic is
that this image is filling up the text.
| | 05:14 | Now if we want to turn on our background
layer, what will happen is we'll all of
| | 05:17 | a sudden see that original document
there in the background, and we could then
| | 05:22 | click and drag this around in order to
change how that's filling up that area.
| | 05:26 | You can modify that so it's either
aligned with that background or not.
| | 05:30 | You can just create a little bit of
separation or perhaps an interesting look.
| | 05:35 | By doing this, it now looks like, well,
that image is filling up the text field.
| | 05:40 | Another thing that you might want to do
is to turn off this background layer, and
| | 05:44 | perhaps you just want to create a
layer which is filled with a solid color.
| | 05:48 | To do that, click on the sunrise
surfer layer and then click the New icon.
| | 05:53 | Next let's go to our Fill command.
We've seen this one before.
| | 05:57 | If you go to Edit, you can then choose Fill.
Here, I'll fill this up with a solid color.
| | 06:03 | I'm going to choose white, and then
click OK, and then again, I'm just trying
| | 06:08 | to illustrate how you can start to get
creative as you're picking up these new techniques.
| | 06:13 | And the wonderful thing about all of
this is that we can modify or edit this.
| | 06:18 | We can change these different
layer style effects which we have here.
| | 06:22 | We can also change the overall
position or location, and we can modify these
| | 06:26 | layers in some powerful ways.
| | 06:29 | So as you're starting to get a glimpse,
layers open us up to so many different
| | 06:33 | possibilities and options. And to
really reiterate what's most important about
| | 06:38 | this movie, it's a whole concept,
that a Layer Clipping Mask allows you to
| | 06:44 | apply an adjustment to a layer so that the
top layer only affects the underlying layer.
| | Collapse this transcript |
| Targeting and moving layers| 00:00 | Now that you're building up your
layers expertise, I want to share with you a
| | 00:04 | few more techniques that you can add
to your bag of tricks when it comes to
| | 00:07 | working with a document
which has multiple layers.
| | 00:11 | Well, here with this document, you
can see I have these different layers.
| | 00:14 | In order to move one of the layers, I
can simply click on it in order to target
| | 00:18 | it, and then I can click and drag
in order to reposition that element.
| | 00:23 | Yet there are few other techniques
that you can use which allow you to do
| | 00:26 | this even more quickly so that you don't
always have to navigate to the Layers panel.
| | 00:32 | One technique is you can right-click
or Ctrl-click over your layers.
| | 00:37 | When you do that, it will show you
everything underneath where you clicked.
| | 00:41 | In this case, it will show me these
items, so I can then make the selection of
| | 00:45 | the correct layer that I want to work with,
and then I can go ahead and reposition that.
| | 00:49 | And this is really helpful because this
works regardless of the opacity of your layer.
| | 00:55 | Another way that you can quickly
target and select layers is by turning on
| | 00:59 | what's called Auto Select.
| | 01:01 | If you click to turn that on and
then go ahead and click around your
| | 01:04 | Layers panel, you'll notice that it
automatically jumps to these different
| | 01:08 | layers simply as I click.
| | 01:11 | Now some people find this helpful.
| | 01:13 | In my own workflow, I find it a bit
distracting because I find that I'll
| | 01:17 | accidentally click on
layers, and it's just too much.
| | 01:20 | So I prefer to have this preference off, but I
access this functionality by way of a shortcut.
| | 01:27 | What you can do is go ahead and
press Ctrl+Option on a Mac, or Ctrl+Alt on
| | 01:31 | Windows, and then you can click.
| | 01:34 | And as you do that, you can see that I
can use this auto select functionality
| | 01:38 | although this isn't turned on. In a
sense I'm, quote, turning it on by pressing the
| | 01:44 | shortcut, and this is really helpful
again because it allows me to jump to a
| | 01:47 | layer and then to reposition
so I can move this around.
| | 01:51 | So again, to reiterate some of these
different techniques that we can use to
| | 01:55 | target layers, one of them is
to right-click or Ctrl-click.
| | 02:00 | Another one is to turn on Auto Select,
and then the last one is to press
| | 02:04 | Ctrl+Option on a Mac, or Ctrl+Alt on
Windows, and then simply click in your Layers
| | 02:09 | panel in order to quickly
select and target a layer.
| | Collapse this transcript |
|
|
9. Making SelectionsMaking selections with the marquee tools| 00:00 | When it comes to learning Photoshop,
you will hear people say that you need to
| | 00:04 | select before you correct, and the better your
selections, well, the better the corrections.
| | 00:09 | So here we are going to focus in on a
number of our different selection tools.
| | 00:13 | We are going to start off in our Tools panel.
| | 00:15 | We will start up at the
top with the Marquee tools.
| | 00:18 | If you click on this icon here and hold it
down, you can see that there are two main tools.
| | 00:23 | These tools are used really
often when working with photographs.
| | 00:26 | Those are Rectangular or Elliptical Marquee.
| | 00:29 | Both of these work in similar ways, yet each
of them allows us to select a different shape.
| | 00:34 | Let's start off with the Rectangular Marquee.
| | 00:36 | Well, here we can go ahead and click
and drag in order to create selections.
| | 00:41 | You can see these little dots, these
are called marching ants, and these signify
| | 00:46 | the area which is selected.
| | 00:48 | One of the things that you need
to know how to do when working with
| | 00:51 | selections is how to deselect.
| | 00:53 | Let me show you the shortcut for that.
| | 00:55 | If you go to the Select menu, you'll
notice there's an option for deselect and
| | 00:59 | here's that shortcut.
| | 01:01 | On a Mac it's Command+D, Windows
that's Ctrl+D. Let's go ahead and press that
| | 01:06 | shortcut in order to deselect.
| | 01:08 | Next, let's look at our Elliptical Marquee tool.
| | 01:11 | This one allows us to create selections
which are in the shape of an ellipse.
| | 01:17 | Here, you can see you can
click and drag this out.
| | 01:19 | And what both of these tools, well, they
are anchored where we first started off.
| | 01:24 | Now sometimes that's a little bit awkward,
because we don't really know where to
| | 01:27 | click, like let's say I
want to select the watch.
| | 01:30 | Well, what you can do is press the
Spacebar key while holding down your mouse button.
| | 01:35 | That allows you to lift up the selection,
put it in a new spot, and then let go
| | 01:40 | of the Spacebar key, and then
you can resize that selection area.
| | 01:44 | Another important part about
making selections is the Selection edge.
| | 01:48 | By default, it's a hard edge.
There is no feather.
| | 01:52 | We can navigate to or Edit
pulldown menu, then we can choose Fill.
| | 01:57 | Here, I am going to go ahead and fill
the selection with white. Let's click OK.
| | 02:02 | Next, let's deselect. We can do so by
going to the menu or by simply using our
| | 02:07 | shortcut key Command+D or Ctrl+D. Well,
here with this selection, you can see that
| | 02:12 | really nice hard edge.
| | 02:14 | Well, we can soften that by clicking on our
Selection tool and dragging to increase this.
| | 02:20 | Let's go up to say 15 points or so.
| | 02:22 | Next, we will click and drag an extension
and do the same thing as before, Edit,
| | 02:27 | and then choose Fill.
| | 02:29 | Here, I will go ahead and fill once
again with white and then click OK.
| | 02:33 | Then I will deselect, Command+D or Ctrl+D.
Now when I do that, you can see that
| | 02:39 | this selected area, well,
it's much more diffused.
| | 02:43 | The edge is much softer, and it
kind of blends back into the picture.
| | 02:48 | I need to remove both of these
little things that I've done here.
| | 02:51 | To do so, press Command+Option on a Mac,
Ctrl+Alt on Windows, and then tap the Z
| | 02:55 | key in order to step backwards.
| | 02:57 | Well, let's say that what we want to do
with this image is we want to select the
| | 03:01 | center area of this camera.
| | 03:02 | We are going to do so with our
Elliptical Marquee tool, and I want to change the
| | 03:07 | contrast and color saturation.
| | 03:08 | I want to learn how to use one of these tools.
| | 03:10 | We will go and click on it in the
Tools panel, and then let's take our Feather
| | 03:15 | down maybe just a couple of
pixels here, 2 or 3 or so will work well.
| | 03:19 | Go ahead and click near the
area that you want to select.
| | 03:22 | If you don't get it right, press the
Spacebar key to reposition that and then
| | 03:27 | click to resize your selection.
| | 03:29 | And then keep pressing the Spacebar
and keep resizing until you have a nice
| | 03:32 | selection of the lens.
| | 03:34 | Now, once we've made that selection, we
can modify it in some really powerful ways.
| | 03:39 | So far we've looked at how we could
fill with a selection with the color.
| | 03:42 | Well, let's say we actually want to
modify our picture, that area of our picture.
| | 03:47 | To do that, let's go to our Image
pulldown menu and then go to Adjustments and
| | 03:52 | just choose this very top
adjustment, Brightness/Contrast.
| | 03:56 | Here, just to this area, I will go
ahead and increase the brightness and also
| | 04:00 | increase the contrast.
| | 04:02 | Well, now this matches a little
bit better with the background.
| | 04:05 | It has that interesting
color palette and nice contrast.
| | 04:09 | Let's go ahead and click OK in
order to apply this and then deselect.
| | 04:14 | Go to Select and choose
Deselect or use that shortcut.
| | 04:17 | And here, you can see we've now modified
this photograph in a really helpful way.
| | 04:22 | We were able to create a selection which
allowed us to apply adjustment just to the lens.
| | 04:28 | Without that selection, it would
have modified everything, and that just
| | 04:32 | wouldn't have worked.
| | 04:33 | So selections, as you can see,
they can help us out immensely.
| | 04:37 | So let's take a look at how we can work
with other selections as well, because
| | 04:41 | what we need to know how to do is not
just how to use these tools, but also how
| | 04:46 | to modify them a little bit. And
let's do that in the next few movies.
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| Using the three lasso tools| 00:00 | In continuing our pursuit of making
good selections, here we're going to take a
| | 00:04 | look at another few selection tools.
| | 00:06 | These are the Lasso tools.
You'll find them underneath the Marquee tools.
| | 00:11 | If you click on this icon here and hold
it down, here you can see we have three
| | 00:15 | different Lasso tools.
| | 00:17 | The first one is just kind
of a Free Form Lasso tool.
| | 00:19 | Let's take a look at how we can use
this one and also the other two and then
| | 00:23 | target the Background layer.
| | 00:26 | This allows us to make a selection
which is really just free form.
| | 00:29 | In this case, I'm just going to drag
around this photograph here, and this is a
| | 00:34 | picture of a picture.
| | 00:35 | This was a photograph that was hanging
on a wall, and I'll go ahead and just
| | 00:39 | drag around this and then go
ahead and come back to the beginning.
| | 00:43 | You need to create a loop. And by doing so, I
can select just this area of the photograph.
| | 00:48 | Now as with our other tools, we
can either have hard or soft edges.
| | 00:53 | By default, there's no Feather.
| | 00:55 | You can either add that Feather
before you start creating the selection,
| | 00:59 | or with any of the selection tools,
you can right-click or Ctrl-click.
| | 01:03 | That gives us access to this Feather
dialog, and you can add this after the fact.
| | 01:07 | Well, here I don't want to add a Feather
or Radius, so I'll simply click Cancel.
| | 01:11 | I want a nice hard edge because I want to cut
this out of the original Background layer.
| | 01:16 | Well, to do that, you make the
selection as we did here and then press your
| | 01:20 | shortcut key which allows
you to copy or duplicate.
| | 01:25 | It's Command+J on a Mac, or Ctrl+J on Windows.
| | 01:29 | Now if we look at the Layers panel,
what that did is it just copied the area
| | 01:33 | which I had selected.
| | 01:34 | It's almost like I had a small pair of
scissors, and I just kind of cut that out.
| | 01:38 | And so this can be helpful when you
want to make a rough or kind of free form
| | 01:42 | selections that you might
trim up or fix up later.
| | 01:46 | Let's go ahead and delete this layer,
and let's take a look at another tool.
| | 01:51 | You can go ahead and click and hold
down on the Lasso icon, and underneath it we
| | 01:54 | have one which is called
the Polygonal Lasso tool.
| | 01:58 | This one allows you create
selections where you have straight lines.
| | 02:02 | Let's say here with this photograph,
rather than having this image inside of the
| | 02:06 | frame, I want this layer, right here,
to be inside of that framed area.
| | 02:11 | So I want to select this image
and then delete it or remove it.
| | 02:16 | The Polygonal Lasso tool
is a great tool for that.
| | 02:19 | What you do first is click to set
your original point and then reposition.
| | 02:23 | And here, I'm just going to go ahead
and click around the edge of this and I'm
| | 02:27 | clicking a little bit outside of the picture,
just making sure I have a nice selected area.
| | 02:31 | And you can see that I
now have this area selected.
| | 02:35 | So on this layer, I can
delete this or get rid of this.
| | 02:38 | Because this layer is unlocked, you can do that
by simply pressing the Delete or Backspace key.
| | 02:45 | Next, let's deselect. You can go to
Select and then choose Deselect, and now we
| | 02:50 | have a hole inside of this layer.
| | 02:52 | Well, I want to fill that up with my image.
| | 02:54 | So we'll turn on the visibility of this
top layer here and then reorder those layers.
| | 02:59 | We've learned this before that whatever
layer is above covers what's underneath.
| | 03:04 | So we want this to be underneath and
just be behind that top layer there.
| | 03:08 | We can then click and drag to reposition
this, so we can see that this image is
| | 03:12 | now filling in that space.
| | 03:15 | And in this case, the Polygonal Lasso
tool, well, it really helps us out in order
| | 03:18 | of made the selection with
really nice straight lines.
| | 03:22 | Let's take a look at another image.
| | 03:24 | What about a photograph like this where
you want to, let's say, remove the leaf
| | 03:28 | from the background?
| | 03:30 | We can't use our Free Form Crop tool.
We can't use these Marquee tools.
| | 03:34 | Really, in a situation like this, one of
the tools--if we're using one of these
| | 03:38 | top tools that we might
use, is the Magnetic Lasso.
| | 03:41 | This is a fascinating tool.
| | 03:43 | Again, you click the set an anchor
point, but then you just move your
| | 03:46 | cursor along the edge.
| | 03:48 | By moving your cursor along the edge,
you're telling Photoshop to analyze or pay
| | 03:52 | attention to this edge.
| | 03:54 | As I do this, you can see that,
well, it's setting these little points.
| | 03:57 | You can set your own too by simply clicking.
| | 04:00 | If there's an area that's kind of
complicated and you think Photoshop might have
| | 04:04 | trouble trying to figure out, well,
just click and then go ahead and click all
| | 04:07 | the way around to finish that off.
| | 04:09 | Again, it functions a lot like the
other Lasso tools, yet here you can see it
| | 04:15 | really helped us to select
this area of our photograph.
| | 04:19 | Once again, let's copy this to a new layer.
| | 04:21 | We'll do so by pressing Command+J or
Ctrl+J. That will then copy that leaf by
| | 04:28 | itself on a different layer.
| | 04:30 | So this tool, well, it really helps us
out in the situations where we have edges
| | 04:34 | that have nice contrast or detail.
| | 04:37 | And this particular tool and the other
tools, well, they give us just access or
| | 04:41 | ability to make these different selections
which we'll then many times want to further modify.
| | 04:47 | Let's go ahead and delete our top layer
and then let's continue our conversation
| | 04:52 | about making good selections. And
let's do that in the next movie.
| | Collapse this transcript |
| Selecting with the Magic Wand tool| 00:00 | Here, we are going in continue our
conversation about making selections, and we
| | 00:04 | are going to focus in on two tools, one which
is really quick, another one which is magic.
| | 00:09 | We'll also take a look at how we
can refine or improve our selections.
| | 00:14 | So let's go ahead and click on this icon here.
| | 00:17 | Now when you do so you'll notice you have
two tools, either Quick Select or Magic Wand.
| | 00:22 | Let's start off with the Magic Wand.
| | 00:25 | Once you've selected that tool,
you'll need to go up to the Options bar and
| | 00:29 | customize a few things.
| | 00:30 | The first thing you want to
customize is your Sample Size.
| | 00:34 | Rather than the default Point Sample of
just selecting one pixel, you want to
| | 00:38 | create or select an average of
the area where you're clicking.
| | 00:43 | The higher the resolution file,
the higher the average you'll want.
| | 00:47 | Here, this is a low-res file, so
I'll just choose 5x5 Average.
| | 00:51 | Next, we have an option that we want to
look at for Tolerance and also Contiguous.
| | 00:56 | I am going to go ahead and decrease my
Tolerance amount here, make this really low, say 1.
| | 01:01 | Well, what does this mean?
| | 01:03 | Well, if I click on my image, what
it will then do is it will just make a
| | 01:07 | selection of a small area.
| | 01:09 | Next, let's go ahead and increase the Tolerance.
| | 01:12 | I am going to increase this
dramatically here, say, 100.
| | 01:14 | I'll go to Select, choose Deselect,
and once again click on the leaf.
| | 01:20 | Well, here now the marching ants are
showing me it's selecting all of the leaf
| | 01:24 | and all of the stem.
| | 01:25 | It's making a really nice selection.
Yet it's also creating some problems for me.
| | 01:31 | This one is selecting more similar
things, yet it's also selecting some of
| | 01:36 | the background over here because
some of the background, well, it has some
| | 01:40 | yellow elements in it.
| | 01:42 | That's because contiguous was turned off.
| | 01:46 | What contiguous means is to only make a
selection of pixels which are next to each other.
| | 01:52 | Let's turn this on and go ahead and
reselect with the same Tolerance setting.
| | 01:57 | Choose Select and then Deselect.
| | 02:00 | Once again, now click on the leaf
with Contiguous turned on with a high
| | 02:04 | Tolerance, and what we'll see here is,
well, now we have a pretty awesome
| | 02:08 | selection just of the leaf.
| | 02:10 | The background isn't really
selected that much except for right here.
| | 02:15 | It's like the selection kind
of spilled over into that area.
| | 02:19 | So here we'll go to Select and choose
Deselect, and then just decrease our
| | 02:22 | Tolerance and try a lower amount.
| | 02:24 | We'll look at our edges and see how those look.
| | 02:27 | Well, they look pretty good, except
let me zoom in here on this image.
| | 02:31 | You'll notice in this area, it
didn't select this part of the image.
| | 02:35 | You can see there's kind of these little gaps.
| | 02:38 | Well, to add to a selection, you hold
down the Shift key, and this is true with
| | 02:43 | any of our Selection tools.
| | 02:45 | Next, you go ahead and click, and here
you can see I clicked on those areas and
| | 02:49 | it added those to the selection.
| | 02:52 | I could move around the image, and if
I see any other areas that might be a
| | 02:55 | little bit problematic, I can then try
to click on those to add those little
| | 02:58 | areas, and I think for the most part
I am just going to leave this as is.
| | 03:03 | So now I have this nice selection
of the entire leaf and of the stem.
| | 03:08 | Yet the trick with both of these tools,
whether it's Magic Wand or Quick Select
| | 03:12 | is at a lot of times the
selections aren't that precise.
| | 03:16 | They'll need to be fixed up a little bit.
We can do that by going to Refine Edge.
| | 03:22 | Let's click on this Refine Edge dialog.
Well, here we can see our selection on white.
| | 03:27 | We can change that view by going to this
View pulldown menu or by pressing the F key
| | 03:32 | to toggle between these different views.
| | 03:34 | Let me show you what I mean.
| | 03:35 | I'll go ahead and just press F, and
you can see it is showing me different
| | 03:39 | perspectives or views of
this particular selection.
| | 03:41 | You can also click on this menu here
and choose one which you think might help
| | 03:46 | you see the selection.
| | 03:48 | Next, we have an Edge Detection control.
| | 03:51 | Here, I am going to zoom in on my
image so we can see the edge here.
| | 03:55 | It's good, but it's a bit choppy.
| | 03:57 | Yet if you turn on Smart Radius, what
will happen is as you increase this Radius,
| | 04:03 | you can see that looks much nicer.
| | 04:05 | Next, we can adjust the edge, let's say
by increasing the contrast that makes it
| | 04:10 | a little stronger and then smoothing
it out a little bit maybe a few pixels.
| | 04:14 | Already this is looking much, much nicer.
| | 04:18 | I'll go ahead and just customize this a
little bit more and then click on this
| | 04:22 | icon to see the original.
| | 04:24 | Here is before, and now here is after.
So you will want to experiment with this.
| | 04:29 | These controls are incredibly powerful.
| | 04:32 | Let me show you a few others which
aren't relevant for this image, but may be
| | 04:35 | for other selections.
| | 04:37 | Feather, it allows us to soften the image.
See how that's nice and soft there?
| | 04:41 | You can decrease that to have harder edges.
| | 04:44 | Shift Edge, it allows us to change that edge,
either to tighten it up or to extend it out.
| | 04:49 | If you have those situations where you
have a little color fringe, you can just
| | 04:53 | bring this down a little bit in
order to remove that small edge problem.
| | 04:58 | Our selection is now much better.
| | 04:59 | At the very bottom, we can output this
selection in a couple of different ways.
| | 05:05 | We can simply just output this to the
current Selection, leave it as is but
| | 05:09 | just make this a better selection,
| | 05:11 | or we can output this to a new layer
or layer mask, and you can see all of
| | 05:17 | these different options.
| | 05:18 | Let's go ahead and just choose New Layer so we
can see what that looks like and then click OK.
| | 05:23 | So essentially what that did is it
copied that selection to this new layer so
| | 05:28 | that I now have this leaf on its own layer.
| | 05:31 | So let's delete this background layer.
We'll go ahead and trash that one.
| | 05:35 | Let's go back to the original file, as
is, and in the next movie let's look at
| | 05:41 | the Quick Select tool.
| | Collapse this transcript |
| Working with the Quick Select tool| 00:00 | Because the Quick Select tool is
really so powerful, I want to take a look at
| | 00:04 | how we can work with this tool with
three different photographs, and let's start
| | 00:08 | off with this leaf picture,
which we've seen before.
| | 00:11 | You can go ahead and select the tool by
simply clicking on it here, and if ever
| | 00:14 | you want to alternate between tools with
any of your tools in the panel, you can
| | 00:18 | press the shortcut key, say, like the W key
and then Shift+W, and that will toggle
| | 00:23 | back and forth, or it will toggle
through the tools that you have there.
| | 00:26 | For example, say with the Marquee tools,
press M and then Shift+M and you can go
| | 00:31 | through those different Marquee tools as well.
| | 00:33 | Well, let's go ahead and
select the Quick Select tool.
| | 00:36 | This tool is revolutionary. It's amazing.
| | 00:39 | All that we do is simply click and drag,
and you can see that it quickly builds
| | 00:43 | up an amazing selection
of this half of the leaf.
| | 00:47 | We could go ahead and click and drag
over the other half, and now we have the
| | 00:50 | leaf selected, and all we did
was simply click a few times.
| | 00:54 | Well, the problem though with Quick
Select is while that's really fast,
| | 00:58 | sometimes the edges aren't the best.
| | 01:01 | So let's take a look at how we can
improve that once again with Refine Edge.
| | 01:05 | Well, here with Refine Edge, if we zoom in,
you can see my edges, well, they are a
| | 01:10 | little bit rough here, but that's
fine. This is really easy to fix.
| | 01:14 | Click on Smart Radius and go
ahead and click and drag this up.
| | 01:18 | What's happening with Smart Radius is
it's telling Photoshop to analyze the edge
| | 01:22 | and to try to fix it up.
| | 01:23 | And this works whether we are trying to
extract a subject with long curly hair
| | 01:27 | from a background, or we are
working with a photograph like this.
| | 01:32 | Next we can adjust the edge, smooth it
out a little bit, add a bit of contrast,
| | 01:36 | and then just use these controls kind of
in tandem to try to find just the right
| | 01:40 | blend of touching up the edge.
| | 01:43 | Press the P key. Look at your before,
messy, choppy. Press that again, after.
| | 01:48 | That looks much better.
| | 01:49 | We now have a really good
selection of this leaf by itself.
| | 01:53 | Next what I want to do is I just want to
output this, this time to the selection.
| | 01:58 | I am not going to create a new layer just yet.
So let's go ahead and click OK.
| | 02:03 | The reason why I wanted to do that was
to highlight that when you're working
| | 02:07 | with any of your selection tools, you
can always just go to Refine Edge to
| | 02:11 | kind of sweeten up your selection and
then go back and then do what you need
| | 02:15 | to do, whatever that is.
| | 02:17 | Here, one of the things that we
could do is copy this to a new layer now.
| | 02:21 | To do that use the shortcut Command+J
or Ctrl+J, and you can see that what we
| | 02:26 | have now is this leaf
sitting on a layer by itself.
| | 02:30 | The advantage of doing this is that we
can then use this graphic element here
| | 02:34 | for a number of different reasons.
| | 02:36 | We could free transform it, reposition
it, combine it with other layers, and by
| | 02:41 | being able to make good and quick selections,
well, it can just help us out immensely.
| | 02:46 | Let's say that we want to do
something a little bit more functional.
| | 02:50 | Let's do that with this next image here.
| | 02:53 | This is a professional Ironman athlete
that I photographed for a publication, and
| | 02:58 | let's say with this image the client
came back and said, "You know what? We really
| | 03:01 | want more blue in this jacket."
| | 03:04 | Well, we could use Quick Select
to do that to select the jacket,
| | 03:07 | click on the tool, and then once
again just click and drag across the area
| | 03:11 | you want to select.
| | 03:12 | You can see it's building up
that selection really quickly.
| | 03:15 | We will go ahead and click
across the collar here as well.
| | 03:18 | And then I am going to make a
mistake just to illustrate this.
| | 03:21 | I went too far into the neck.
How do I deselect something?
| | 03:25 | Well, you hold down Option on a Mac, Alt
on Windows and then click away--or paint
| | 03:31 | over I should say--the
area you want to deselect.
| | 03:34 | So we can go ahead and paint away that
selection by holding down Option or Alt.
| | 03:39 | Now primarily I have the jacket selected.
| | 03:42 | Here, I could create an adjustment layer
or go to one of my adjustments by simply
| | 03:46 | going to Image > Adjustments.
| | 03:48 | Then I will choose something,
let's say Color Balance.
| | 03:51 | With Color Balance I can go ahead and
add some cyan and also some blue, and
| | 03:56 | you can see that what I've done is just
made an adjustment to this area of the image.
| | 04:01 | Again, here's the before, and now here's the after.
| | 04:05 | It's a dramatic difference that we made
really easily, really quickly, by simply
| | 04:09 | making a good selection.
| | 04:11 | Now with Quick Selection, you
may want to sweeten up the edges.
| | 04:16 | You may also just want to see the edges,
these marching ants cover up the edge,
| | 04:19 | so you don't know if this is good or bad.
| | 04:22 | Well, you can press Command+H on the
Mac, Ctrl+H on Windows, to hide the
| | 04:28 | marching ants temporarily.
| | 04:29 | When I do that I realize my edges are fine.
| | 04:33 | I'll press Command+H or Ctrl+H again to
bring those back and then click OK in
| | 04:38 | order to apply that change
and then select and deselect.
| | 04:43 | Well, let's take a look at one more scenario.
| | 04:47 | Let's go to this image, melissa-01, and
here in this image, I like the composition
| | 04:53 | and color and tone and all of that, but
when I print the image, the hat is too
| | 04:58 | bright. I want to select that.
| | 05:00 | I'll try Quick Select, go ahead and quickly
drag across the hat, and I make a few mistakes.
| | 05:05 | All of a sudden, well, it selected
above the hat and also the face.
| | 05:11 | We already know how to do this.
| | 05:12 | Hold down Option or Alt and then just click
and drag over the area that you want to deselect.
| | 05:17 | While you're fixing up these areas or
painting away the selection from these
| | 05:21 | areas by holding down Option on a Mac,
Alt on Windows, if you deselect too much,
| | 05:26 | well, just go ahead and paint back over it.
| | 05:29 | The reason why I want to work with
this image here was to illustrate how you
| | 05:33 | work with those situations where you don't
have a defined line like above the hat here.
| | 05:38 | What we can do is go ahead in paint that
away by holding down Option, and it will
| | 05:43 | paint away too much.
| | 05:44 | But then just go ahead and add it back.
| | 05:47 | What happens here is as we use
this tool, well, it become smarter.
| | 05:51 | The more that we paint with it, the
more that Photoshop figures out, "Oh! That's
| | 05:56 | what you want to work on."
| | 05:57 | The next step here, of course, would
be to make an adjustment which would just
| | 06:02 | affect this area of the photograph.
| | 06:04 | We've already seen how we can go
to our Image > Adjustments layer.
| | 06:08 | Later we are going to take a look at how
we can use also these adjustment layers
| | 06:12 | by clicking on these icons.
| | 06:14 | I haven't introduced this yet, but I
want to create one here quickly just so
| | 06:19 | that you know that these exist and
also so that you know that we will cover
| | 06:22 | these in more detail in another chapter.
| | 06:24 | So don't get worried if you don't
really understand how to work with
| | 06:27 | adjustment layers yet.
| | 06:28 | I am going to click on this second one
which is Levels, or maybe the first one
| | 06:33 | Brightness/Contrast, really either one.
| | 06:35 | We can click on the icon
and it opens up some controls.
| | 06:39 | Well, now these controls, they just affect the
area that we selected, in this case the hat.
| | 06:45 | Remember I mentioned that this
printed a little bit too bright.
| | 06:48 | Well, here I can go ahead and darken that
up a little better, change the contrast
| | 06:52 | so we can control that.
| | 06:55 | If you click on the Eye icon,
you can see here before and after.
| | 06:58 | So again, we are making more of a
functional correction rather than something
| | 07:02 | creative here or correcting
tone in a really specific area.
| | 07:07 | So as you're starting to see, you do
really select before you correct, and the
| | 07:13 | better that you can get at these different
selection tools, well, the better the
| | 07:17 | corrections, whether those
are corrective or creative.
| | Collapse this transcript |
| Selecting based on color with the Color Range controls| 00:00 | So far, we have taken a look at how
we can make selections based on shape.
| | 00:05 | Well, here I want to transition to talking
about how we can use what's called Color Range.
| | 00:09 | And in the next few movies we will be
working on a few different images to take
| | 00:13 | a look at how we can use this
tool in different situations.
| | 00:15 | Let's say that what we want to do is
change the overall color or tone of this shirt.
| | 00:20 | Well, to do that, we could go to
Select and then click on Color Range.
| | 00:25 | This dialog is actually really powerful,
and what it allows us to do is to sample
| | 00:29 | specific colors or to select from our
pulldown menu a color in our image.
| | 00:34 | Let's say we want to go to Cyans.
| | 00:36 | Well, here we'll try to create a selection
of those colors, or we might want to try Blues.
| | 00:40 | Now what this window is showing us is, in
a sense, a preview of the selected area.
| | 00:47 | White is selected, black isn't selected.
| | 00:50 | You can also change this by
clicking on this menu here.
| | 00:53 | Let's choose, say, White Matte.
| | 00:54 | I want to see a different perspective that
we faintly selected this area of the image.
| | 00:59 | Well, this faint selection,
it isn't strong enough.
| | 01:03 | So what I need to do is go back to
just the Sampled Colors, and I want to
| | 01:07 | click on the image.
| | 01:09 | I'll stay in this White Matte view
because it's kind of helpful to see this.
| | 01:14 | When I click on the image, either in
this window or in this window here, you can
| | 01:19 | see it's now showing me the selected area.
| | 01:22 | Remember white means selected,
black, not selected.
| | 01:26 | What I could then do is I
could increase my Fuzziness.
| | 01:29 | As I do that, you are going to see that
the edges they become softer, decrease
| | 01:34 | that, well, they become
harder. What about Range?
| | 01:37 | Well, Range defines how far out from
the area where you click the selection
| | 01:41 | extends, a small area or a larger area.
| | 01:44 | You can see it's extending out further.
| | 01:47 | These two controls work together as
well, the more the Fuzziness, the more we
| | 01:51 | can see that that range is going to
reach into different areas of the picture.
| | 01:54 | Well, here we have a decent
selection of the shirt.
| | 01:58 | Yet it's not very strong down here.
We don't see enough of it down here.
| | 02:02 | Well, to add to a selection, just
click on this icon here, a little plus icon
| | 02:06 | next to it, and then go ahead and
click and drag around your image.
| | 02:09 | You can see that as I am doing this,
it's just building up more of the selection
| | 02:14 | and I have a nice selection now of the shirt.
| | 02:17 | But I also have some of the background.
We can see the jeans in the background.
| | 02:23 | We can diminish that by
decreasing our Fuzziness, right.
| | 02:26 | We can remove that from this selection.
Well, we have a pretty good selection now.
| | 02:31 | We created this by using these
Eyedropper tools and by using our two controls
| | 02:36 | Fuzziness and Range.
| | 02:39 | The next step is to go ahead and click OK.
| | 02:43 | Now that we have this active selection,
what you want to do is choose any of
| | 02:47 | your Selection tools, say like the Lasso tool.
| | 02:50 | This will activate the Refine Edge dialog.
| | 02:54 | The reason why you want to choose one
of these tools is this allows you to
| | 02:57 | refine the edges of the selection
which we just made. Go to Refine Edge.
| | 03:01 | We've seen this one before, right?
| | 03:03 | We know that Smart Radius
really helps out when we have edges.
| | 03:07 | Notice how those edges, well,
they just look so much better.
| | 03:10 | Let me show you that before and after. A little
bit too choppy there, right? Now much better.
| | 03:16 | Add some contrast, maybe
smooth things out a little bit.
| | 03:19 | Actually, it looks like Smooth
didn't work out so well for me.
| | 03:22 | I'll go ahead and leave that at 0.
| | 03:24 | Well, I just want to refine that
up a little bit and then click OK.
| | 03:29 | So why did I do that?
What am I trying to illustrate here?
| | 03:32 | Well, first I'm trying to illustrate
this idea of how you can work with Color
| | 03:36 | Range to make a selection based on color.
| | 03:39 | Next, how we can use this tool with
what we already know about refining our
| | 03:44 | selections using Refine Edge.
| | 03:47 | Again, we're just kind of
combining things here a little bit.
| | 03:50 | The final step will be to use an
adjustment in order to control color.
| | 03:54 | There are lots of ways to do this.
| | 03:56 | One really simple way is to click on one
of our Adjustment layer icons, say, Color
| | 04:01 | Balance, and then here I'll go ahead
and click and drag the slider. You can see
| | 04:04 | how I can change the overall color of
the shirt. Perhaps I want this to be more
| | 04:08 | red, or maybe we could change
it to a different color as well.
| | 04:12 | We have a lot of creative
control once we've made the selection.
| | 04:16 | We can make really subtle adjustments,
or we can make something which was really
| | 04:20 | dramatic and strong.
| | 04:21 | And you can make other adjustments as
well, as you work with these controls and
| | 04:25 | you could use other adjustment
layers, too, on top of what we've done here.
| | 04:30 | So the point isn't necessarily the
color of the shirt, but that we were able to
| | 04:33 | select it and then modify
it by using Color Range.
| | 04:38 | Let's take a look at another scenario.
| | 04:40 | Here, we are going to click on tent.psd.
| | 04:43 | With this file, one of the things that I
notice is that this area of the tent on
| | 04:47 | the right-hand side in this photograph
that I captured, it's a little too dark.
| | 04:51 | I want to breathe some life into the area.
| | 04:55 | Well, to do that, we might select that
part of the tent by going to Color Range.
| | 04:59 | So here, I'll go ahead and choose my
Move tool and then choose Select and then
| | 05:03 | click on Color Range.
| | 05:06 | What I want to do is click on the
Sampled Color, whether I want to work on the
| | 05:09 | sky or the tent. I click on that area.
| | 05:12 | Remember, you can change your view so
that you can see this in different ways.
| | 05:16 | Sometimes it's helpful to be able to see
more of this, perhaps, with a background.
| | 05:21 | You could have it on black or on white.
| | 05:24 | Next, we can use an icon like this one
here and just click and drag across the
| | 05:27 | image in order to build up the
selection. And I am just clicking and dragging
| | 05:31 | here, trying to click across these
areas of the tent that I want to modify.
| | 05:36 | If ever I bring in areas that I don't
want to change--in this case you can see
| | 05:41 | some of the scene that I was looking at
what I captured this image is now coming
| | 05:44 | in as a selection in there.
| | 05:46 | So what I am going to do is use the icon
with the minus sign and just click across
| | 05:50 | that. I don't want to select that.
| | 05:51 | I'll control my Fuzziness here a
little bit, also this range as far as what
| | 05:56 | areas I want to select and just make a
few more changes to this until I get a
| | 06:01 | nice selection there.
| | 06:03 | Now here, what we are going to do is
just click OK in order to apply this, and
| | 06:07 | after we're satisfied with our
selection, and all that we'll see is marching
| | 06:12 | ants, no changes yet.
| | 06:14 | The changes come when we create an adjustment.
Again, we could choose one of these icons here.
| | 06:20 | We'll talk more about them later, but
for now let's choose Brightness/Contrast.
| | 06:26 | By doing that, once we now use these
controls--because we first made that
| | 06:30 | selection--what it's going to do is
just control that area of the image, and you
| | 06:34 | can see primarily it's that side over
there. Perhaps I'll add a little bit of
| | 06:38 | contrast as well and just break that up
a little bit, and you can see how we've
| | 06:43 | now adjusted the image.
| | 06:45 | Here is before, and now here's after.
| | 06:48 | So this type of an adjustment
it can be immensely helpful.
| | 06:52 | And it's not only helpful in situations
like this where we are taking a color
| | 06:56 | and changing it and doing something
kind of creative, it's also really
| | 07:00 | helpful in corrective situations
where we have an incorrect color that we
| | 07:04 | need to kind of fix.
| | 07:06 | Well, let's take a look at how we can
fix color with the selection technique,
| | 07:10 | and let's do that in the next movie.
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| Correcting skin tones with Color Range| 00:00 | Here, we're going to take a look at how
we can use the Color Range controls in
| | 00:04 | order to target and select skin tones.
| | 00:07 | And this is a really helpful technique when
you're working with a photograph, say, like this.
| | 00:11 | This one was captured at sunset, and I
love all of their expressions, yet the
| | 00:15 | skin is a little bit too red.
| | 00:18 | Let's see if Color Range can help out.
| | 00:20 | If you go to Select pulldown menu
here, we can click on Color Range.
| | 00:24 | Now you may have noticed that in the
top menu here, if you click on this, you
| | 00:29 | have an option which
allows you to select Skin Tones.
| | 00:32 | This will select all different types of
skin tones, and as we choose this what it
| | 00:37 | will do is build up a pretty
good selection just of the skin.
| | 00:41 | You can also turn on the
option to, say, Detect the Faces.
| | 00:46 | As I do that, take a
look at the difference here.
| | 00:48 | Let's go ahead and show this, say, on
White. It's going to look a little bit
| | 00:51 | strange, but just take a look at
what's selected when I turn this option on.
| | 00:56 | Now it's much more focused in on the skin.
| | 00:59 | I can also control the overall
Fuzziness to have more or less of the
| | 01:03 | background selected.
| | 01:05 | And you can see that now while this
looks a little bit weird, we have a really
| | 01:09 | good sample of the skin tone.
| | 01:11 | As you can imagine, this is great for
color correcting skin or for softening skin
| | 01:16 | for working on that
specific part of your photograph.
| | 01:19 | Let's go back to None so that we can
focus in on the image and this beautiful
| | 01:24 | family here and let's click OK.
| | 01:27 | Well, now that we've done this, we
basically have a good selection of this
| | 01:30 | area of the picture.
| | 01:32 | In order to make a correction
here, I am going to use what's
| | 01:34 | called Hue/Saturation.
| | 01:36 | If you aren't familiar with this
control, you can click on it in the Adjustments
| | 01:40 | panel, and this will open up in your
Properties panel some controls for working
| | 01:44 | with hue and saturation.
| | 01:46 | Well, here what you can do is you can
dig into the different channels of your
| | 01:51 | photograph. Say, you could go into the Reds,
because remember that's our problem area.
| | 01:56 | Well, go into those Reds, and here I could
either increase the saturation of those reds.
| | 02:01 | That doesn't look good.
| | 02:02 | Or I could subtly decrease that and you can
see how we can bring down some of those Reds.
| | 02:08 | This is a subtle adjustment, so I'll
zoom in a little bit more closely so you
| | 02:11 | can see this a bit better.
| | 02:13 | If I click on the Eye icon, what you
should be able to see is that their skin
| | 02:17 | now, well, it just looks a little bit better.
| | 02:20 | Let me exaggerate this so you can see
that I'm really targeting the skin.
| | 02:23 | I know this doesn't look good, but you can see
how I'm focusing in on that area of the picture.
| | 02:29 | And you want to make corrections
like this, especially with skin in
| | 02:32 | really subtle ways.
| | 02:33 | You know, I don't want to go over the
top with this or modify this too far.
| | 02:37 | So I am just going to make some
real small subtle adjustments here.
| | 02:41 | And look at the saturation amount on
my monitor, make sure that looks good.
| | 02:45 | Well, it still has that warm kind of
sunset glow. It will print much better.
| | 02:51 | If I have too much red in the skin, it's
just going to look overpowering or strange.
| | 02:56 | So as you can see here, you can use
these Color Range Skin Tone controls,
| | 03:00 | in order to select the skin, and then you can
make corrections to that area of your image.
| | 03:06 | And sometimes those corrections,
well, they're subtle like these here.
| | 03:10 | Yet oftentimes when working with people
photographs, especially, it's the subtle
| | 03:15 | yet significant adjustments which
make all the difference in the world.
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|
|
10. Using the Masking PanelIntroducing masking| 00:01 | If someone wears a mask, that mask can
either conceal or reveal a portion of
| | 00:06 | their face. And in Photoshop, a mask
does the same thing, allowing or blocking a
| | 00:12 | layer or an adjustment.
| | 00:14 | And masks are actually pretty
interesting and really quite powerful.
| | 00:17 | One of the ways that I like to think
of a mask in Photoshop is similar to a
| | 00:22 | stencil, and if you have a stencil,
like these here, what a stencil does is it
| | 00:26 | allows you to control where
you actually paint something.
| | 00:30 | So in this case, like let's say with
the number seven, what I can do is go
| | 00:34 | ahead and draw inside of this area, and
here it's revealing just this adjustment
| | 00:40 | inside of this fixed space here.
| | 00:43 | I remove the stencil, it then just shows
me this nice context or this nice shape.
| | 00:48 | And in Photoshop what we can do is we
can create these stencil-like masks, yet we
| | 00:54 | can re-edit them. And that's the
beauty of working with masks in Photoshop.
| | 00:59 | And one of the things that you want to do
is you want to get really good at masking.
| | 01:02 | I mean, really good, because it truly
is one of the cornerstones of Photoshop,
| | 01:07 | and if you can get good at masking, you can
quickly get good at creating compelling photographs.
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| Painting away the contents of a layer with a mask| 00:00 | asks are incredibly powerful, and
we're going to take a look at how we can
| | 00:04 | tart to work with masks in order to make an
adjustment to a specific area of our image.
| | 00:10 | nd the beauty of working with masks is
that they allow us to continually edit or
| | 00:14 | odify what we've worked on.
| | 00:16 | ell, here in this image, you can see
I have two layers. I have the background
| | 00:20 | ayer, I also have this black and
white layer, just a desaturated version of
| | 00:25 | he same exact image.
| | 00:27 | ell, I want to combine these two
layers together so that rather than having
| | 00:32 | verything desaturated, I have
everything in black and white. And the pumpkin on
| | 00:37 | his little guy head is going to
be orange or the original color.
| | 00:41 | e can do that by working
with what's called a mask.
| | 00:44 | et me show you what I mean.
| | 00:46 | ell, if you have a layer like this
layer here, you can click on an icon which
| | 00:50 | s located at the base of the Layers panel.
| | 00:53 | t kind of looks like there's a hole
punched through it, and if you click on that
| | 00:56 | con, it'll create a mask.
| | 00:59 | urrently this mask is white.
| | 01:01 | hen it comes to masks,
white reveals and black conceals.
| | 01:06 | n other words, I can now reveal everything.
| | 01:08 | see all of the desaturated image, yet
I can change that by painting away part
| | 01:14 | f the area that I see here.
| | 01:16 | e could do so by clicking on our Brush tool.
| | 01:20 | ow with the Brush tool, we want to
paint with black, so you can go down here to
| | 01:24 | our color picker, and you can go to
the default colors and then flip them by
| | 01:28 | licking on this icon here so that
black is in your foreground color.
| | 01:33 | ith our brush, we'll go ahead and
just roughly here start to paint. As we do
| | 01:38 | hat, you can start to see that we're
seeing some of the orange of the pumpkin.
| | 01:41 | ell, how is that possible? What's happening?
| | 01:44 | et's turn off the off the background
layer and see if we can figure this out.
| | 01:47 | ell, what's happened is I now have
this little black dot on my mask where I
| | 01:51 | ainted. That black is now
concealing or hiding this part of the image.
| | 01:57 | e can get really precise with this. We
could change our brush size by pressing
| | 02:01 | he left bracket key and make that
smaller, and I can just go ahead and paint
| | 02:05 | way the pumpkin that I'm seeing here, in
other words, the desaturated version of the pumpkin.
| | 02:11 | n a sense, I kind of have this hole.
It's like I've erased part of the image,
| | 02:15 | ut I really haven't, because if ever I
make a mistake--and you can see I've made
| | 02:20 | mistake over here--you can just go
ahead and paint with white and then you can
| | 02:24 | ring that area back.
| | 02:27 | o as you do that, you can either
reveal or conceal part of your layer.
| | 02:32 | et's turn on the background layer so
that this looks a little bit more interesting.
| | 02:36 | ell, now here, we can see that we're
seeing through to the underlying layer
| | 02:40 | ecause this mask is allowing us to hide
part of what's on this top layer, I should say.
| | 02:45 | o, again, we can just go ahead and paint
around this in order to fix this up, and
| | 02:49 | ere I think I can illustrate making
a mistake a little bit more clearly.
| | 02:53 | et say that we accidentally paint
across this area of our photograph.
| | 02:57 | ou can see I'm bringing
in some of the skin tone.
| | 02:59 | ell, on my mask, that black, it's
concealing this part of the image.
| | 03:04 | ell, if I don't want that, if I want to
remove that just paint with white. Here
| | 03:09 | 'll press the right bracket key to
make my brush bigger, and I'll just go ahead
| | 03:14 | nd once again reveal these adjustments
here, and you can see that I'm doing
| | 03:18 | his is just by cleaning up my mask a
little bit and painting through that area.
| | 03:22 | ow what I have is I have this
adjustment, which is really quite powerful.
| | 03:28 | his mask, it allows me to limit something,
and this isn't just helpful when you have
| | 03:33 | ultiple layers like we have here, this
is helpful in all sorts of situations.
| | 03:38 | n other words, masking, it's really
one of the cornerstones, it's one of the
| | 03:42 | oundations of what you're going to
do in Photoshop because it gives you
| | 03:46 | lexibility and also precise control
about the type of adjustments that you can
| | 03:51 | ake to your photographs.
| | 03:52 | ell, let's take a look at a few other
scenarios where we can use masks, and
| | 03:56 | et's do that in the next few movies.
| | 03:59 |
| | Collapse this transcript |
| Using a selection to build a mask| 00:00 | Now that we know a little bit about
working with the mask, what I want to do
| | 00:03 | here is start to dig a bit deeper.
| | 00:06 | And now I want to take a look at how we
can work with creating a selection and
| | 00:09 | also an adjustment layer.
| | 00:12 | In order to make an adjustment to a
specific area of our image, one of the
| | 00:16 | things that you can do is you can
create a selection using any of those
| | 00:19 | selection techniques that we
talked about in the last chapter.
| | 00:22 | Let's go ahead and create a
really simple selection here.
| | 00:25 | Let's do so by pressing the M key
to select the Marquee and then just
| | 00:29 | click and drag over an area the image.
| | 00:32 | In this case, let's click and
drag over the area of the surfer.
| | 00:35 | Well, the next thing that I want to do is
I want to create an adjustment so that
| | 00:39 | everything is black and
white except for this area.
| | 00:43 | Well, one of the ways that we could do
that would be to go to our Adjustments
| | 00:46 | panel and to click on an
icon, say Hue and Saturation.
| | 00:50 | Well, you notice that when you do that,
after having an active selection, it
| | 00:55 | builds or creates a mask.
| | 00:57 | You can see that mask here.
| | 00:59 | White is revealing, black is
concealing, so what I can do now is I can then
| | 01:04 | make an adjustment here, let's say, desaturate
and that's just affecting this area of the image.
| | 01:11 | And we can get really creative with
this, say, for example, we could choose
| | 01:14 | Colorize and we could then
create some sort of a color effect.
| | 01:17 | Well, that color effect is just
affecting this part of the image.
| | 01:21 | Well, you may have also noticed that in
our Properties Inspector over here, we
| | 01:26 | have a little Mask icon.
| | 01:28 | The same icon as you'll find
in the base of the Layers panel.
| | 01:31 | Well, if you click on that icon. Rather,
than focusing in on the adjustment, it'll
| | 01:36 | go to some controls which we have for our mask.
| | 01:40 | The first one is Density.
| | 01:42 | As you decrease the density, you'll
notice that your mask changes. It's now
| | 01:46 | gray, and also the adjustment changes.
| | 01:50 | It's closer to white, so it's allowing
more of this adjustment to kind of spill
| | 01:54 | over into this other area.
| | 01:56 | As we increase this or make this
darker, well, we are then limiting that
| | 02:01 | adjustment to that area.
| | 02:02 | Well, what about feather?
| | 02:04 | Well, we know that feathering in
Photoshop has to do with softening edges.
| | 02:08 | As I increase this, you can see it's
really softening the edges there and you
| | 02:12 | can also see those changes over here on my mask.
| | 02:16 | Well, another thing that we can do
is we can invert or flip our mask.
| | 02:20 | Remember that with masks,
white reveals and black conceals?
| | 02:25 | Well, if we click on the Invert button,
that will then flip the logic here, so
| | 02:29 | that now the white area is this really big area.
| | 02:33 | That adjustment is being applied
to everywhere but this center area.
| | 02:38 | We could also go back to the adjustment
as well, and here we could do something
| | 02:42 | else, say we want to desaturate.
| | 02:44 | So now everything is
desaturated except for this area.
| | 02:48 | So, as you can see here in this example
what you can do is you can start to work
| | 02:52 | with what you know about selections and
then once you have a selection, you can
| | 02:56 | create different types of adjustments
which allow you to adjust specific areas
| | 03:02 | of your photographs.
| | Collapse this transcript |
| Removing a subject from the background with a mask| 00:00 | Here, in this movie I want to dig a
little bit deeper into masking.
| | 00:04 | In particular, I want to take a look at how
we can select a subject and then remove
| | 00:08 | that subject from their background.
| | 00:11 | Well, in order to do this, though,
let's first go back to some of the basics.
| | 00:14 | One of the things that we know about
masks in Photoshop is that they kind of work
| | 00:19 | like a mask like you would wear on your face.
| | 00:21 | It allows you to reveal or
conceal different parts of your face.
| | 00:25 | Yet what's different in Photoshop is
that the selection that we create with a
| | 00:30 | mask, well, it's editable, and we have two
different elements with our Photoshop masks.
| | 00:35 | One is a white which reveals, and
another one is black which conceals.
| | 00:40 | So therefore, if we have a picture, say
like this photograph here, what we can
| | 00:44 | do is we can add a mask to this in
order to conceal part of the photograph.
| | 00:48 | In this case, we could conceal the
background here so that we could see the
| | 00:52 | subject by him or herself.
| | 00:54 | Well, let's take a look at how we could do this.
| | 00:57 | I'm going to go ahead
and jump back to Photoshop.
| | 01:00 | You'll notice that we have two layers.
| | 01:02 | We have a Background layer, the
original layer, and then a duplicate of that
| | 01:06 | which says Mask this layer.
| | 01:08 | This is where we're going to do our masking.
| | 01:10 | In order to create a good mask,
let's first create a good selection.
| | 01:14 | To do that, let's use quick select.
| | 01:16 | Press the W key or click on
the tool in the Tools panel.
| | 01:20 | Now typically when you work with this
tool, you want to have a small brush when
| | 01:24 | you want to get near edges or small
little details here. And then you may want
| | 01:28 | to have a bigger brush, say on the shirt.
| | 01:30 | So press the Right Bracket key and
go ahead and make that bigger, and just
| | 01:33 | click and drag across the image.
| | 01:36 | This will build up your selection, and
we'll go ahead and click and drag around
| | 01:39 | all of the photograph.
| | 01:41 | You'll have to make a few passes with
this tool in order to make sure you're
| | 01:44 | selecting everything.
| | 01:46 | Here, I'll zoom in a little bit more,
by pressing Command+Plus on a Mac,
| | 01:50 | Ctrl+Plus on Windows, and
then I'll press the Left Bracket
| | 01:53 | key to make my brush smaller, and I'll just go
ahead and paint around the image with this tool.
| | 01:59 | This allows me to select this.
Select a little more hair there.
| | 02:04 | To improve this mistake which I made,
press Option on a Mac, Alt on Windows, and
| | 02:09 | then just paint away.
| | 02:10 | That allows you to
subtract from the selected area.
| | 02:13 | And I want to do that because I want to
make sure I have a nice tight selection
| | 02:17 | here, just the subject,
not any of the background.
| | 02:20 | Press the Spacebar key, hold down Option
or Alt to select or deselect those train
| | 02:25 | tracks there in the background, and
I think that's a decent selection.
| | 02:28 | It's okay for starters.
| | 02:30 | One of the things that we know that
we can do is we can go to Refine Edge.
| | 02:35 | Well, here with Refine Edge dialog, allows us
to kind of clean up and fix some of our edges.
| | 02:42 | Yet we can also access these same
controls inside of the Mask panel.
| | 02:46 | Let me show you how we can do that.
Let's go ahead and click Cancel here.
| | 02:50 | Rather than going to Refine Edge,
let's go straight to adding a layer mask.
| | 02:56 | To do that, you can click on this icon
here at the base of the Layers panel.
| | 03:01 | We now have a mask, we've now removed
the subject from the background, yet our
| | 03:05 | edges, they aren't perfect,
they need a little bit of work.
| | 03:08 | I'm going to go ahead and zoom in on
the image a little bit so we can focus in
| | 03:11 | on this part of the photograph.
| | 03:13 | Well, in order to change the edges,
you can double-click the mask icon.
| | 03:18 | When you do that, you'll notice that
you have a few options for the mask.
| | 03:23 | One of them is Mask Edge.
| | 03:25 | We can go ahead and click on that,
and it will open up this dialog.
| | 03:29 | Now we're working on a
different type of a selection.
| | 03:32 | We're working on a mask, an editable selection.
| | 03:34 | What we can then do here is we can
click on Smart Radius and then go ahead and
| | 03:40 | click and drag the Radius up a little bit.
| | 03:42 | As we do that, it analyzes those edges
and it can help us work on those edges a
| | 03:47 | little bit more efficiently or improve those.
| | 03:50 | Here, we can increase the contrast or
maybe the smoothness of the edge just a
| | 03:54 | little bit, and again, in order to just
improve that mask in this case, rather
| | 03:59 | than improving the selection.
| | 04:00 | All those changes go right here.
| | 04:03 | The output of course is
just to the layer Mask itself.
| | 04:06 | Well, let's go ahead and
click OK in order to apply that.
| | 04:09 | Well, this is looking really good, and
the Quick Select tool in this latest
| | 04:13 | version of Photoshop is a ton better
than it was in the previous version,
| | 04:18 | especially when it comes to selecting
things like hair, in this case, looks great.
| | 04:22 | And what about the situations like
down here along the arm, where it just
| | 04:28 | didn't trim off these edges, and I need to
get rid of some of the details that I've there.
| | 04:33 | Well, you can always paint in your mask.
| | 04:36 | Just click in it, grab one of your
tools, in this case, we can go ahead and
| | 04:40 | paint with black which will conceal,
and I can go ahead and paint along this
| | 04:44 | little edge here in order to
remove that distracting element.
| | 04:48 | These little edges may be tough to
see in this movie once it becomes small.
| | 04:52 | So let me exaggerate this for a
moment, I'm going to make my brush bigger,
| | 04:55 | and you can see here I can paint away a part
of his shoulder or click and paint with white.
| | 05:01 | You can click on that icon to flip
those two. Here I can just paint that back in.
,
| | 05:06 | So sometimes what you'll need to do is
you'll need to paint one way, and then
| | 05:10 | flip this and then paint the other way
in order to get that mask just right.
| | 05:15 | Well, because there's going to be so
much flipping between black and white,
| | 05:19 | because we use those two colors to
reveal or conceal, you'll want to learn
| | 05:24 | this valuable shortcut. It's the X key.
| | 05:27 | The X key allows you to flip between
black and white, and this is especially
| | 05:32 | helpful when it comes to creating more
complicated masks like this, or when it
| | 05:37 | comes to just sweetening up or fixing
your masks, as I needed to do here.
| | 05:42 | Now that we've extracted the subject
from the background, really all that we
| | 05:46 | would need to do is to simply close our
Properties panel, and then we could move
| | 05:49 | this subject into a different
environment or change the background, or we could
| | 05:53 | do whatever we needed to do, and the
great thing about this is that we have this
| | 05:58 | built-in flexibility.
| | 06:00 | We can continually modify it as
I've talked about, and we can also
| | 06:04 | completely disable this mask.
| | 06:07 | Let's say that we've decided we don't want
to extract the subject from the background.
| | 06:11 | Well, you can press the Shift key.
| | 06:13 | When you do that, you can
then click on your mask icon.
| | 06:17 | Notice there's a red X, which
shows up on top of the mask.
| | 06:21 | That will temporarily disable that.
| | 06:23 | Hold down the Shift key and click on that
again, and it will bring that mask back.
| | 06:28 | So again, all of that data, all of the
information, all those pixels are there.
| | 06:32 | We're just controlling what we're
able to see here by way of this mask.
| | Collapse this transcript |
| Using a mask to selectively sharpen an image| 00:00 | Here, I want to take a look at a really
common way to work with a mask and that
| | 00:04 | is to be able to use a mask to paint in
an adjustment just to a specific area of
| | 00:09 | your photograph, say, like we're sharpening.
| | 00:12 | How can we selectively sharpen
just a certain area of our picture?
| | 00:16 | Well, you notice here in my
Layers panel that I have two layers.
| | 00:20 | We have the background layer, and I also have
this layer which I've named sharpen and mask.
| | 00:25 | Clicking this top layer and then
navigate to your Filter pulldown menu, go all
| | 00:30 | the way down to Sharpen and
then next choose Smart Sharpen.
| | 00:34 | We'll be talking about sharpening later,
but for now let's go ahead and just
| | 00:38 | apply a medium amount of sharpening.
| | 00:40 | Here we have an Amount, probably about 120 Radius,
because it this is a relatively
| | 00:45 | low-res file, let's leave this
at about 0.3 and then click OK.
| | 00:50 | Well, by doing that, we've sharpened
this entire layer, yet there are some
| | 00:55 | elements like the background here
and his hand which are out of focus.
| | 01:00 | I don't want to sharpen
something which is out of focus;
| | 01:02 | I just want to sharpen the eyes and
maybe a little bit of the face in this area.
| | 01:07 | Well, what you can do is you can create a mask.
Let's click on the Add layer Mask icon.
| | 01:13 | Currently it's white. It's revealing all.
I can see all the sharpening.
| | 01:18 | Well, I want to invert that to
conceal all the sharpening that I've done.
| | 01:22 | So double-click on your mask icon.
This will open up the Properties panel.
| | 01:26 | In the Properties panel, down at the
bottom, there's a button. We've seen this
| | 01:30 | before, it's called Invert.
| | 01:32 | If you click on that, it will flip the
logic here so your mask is now black.
| | 01:37 | You can also do this by pressing Command+I,
or Ctrl+I--Command+I on a Mac, Ctrl+I
| | 01:42 | on Windows--and that allows
you to invert that mask as well.
| | 01:46 | Well, now that this is concealed, that's
hiding all of the sharpening, I'll then
| | 01:51 | select my Brush tool.
| | 01:53 | Here, we'll go ahead and choose our brush.
We want to make sure to choose a brush
| | 01:58 | which has a really nice soft edge.
| | 02:00 | We may want to decrease the size a
little bit so we have a nice small brush
| | 02:04 | here, and then we want to paint with white.
| | 02:07 | So, we want to make sure we're
choosing white here in our color picker.
| | 02:10 | Then we'll go ahead and paint, say,
over the eyes in this area of the image.
| | 02:14 | I want to exaggerate this just a
little bit so you can see what I mean.
| | 02:18 | Let's zoom in on this so you can see
this is a little bit more closely.
| | 02:22 | And now on this layer, I just have that
sharpening effect applied to this part of the image.
| | 02:28 | If I turn off the background layer,
what we'll see is I can just see this area
| | 02:32 | of the image, because what's
white is just revealing this here.
| | 02:36 | I could go ahead and paint this in, and
I'm going to paint again too much and
| | 02:42 | exaggerate a little bit.
| | 02:43 | I'm bringing in too much of the skin.
| | 02:45 | You can see I have the eyes, but I
also brought in some other elements.
| | 02:48 | Well, just press the X key and go
ahead and paint those other areas out.
| | 02:53 | Another way that you can do this to
create some smooth transitions is you can
| | 02:57 | lower the opacity of your brush.
| | 02:59 | Here, I'll go down to 50% or so.
| | 03:02 | Now when I paint, you won't even
really be able to see it that much, but it's
| | 03:06 | just going to be subtly take this back.
| | 03:08 | In other words, it's kind of erasing,
I'm saying that in quotes, it a less
| | 03:13 | intensity, because it's
painting with lower opacity.
| | 03:16 | Well, let's turn back on our background
layer and zoom out a little bit, and here
| | 03:20 | you can see at this 100% zoom rate.
| | 03:23 | We now have the sharpening
begin painted into this area.
| | 03:26 | Well, as I mentioned before,
I brought in too much.
| | 03:29 | So I want to paint it
away on the eyelashes there.
| | 03:31 | I don't need any sharpening there,
I really just want it on the eyes.
| | 03:35 | And this technique of applying a
filter or an adjustment and then creating a
| | 03:41 | mask and inverting it and painting that
adjustment into the exact area where you
| | 03:46 | want it, well, it's one of those
techniques which is really foundational.
| | 03:50 | It's one that you'll use on a lot of
your photographs because this allows us to
| | 03:54 | have precise control to
set our photographs apart.
| | Collapse this transcript |
| Making selections with Quick Mask | 00:00 | Before we wrap up our conversation
about masks in this chapter, here we're
| | 00:04 | going to focus in on something which is kind
of a hybrid of mask and selections together.
| | 00:10 | It's called Quick Mask.
| | 00:12 | Quick Mask allows you to paint in an area
which you can then quickly convert to a selection.
| | 00:17 | The first thing you want to do is
press the D key on your keyboard.
| | 00:21 | That will take your Color Picker to
the Default black and white settings.
| | 00:25 | You can do that again if you have a
color there just by pressing that D key.
| | 00:31 | The next thing we need to do is we need
to enter Quick Mask either by clicking
| | 00:34 | on this icon here or by pressing the Q key.
| | 00:38 | Once you're inside of Quick Mask,
you'll want to use your brush.
| | 00:42 | And with your brush, what
you're going to do is simply paint.
| | 00:45 | So here with this image, I want to
paint over the frog's eyes because I want
| | 00:50 | to select those eyes.
| | 00:52 | So you can see that I'm just
painting with my brush, and again, you can
| | 00:55 | customize your brush in regards to its
hardness or softness, and all the ways
| | 00:59 | that we've talked about in
one of our previous chapters.
| | 01:02 | Here, I'll press the Left Bracket key
and just select this eye over here.
| | 01:06 | What's happening is as I'm painting, we
can see this red Rubylith overlay, where
| | 01:11 | it's simulating that.
| | 01:13 | That's showing me that that's
the area that I'm targeting.
| | 01:16 | Well, why does that matter?
| | 01:17 | Well, why this matters is this
allows us to create a selection that isn't
| | 01:23 | created with one of these tools, but
is rather created with our Brush tool.
| | 01:28 | We can brush or paint in things in a
way that we can't with those other tools.
| | 01:32 | Well, next we need to exit Quick Mask.
To do that, press the Q key.
| | 01:38 | Here, I'm going to zoom out a little bit.
| | 01:40 | You can see that what I have is I have
everything selected except the frog's eyes.
| | 01:46 | So I could either go to the Select menu
and choose Inverse, or I could do that later.
| | 01:52 | Let me show you what I mean.
| | 01:53 | Well, typically when you're working
with Quick Select, what you're going to do
| | 01:58 | is you're going to use this ability of
painting into this adjustment, exiting
| | 02:01 | Quick Mask, then you're going to create
a mask which will actually last and be
| | 02:05 | saved with your file.
| | 02:07 | One way to do that is to
click on, say, an Adjustment Icon.
| | 02:10 | Let's go ahead and click on Hue/Saturation.
| | 02:11 | Now we've seen this before that this
allows us to change elements in our photograph.
| | 02:17 | So here what I can do is I can desaturate,
and by doing that, I'm desaturating
| | 02:23 | everything except for the eyes.
| | 02:26 | If I wanted to invert that, well, just
go to the Mask Icon on the Properties
| | 02:30 | panel and then click Invert.
| | 02:31 | Now you can see that everything
is in color except for the eyes.
| | 02:35 | Well, why might one want to do that?
| | 02:37 | Well, you might want to that perhaps
rather if you want to, say, change the
| | 02:41 | color of the eyes with Colorize.
| | 02:44 | And by doing that, we could go ahead
and click and change these values, and you
| | 02:47 | can see how I can change the colors of the eyes.
| | 02:50 | What's great about using Quick Mask is
it allowed us to make these changes or to
| | 02:55 | build the selection really quickly.
| | 02:57 | We can then also use our other masking skills.
| | 03:00 | We want to click in this layer and then
with our Brush tool, we can go ahead and
| | 03:05 | paint with white, say, by
pressing the X key to flip those two.
| | 03:09 | And I can then paint in some of these
areas which I hadn't quite selected very
| | 03:13 | well, because when you're using Quick Mask,
you can't totally see how your mask is.
| | 03:18 | Now we can see it a little bit more
clearly and we can use these controls in
| | 03:22 | order to clean things up and
to make this look just right.
| | 03:26 | And by doing this, this gives us, well,
a lot of flexibility, and it's just
| | 03:30 | another way to start off the process.
| | 03:33 | In other words, rather than starting
with one of the traditional selection
| | 03:37 | tools, we start off with
the Brush and Quick Mask.
| | 03:40 | Well, before we wrap things up here, I
have this layer which includes a few tips
| | 03:45 | which I want share with you.
| | 03:47 | Remember that the Q key is the
shortcut key to enter or to exit Quick Mask.
| | 03:53 | Remember, it's the D key which allows
you to convert your Color Picker to those
| | 03:57 | black and white colors, the default colors.
| | 03:59 | And then when you need to alternate
between those two for hand-painting in the
| | 04:03 | mask, you can press the X key, and that
allows you to switch or toggle between
| | 04:08 | your foreground and background colors.
| | Collapse this transcript |
|
|
11. Adding Custom BordersCreating a custom border using selections and masks| 00:00 | Now that we've covered some of the
fundamentals of working with Masks, what
| | 00:04 | I want do here is take all of those
skills that we picked up in the previous
| | 00:08 | chapter and apply those to adding custom
edges or border effects to our photographs.
| | 00:14 | Let's start off with this picture here.
| | 00:16 | One of the first things that we're
going to do with this is we're going to use
| | 00:19 | one of our Selection tools in order to
build a Mask which gives us the ability
| | 00:24 | to conceal part of the edge of the frame.
| | 00:27 | To do that, let's go ahead and press the M
key, or you can just click on your Marquee tool.
| | 00:33 | Next, let add some Feather to this edge.
| | 00:35 | By adding some Feather, it will create a
border or an edge which is little bit more soft.
| | 00:41 | Let's add, say, 15 pixels.
| | 00:43 | Position your cursor near the edge of
one of the corners and then click and
| | 00:46 | drag out, and you'll typically want to
have the selection pretty equal around
| | 00:52 | these different edges.
| | 00:53 | When you let go, you'll notice this
is a bent corner, that's because we
| | 00:57 | added this Feather.
| | 00:58 | Well, the next thing that we need to do here
is to simply click on the Add layer Mask icon.
| | 01:04 | Now when you do that, all of a sudden
you'll see this really soft and nice edge effect.
| | 01:10 | What's fascinating about that is
because we created that selection with this
| | 01:13 | Feather edge, well, it just kind of
drifts off, and this works well, say, with
| | 01:18 | this white background color.
| | 01:20 | Let's say we want to change
the color in the background.
| | 01:23 | Well, to do that, you can click in your
Background layer, and then in order to
| | 01:27 | have flexibility, you can click
on your Adjustment layer icon.
| | 01:31 | Near the top, you can choose Solid Color.
| | 01:34 | This then allows you to choose
different colors or brightness values, and we
| | 01:38 | have so many different
options that we can choose here.
| | 01:41 | Let's say we choose something like this
bright blue and we click OK and realize
| | 01:47 | this doesn't look any good at all.
| | 01:48 | We'll just double-click this little
chip again, and then you can choose
| | 01:52 | something different. And by using
these layers, you can control how that
| | 01:56 | background is going to appear.
| | 01:59 | Let's stick with white, because I
think that's kind of interesting here.
| | 02:02 | The next thing that we can do is
we can modify this mask further.
| | 02:06 | You could go ahead and click into the
mask and then use your Brush tool to
| | 02:11 | paint away different parts of the edge to
change the shape of that border or edge effect.
| | 02:17 | Let me show you what I mean here.
| | 02:18 | I'll choose the Brush tool, and then
we'll go to our Options bar here and choose
| | 02:23 | a really soft edge brush.
| | 02:25 | Let's make this brush really big.
| | 02:27 | Next, I want to decrease the opacity
so I can make some subtle adjustments.
| | 02:32 | Let's try 25%, see how that works.
| | 02:35 | Next, we want to change this so that
we can paint with black, which would
| | 02:39 | conceal part of the image.
| | 02:41 | I'll go ahead and paint back and
forth over this area, and you can see I'm
| | 02:44 | slowly just kind of changing the shape
of this edge effect here so that it's
| | 02:48 | not quite so perfectly rectangular.
| | 02:51 | You can see how I'm customizing that
and I can do this in different ways, and
| | 02:55 | here, you can see you can start off with
the Selection tool and then modify that
| | 03:00 | by painting into the mask.
| | 03:02 | Well, let's take a look at another way
we can soften or change the edge effect.
| | 03:06 | What I'm going to do is go back to my
Layers panel and right-click or Ctrl-click
| | 03:11 | and then choose Delete layer Mask.
| | 03:13 | We're going to get rid of what we just created.
| | 03:16 | Next, let's select the
Rectangular Marquee again.
| | 03:19 | This time let's remove all feathers,
so there is no feather.
| | 03:24 | Go ahead and make a selection again,
click and drag across your image.
| | 03:28 | Now that we have this really hard edge
selection, we're going to click on the
| | 03:33 | Add layer Mask icon.
| | 03:35 | Now when I do that, I can see I have
this really distinct white border, or
| | 03:39 | for that matter, we could double-click
this icon, and we could change this to
| | 03:43 | any color that we want.
| | 03:44 | Well, this border is distinct.
| | 03:47 | In order to soften it,
double-click the Mask icon.
| | 03:50 | That will open up your Properties
panel, and here you can see, you have
| | 03:54 | this Feather option.
| | 03:56 | By increasing the Feather amount, what
it's going to do is soften the feather.
| | 04:01 | You can actually preview that and say, "Okay,
yes. You know what? I like that amount."
| | 04:06 | Previously, we just kind of guessed, right?
e had no idea how it would turn out.
| | 04:10 | So in this way, we have even more flexibility.
| | 04:14 | Let's change the edge effect to white,
because I kind of like that with those clouds.
| | 04:19 | Double-click the icon and choose
white, and I think it might even become
| | 04:22 | more apparent here.
| | 04:24 | When we go back for mask and we
change this, we can really see how we're
| | 04:27 | softening that and how we're
controlling that overall effect.
| | 04:31 | Now once we change this, say, by
softening it, we could also paint into this
| | 04:35 | mask and apply even more softening
to those edges by simply painting away
| | 04:40 | different parts of them.
| | 04:41 | Let me increase my opacity here, and you
can see how I'm controlling these edges.
| | 04:46 | You can use all of the techniques that
we've learned in the previous chapters.
| | 04:50 | Those techniques which relate to
working with selections and also which relate
| | 04:55 | to working with masks.
| | 04:56 | And by combining those together, we can
come up with some really interesting and
| | 05:00 | fascinating edge or border
effects on our photographs.
| | Collapse this transcript |
| Painting custom border effects| 00:00 | One of things that you may have
discovered about Photoshop is that if you play
| | 00:04 | and if you tinker a little bit, you'll
discover that there are so many different
| | 00:07 | ways to do the same thing.
| | 00:10 | Well, here I want to show you another
technique, another way for creating a
| | 00:13 | border or an edge effect.
| | 00:16 | In order to create this effect, let's go
ahead and click on the Adjustment layer
| | 00:19 | icon, and this time let's
just choose a Solid Color.
| | 00:23 | Here, let's go ahead and choose a color
for our border or our edge. Perhaps we
| | 00:26 | want to use black or maybe
even white. Next click OK.
| | 00:31 | Well, here we can see that this white,
well, it's covering up all of our image.
| | 00:36 | So we need to click into the mask--
not the adjustment but the mask.
| | 00:40 | You will notice there are these little
brackets around the mask showing me that
| | 00:44 | that's what I'm targeting
and then double-click that.
| | 00:48 | This will open up our Properties
panel, and here we can choose Invert.
| | 00:53 | That will then fill this mask with black
so that it's concealing all of the white.
| | 00:57 | We can't see any of this white adjustment.
| | 01:00 | The next step is to go
ahead and choose our Brush tool.
| | 01:03 | With the Brush tool, what I want you
to do is to choose a creative brush.
| | 01:08 | If you scroll down, you have a
number of different creative brushes.
| | 01:12 | Say, for example, one like this, we can
go ahead and increase the brush size and
| | 01:17 | then click and paint across our image.
| | 01:19 | We want to make sure we're painting
with white, and we want to make sure we're
| | 01:23 | painting on this mask.
| | 01:25 | And as we move our cursor across the
image, we're able to paint on this masked
| | 01:29 | layer, and this gives us the ability to
have this really sharp or fine tune edge.
| | 01:34 | We can also get really creative with
edges like this, based on the different
| | 01:39 | types of brushes that we have.
| | 01:40 | For example, if we go back to our
Options bar, we can choose this brush which I
| | 01:46 | had selected previously, this Leaf brush.
| | 01:49 | Here, I'll make the size a little bit
smaller and then go ahead and just click
| | 01:52 | and drag around the edge of the image.
| | 01:55 | As we do that, you can see really what's
happening is it's filling up that edge
| | 01:59 | with this particular brush, which
happens to be this leaf pattern.
| | 02:03 | And this just makes for something
which is kind of interesting or fun.
| | 02:07 | And in a sense all that's happening is
in this Solid Color layer, we're just
| | 02:12 | revealing or concealing
part of this Solid Color.
| | 02:16 | We can change this by double-clicking on
this icon here and choosing a new color
| | 02:21 | and that's then just going to
sit on top of our photograph.
| | 02:25 | And by using this technique and by
really understanding masking, we can
| | 02:29 | constantly make changes to this until we
find something that we think might work
| | 02:33 | well with our particular photograph.
| | 02:35 | We can also change the overall intensity
of the opacity there or the saturation
| | 02:39 | or brightness value, and
again, you have a lot of options.
| | 02:43 | And the beauty of working with masks,
as I've mentioned before, is that they're
| | 02:47 | flexible, they're continually editable.
| | 02:49 | You can always make changes after the fact.
| | 02:52 | And if you don't like, perhaps, something
that you've created with one brush, you
| | 02:56 | can always click in your mask and
go ahead and choose another brush.
| | 03:00 | Here, I'll go ahead and choose
perhaps a more normal soft edge brush.
| | 03:05 | Then next, what I'm going to do is I'm
going to paint with black because I don't
| | 03:09 | like some of these leaves here which
have come into the picture, so I'll go
| | 03:12 | ahead and paint with the
black in order to hide those.
| | 03:15 | So I'm now erasing or hiding those by
simply clicking and painting in that
| | 03:19 | mask and customizing what's appearing here in
regards to the overall edge or border effect.
| | 03:25 | And by doing this, well, it just gives
us a lot of flexibility, and sometimes it
| | 03:30 | enables us to come up with some
pretty creative and interesting effects.
| | Collapse this transcript |
| Using prebuilt borders| 00:00 | Here, we are going to take a look at
how we can add border or edges to our
| | 00:03 | photographs. But this time, I want
to focus in on using those items that
| | 00:08 | perhaps are something that you have
scanned or maybe it's a frame or edge or
| | 00:12 | border that you found online.
| | 00:14 | Let's take a look at how we can do
that here with this photograph of a really
| | 00:17 | famous surfboard shaper, Mickey Muxoz.
| | 00:20 | I like the texture of his workspace here, and
so I want to add this frame to that photograph.
| | 00:27 | To do that, we can go ahead and click
out this tab and then use the Move tool to
| | 00:32 | simply click, drag, and drop.
| | 00:34 | When it comes to working with frames,
if you do a little bit of searching online,
| | 00:38 | you can find a ton of these.
| | 00:40 | You can even find an application called
onOne PhotoFrame, which allows you to add
| | 00:44 | frames really easily.
| | 00:45 | Yet let's say that we have just
scanned this old sheet of film, or we found
| | 00:50 | something we want to use,
we drag it into the image.
| | 00:53 | Then let's free transform it.
| | 00:54 | Command+T or Ctrl+T allows you to free
transform, and I want to do that just so
| | 01:00 | that it covers up my image.
| | 01:02 | The next thing we need to do
is we need to create a mask.
| | 01:05 | To do that, let's first make a selection.
| | 01:08 | We can use Quick Select to do that
and simply click and drag over the
| | 01:12 | center area of the image.
| | 01:14 | Now whenever you make a selection, you'll
almost always want to refine it or just modify it.
| | 01:20 | This time let's do that
after we create the mask.
| | 01:24 | What I want to do with this is
conceal the center part of the image.
| | 01:28 | Yet if we click on the Add layer Mask
icon now, it conceals the frame, right?
| | 01:33 | This doesn't really work.
| | 01:35 | To invert that, press Command+I or Ctrl+I,
Command+I in a Mac and Ctrl+I in a Windows.
| | 01:42 | That way you don't have to really worry
about whether you've selected the right
| | 01:45 | thing or the wrong thing.
| | 01:46 | Well, to sweeten up the edge here,
just double-click the Mask icon, and in the
| | 01:52 | Properties panel, we go back to Refine >
Mask Edge, and this allows us to use
| | 01:57 | Smart Radius to smooth out
that edge, to shift the edge.
| | 02:01 | This can just give us the ability to
kind of make this edge a little bit better.
| | 02:04 | Try to take off some of the
white that I was seeing on that edge.
| | 02:07 | I am just going to turn off Smart Radius.
I think it looks better without that.
| | 02:12 | And just by shifting the edge and
maybe smoothing it out a little bit, it
| | 02:15 | looks a bit better.
| | 02:17 | You know about refining edges and all
that, so I don't need to cover all those
| | 02:21 | things in detail, but I do need to say
that when you are creating your mask,
| | 02:24 | make sure you go there to make sure
your edges look good. Next, click OK.
| | 02:29 | Well, here back in my Layers panel,
you can see I have a few different versions
| | 02:34 | of this photograph.
| | 02:35 | This one, it doesn't really work.
What about some of the others?
| | 02:39 | Perhaps a desaturated sepia toned
version with film grain. Doesn't really work
| | 02:44 | either, but maybe this one does,
the one in black and white.
| | 02:49 | The reason why I show you this is
because sometimes this is about knowing how
| | 02:53 | to do the technique, how to find a frame,
bring it into your image, create that
| | 02:58 | mask. Other times it's about knowing
what mask or edge to choose in order to
| | 03:04 | fit with your photograph or the color
treatment that you've applied to that picture.
| | 03:08 | I think this works well here.
I want to show you a few other examples.
| | 03:13 | In this document, I have two different
images, and if I go ahead and go to Full
| | 03:18 | Screen mode by pressing the F key and
then zoom out a little bit so we can see
| | 03:21 | the photograph, you can see that I can turn
on these different frames or borders or edges.
| | 03:27 | I'll turn them on one at a time.
| | 03:29 | As I look at these, really what I'm
trying to do is evaluate which one might
| | 03:34 | work well with my pictures.
| | 03:35 | Well, I think this one's
kind of nice, clean, and simple.
| | 03:38 | This one, it's kind of too much.
You can't really see the photograph very well.
| | 03:43 | This next frame here, a little bit
too minimal, and then this one, the color
| | 03:48 | palette isn't quite matching for me.
| | 03:50 | But if I were to use this frame, say,
with this photograph here, well, that has
| | 03:55 | this really nice kind of vintage feel to it.
| | 03:59 | The tone of the image
matches the tone of the frame.
| | 04:02 | Again, the whole point here is just to
get you thinking creatively about how you
| | 04:06 | can find these frames, create those
masks, and then find a frame which will best
| | 04:11 | complement your photographs.
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| Exploring the PhotoFrame plug-in| 00:00 | Here, I want to share with you a really
great application which allows you to
| | 00:04 | add frames or borders or edges to your
photographs, and the application is called PhotoFrame.
| | 00:10 | Now this application, it does cost money,
yet you can always download this 30-day trial.
| | 00:16 | So if this chapter has increased your
interest in how you can add edges or
| | 00:20 | border effects to your photographs,
you may want to try this out.
| | 00:23 | It is a ton of fun.
| | 00:25 | It's ononesoftware.com/
products/suite/photoframe.
| | 00:33 | And again, feel free to download that
trial and just give this one a test run.
| | 00:37 | And mostly what it can help you do is
just to think creatively about how you
| | 00:41 | can add those edges or borders and how
you can do that in a way that it doesn't
| | 00:46 | detract from your photographs, but rather
that it complements or maybe even enhances them.
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|
|
12. Improving Your Images with AdjustmentsAdding brightness and contrast| 00:00 | Here, in this chapter, we're going to
focus in on the Adjustments panel, and we'll
| | 00:04 | target some of the more important
adjustments that we can use in order to
| | 00:08 | improve and enhance our photographs.
| | 00:10 | Let's start off with this image here.
| | 00:13 | Zoom in on this one by pressing
Command+Plus on a Mac, or Ctrl+Plus
| | 00:16 | Windows, then press the Spacebar key
to click and drag this to reposition it.
| | 00:22 | Now before we get to the Adjustments
panel, I do have to point out that a lot
| | 00:26 | of times people go to this area here, Image >
Adjustments, and then they choose an option.
| | 00:32 | Now I don't recommend that, because
if you do that, it will then make the
| | 00:36 | adjustment onto the pixels itself
so that you can't undo it, you can't
| | 00:40 | modify it after the fact.
| | 00:42 | So in order to have more flexibility,
what you want to do is navigate to
| | 00:46 | your Adjustments panel.
| | 00:47 | And let's start off by making a brightness
and contrast adjustment and then take
| | 00:52 | a look at how we can tweak it or
customize it so that our image looks its best.
| | 00:58 | Let's click on this icon
here, little sunshine icon.
| | 01:01 | What I want to do is click on the Auto button.
| | 01:04 | The Auto button, which you'll find here
in levels and curves, it does a good
| | 01:07 | job at trying to analyze the image
and figuring out how to modify these
| | 01:12 | controls so that our photograph looks better.
| | 01:14 | Now here with this picture,
at first glance, I like it.
| | 01:18 | We can click on the Eye icon.
Here is before and then after.
| | 01:22 | And let's say we send this image to our
printer, and then we realize, you know what?
| | 01:26 | We had too much contrast,
not enough brightness.
| | 01:30 | Well, the good news is that you can
always customize these amounts, these
| | 01:34 | sliders, even after the fact.
| | 01:36 | These will always be saved
inside of your document here.
| | 01:39 | So what you can do is modify the
brightness and also perhaps change the contrast
| | 01:44 | and get this to just the
right spot for your picture.
| | 01:48 | Let's now take a look at that before and after.
Here's before, and now here's after.
| | 01:52 | It's much more subtle.
| | 01:55 | Another way that we can customize
things is we can also close this Properties
| | 01:59 | panel for a moment by clicking
on the double arrow icon there.
| | 02:03 | We can go to the Layers panel, and we
can change the opacity of this effect.
| | 02:08 | If we want an effect which isn't
quite so strong, well, we can decrease the
| | 02:13 | opacity or diminish this effect, and so
here you can see we can customize this
| | 02:17 | many different ways.
| | 02:19 | If the Properties panel is ever closed,
well, just double-click the icon for the
| | 02:24 | adjustment layer, and it will reopen
it with those controls so that you can
| | 02:28 | then further make any needed changes in
order to make this image look its best.
| | 02:32 | And again, what's really fun about
this is that you can customize things, you
| | 02:37 | can walk away and then come back,
because when it comes to making adjustments,
| | 02:42 | sometimes the first time we see them,
we'll think, "Oh yeah, that's great."
| | 02:45 | But then, after a while our taste might
change or perhaps the output for the
| | 02:50 | photograph might change.
| | 02:51 | Well, by having this layer, we can
always make the changes after the fact, and
| | 02:56 | this extra bit of flexibility can help
us to be more creative and also can help
| | 03:00 | us to create even more compelling photographs.
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| Using hue and saturation and the Target Adjustment tool| 00:00 | This movie is all about Hue and Saturation.
| | 00:04 | We are going to start off with this
demo file and take a look at how we can use
| | 00:07 | the Hue/Saturation controls in
order to make changes to this image.
| | 00:12 | And then next, we'll jump to a
photograph and we'll apply what we've learned
| | 00:15 | about these controls to that picture.
| | 00:17 | Well, let's go ahead and navigate to
the Adjustments panel and then click on
| | 00:21 | this icon here to open up our
Hue/Saturation Adjustments panel.
| | 00:26 | The first thing I want to highlight
here is that what you can do is work in
| | 00:30 | different channels or colors.
| | 00:32 | You can view all of them at once to
make changes globally, or you can go into
| | 00:36 | specific colors by making selections here.
| | 00:39 | Let's start off by making a global change.
We'll go to Master.
| | 00:44 | We have Hue, Saturation, and Lightness controls.
| | 00:47 | Well, Saturation and Lightness
are pretty straightforward.
| | 00:50 | We can either increase or decrease
saturation, and then we can either increase or
| | 00:55 | decrease the overall brightness.
| | 00:57 | Well, what about the top one, Hue?
Well, Hue is really fascinating.
| | 01:02 | When you click and drag it,
it will seem kind of arbitrary.
| | 01:05 | Why are all these colors
changing? What's happening?
| | 01:08 | If you look at this color strip
down below, it will give you the key to
| | 01:13 | understanding what's happening here.
| | 01:15 | What it's done is it's taken the green
colors you can see on the strip above,
| | 01:20 | it's turned those to blue.
Let me show you what I mean.
| | 01:23 | If we click off this Eye icon, you can
see what was green here, the top strip is
| | 01:29 | now becoming blue. The bottom strip down below,
| | 01:32 | as I move this slider, you can see how
it's remapping the color in this image.
| | 01:36 | Well, what about making specific
adjustments to specific colors?
| | 01:41 | Well, here we could go down
to a channel, say, the Reds.
| | 01:45 | By going to the Reds, you'll notice
that down below it's showing me some icons.
| | 01:50 | These icons, we'll talk about in a
minute, but basically they show me that I'm
| | 01:54 | selecting or going to work with Reds.
| | 01:56 | Now I can then desaturate those Reds,
and you can see how it's just affecting
| | 02:01 | this area of the color wheel.
| | 02:03 | Another way that you can make
specific adjustments is with this tool.
| | 02:07 | This is a really powerful and really fun tool.
| | 02:10 | If you click on it, you can go ahead
and then click and drag on a color.
| | 02:15 | As I click and drag, you can see I'm
controlling the saturation of that color
| | 02:20 | and those colors which are similar to it.
| | 02:22 | If you hold down the Command key on a
Mac or Ctrl key on Windows and click and
| | 02:26 | drag, what that allows you to do is it
allows you to change the overall hue.
| | 02:31 | Well, if you don't want to use that click
and drag functionality, you can always
| | 02:36 | just simply click and then use these controls.
| | 02:39 | Let's say you want Yellows to become
Red, or you could just change them that way
| | 02:44 | by simply modifying the
overall hue or the saturation.
| | 02:47 | Well, at this point, I've
highlighted a few things.
| | 02:51 | I've highlighted that we can make global
adjustments by working on the Master channel.
| | 02:56 | We can make specific adjustments either
by jumping to one of these channels or
| | 03:02 | by using this targeted adjustment tool.
| | 03:05 | Let's see how this can
actually work with a photograph.
| | 03:07 | Here, I am going to open up a picture.
| | 03:10 | This is a photograph of a butterfly
wing, and I want to modify this picture--in
| | 03:14 | particular just the colors
in the center of the wing.
| | 03:18 | I want to make a change to that area first.
So we'll click on our Hue/Saturation icon.
| | 03:23 | Next, with the Targeted Adjustment
tool selected, we'll go ahead and click on
| | 03:28 | the hue that we want to change.
| | 03:29 | Now how can we be certain that it's
just going to affect the orange in this
| | 03:34 | Monarch Butterfly wing and not the background?
| | 03:37 | Well, a great technique that you can use
here is to make an exaggerated and bad
| | 03:42 | looking adjustment in order to see what
you're modifying, what you're affecting.
| | 03:47 | Let me show you want I mean.
| | 03:49 | Here, I am going to crank the hue all
the way over so now everything is kind of
| | 03:52 | blue, and I am going to increase the saturation.
| | 03:54 | Well, what this is showing me is that it's
affecting the background and also the wing.
| | 03:59 | Why is that?
| | 04:01 | Well, if you look below, you'll
notice that you have these different icons.
| | 04:06 | Remember, it's showing you
that it's remapping these colors.
| | 04:10 | The two center icons are showing you the
colors that are most strongly affected.
| | 04:15 | The outer ones are showing you how
far it's reaching out into other colors.
| | 04:20 | So if we move these icons in, as you can
see in my image, it's going to start to
| | 04:25 | affect a smaller area of the picture.
| | 04:27 | Here, I am just moving these in
until I can see that it's primarily
| | 04:31 | just affecting the wing.
| | 04:34 | Now this adjustment that I've made is
really over-exaggerated, but I made that
| | 04:39 | over-exaggerated adjustment in order to
focus in on a specific color or tone in my image.
| | 04:46 | In other words, by using these controls,
it allowed me to be more specific.
| | 04:51 | Well, now that I have these specific
colors selected, I can then use my controls,
| | 04:57 | say, like my Saturation control or
maybe my hue adjustment, and now this
| | 05:02 | adjustment right here, well, it's
primarily just affecting the butterfly wing, and
| | 05:05 | you can see how that's happening as
I make these different adjustments.
| | 05:09 | So as I make these adjustments, we can
then click on the Eye icon that shows me
| | 05:15 | my before and after.
| | 05:16 | I'm able to target just those colors
by using those different techniques, and
| | 05:22 | again, it gives me that precise
control over this part of the image.
| | 05:26 | So as you can see here, these Hue/ Saturation controls
are good for making global or specific color adjustments.
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| Working with vibrancy and saturation| 00:00 | Photoshop is always interested in
giving you precise control and also in giving
| | 00:05 | you different ways to make similar
adjustments, and that's true with what we're
| | 00:09 | going to look at here.
| | 00:11 | We're going to take a look at
how we can work with Vibrance.
| | 00:14 | Vibrance gives us the ability to modify
color saturation in an interesting way.
| | 00:19 | Let's start off with this image and
then click on the icon which we'll find in
| | 00:23 | the Adjustments panel, which will
open up the Vibrance settings here.
| | 00:26 | Well, inside of this panel you'll notice we
have a control for Vibrance and also Saturation.
| | 00:32 | Well, we've actually previously seen this
control inside of the Hue/Saturation controls.
| | 00:37 | It's the same thing here.
| | 00:40 | Click and drag to the right we increase
saturation, drag to the left we desaturate.
| | 00:45 | Yet the reason this is here is
because it's related to vibrance.
| | 00:50 | Now how vibrance is different is
vibrance actually pays attention to color
| | 00:54 | saturation to try to protect or
maybe even help certain colors.
| | 00:59 | For example, in this photograph of
this box of artist chalk that I captured,
| | 01:04 | when I click and drag my Vibrance to
the right, what you'll notice is that
| | 01:08 | primarily it's working on the weaker
colors, focusing on these blues down here.
| | 01:14 | What it does is it doesn't affect the bright
greens as much as it does those weaker colors.
| | 01:20 | Vibrance says, "Okay, what
color needs a little bit of help?
| | 01:22 | I'm going to focus in on that."
| | 01:25 | Or when you decrease the amount, it
looks at those weak colors and it pulls
| | 01:29 | those out first leaving in some of
the more saturated colors here, even at a
| | 01:34 | Vibrance amount of -100.
| | 01:36 | So why is this helpful?
| | 01:38 | Well, it's helpful because what you
can do is increase color variation by
| | 01:42 | increasing your vibrance.
| | 01:44 | It gives a boost to some of those weaker colors.
| | 01:47 | You can also use this in combination
with your Saturation slider in order to
| | 01:51 | come up with some really
interesting color combinations.
| | 01:54 | Take a look at this here.
Here's that before and then after.
| | 01:58 | It just adds a little bit of
life or intrigue to this picture.
| | 02:02 | And again, you can customize these
until you see the colors that you like.
| | 02:06 | And in other situations like with this
next photograph, what you can do is you
| | 02:11 | can use these controls in order to
protect certain tones, like skin tones.
| | 02:16 | If I increase my saturation to 100,
take a look at the skin, it just
| | 02:21 | doesn't look very well.
| | 02:23 | Let's compare that to, say,
to 100 points of vibrance.
| | 02:26 | Well, 100 points here, the skin still
looks relatively decent, because what
| | 02:33 | vibrance has done is it just worked on
these other colors. It's protected the
| | 02:37 | tones which had more color or hue in
them. And typically with people, that has
| | 02:42 | to do with skin tones.
| | 02:44 | So Vibrance is a great slider,
whether you're interested in creating color
| | 02:48 | variation, or you're working with
people photographs, or you just want to boost
| | 02:52 | some of those weaker colors.
| | 02:54 | Typically you won't exaggerate it that
far, perhaps you're going to bring it up
| | 02:57 | to somewhere right around here and then
perhaps add just a touch of saturation.
| | 03:02 | And ultimately by doing that, well, it can just
help you create a little bit of a color boost.
| | 03:07 | It can make your images come to
life in a really fascinating way.
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|
|
13. Using Levels to Correct and EnhanceWorking with auto levels | 00:00 | In this movie, we're going to dig into
the wonderful world of working with Levels.
| | 00:05 | Levels are really powerful, and they
allow us to have great control when it comes
| | 00:09 | to modifying color and tone in our pictures.
| | 00:13 | And here in this first movie, I want to
work with the few different images and
| | 00:16 | take a look at how we can use these
controls and also how we can use some auto
| | 00:21 | settings in order to help our
images so that they look even better.
| | 00:24 | We'll start off with this photograph
here, and let's click on the icon to open up
| | 00:29 | our Levels adjustment.
| | 00:31 | You can find that icon in the top row
here. We'll click on that, and there you
| | 00:36 | can see in the Properties panel we
have options for our Levels controls.
| | 00:40 | Well, what exactly are these controls?
| | 00:43 | Well, when you look at them you'll notice
you have a black point, a midtone, and
| | 00:48 | also a highlight point.
| | 00:50 | You can click and drag these, and by
doing so you can see the images becoming
| | 00:54 | darker. You can also control the midpoint.
You can either brighten or darken the
| | 01:00 | overall photograph or work on those highlights.
| | 01:03 | If you drag this too far, well, I lose detail.
| | 01:06 | So these controls, well, they have a
lot of power. They allow us to make some
| | 01:10 | pretty big and bold adjustments.
| | 01:12 | And what I want to take a look
at in this first movie are some of
| | 01:16 | these auto adjustments.
| | 01:18 | With this picture, it looks like it's
lacking a little bit of life or snap.
| | 01:22 | Well, if you click on the Auto button, it
will apply an auto adjustment to try to
| | 01:27 | correct your photograph, whether it's
underexposed or just needs a little boost.
| | 01:32 | You can then click on this Eye icon. Here
it is. Here's that before and then after.
| | 01:38 | This photograph looks so much better already.
| | 01:41 | We can then further customize these controls
by changing their overall settings as well.
| | 01:46 | Well, let's jump to another image to see
how this will work in a different scenario.
| | 01:51 | In this case, once again we have a
photograph that's lacking a little bit of snap.
| | 01:55 | We'll click on the Levels icon
and go straight to the Auto button.
| | 01:59 | What this will do then is it
essentially decreased our exposure a bit.
| | 02:05 | This image was overexposed, whereas the previous
image, it needed a little bit of contrast.
| | 02:11 | So what Auto is doing is
it's analyzing that photograph.
| | 02:15 | It's trying to see what the problem is,
and then it's going to introduce some
| | 02:18 | adjustments in order to try to fix it.
| | 02:21 | Well, let's look at one more photograph.
This one here, perhaps a picture which is
| | 02:25 | even a bit more complicated.
| | 02:27 | It's underexposed this time.
Here, we'll click on the Levels icon;
| | 02:32 | I'll start off by clicking on the Auto button.
| | 02:35 | Now when I do that, it brightens up the
overall image, I have more detail there,
| | 02:40 | but I need more contrast,
more presence. I need something.
| | 02:44 | So we can then use these sliders after
we've modified that with the Auto button.
| | 02:49 | And what I want to do with this
image is I want to bring back some of the
| | 02:52 | density. I went a bit too far.
It brightened it up too much.
| | 02:56 | So now just by simply moving my black point
slider, I brought this image to a nice spot.
| | 03:03 | Let's click on the Eye icon
to see the before and after.
| | 03:06 | Here's before, and now here's after.
| | 03:09 | By using the Auto button or just by
using your sliders, you can modify the
| | 03:14 | overall tone, which in turn also
affects the overall color of your photograph.
| | 03:19 | And so far we've been looking at how we
can apply adjustments in a pretty global way.
| | 03:25 | Yet let's say that we want to get a bit
more specific, we want to modify tone
| | 03:30 | but we also want to modify color.
| | 03:32 | Well, let's take a look at how
we can do that in the next movie.
| | Collapse this transcript |
| Enhancing color and tone with levels| 00:00 | Now that we know a little bit about
working with levels, let's take a look
| | 00:03 | at how we can use levels in order to make
some creative and corrective color adjustments.
| | 00:08 | We'll start off with this image here.
Let's go ahead and double-click the layer
| | 00:11 | on top, which we've already
created which is a Levels adjustment.
| | 00:15 | So far we've looked at how we can use
the Auto controls and how we can use these
| | 00:19 | various sliders here.
| | 00:20 | Well, now what I want to do is
get into the different channels,
| | 00:23 | Red, Green, and Blue.
| | 00:25 | Each of these channels allows us
to control different type of color.
| | 00:29 | Let's start off with the Red channel.
| | 00:31 | Now the Red channel, it allows us to
modify both red and cyan, and in order to
| | 00:36 | keep things simple here, let's
just focus in on the midtone slider.
| | 00:40 | If we drag this to the left or towards
the word Red, well, the image it will
| | 00:45 | become more red as you can see here.
| | 00:47 | Drag this away and the
image will become more cyan.
| | 00:51 | In this way, we can use the slider in
order to introduce a slight color shift.
| | 00:55 | Let's say we want to add some red and
perhaps also warm this up with some yellow.
| | 00:59 | Well, in order to do that, we
would navigate to another channel.
| | 01:03 | Green allows us to control both green and magenta.
Blue allows us to control both blue and yellow.
| | 01:10 | So let's go to that channel.
| | 01:12 | Here, in the Blue channel, I'll go ahead
and click and drag away from the word Blue.
| | 01:17 | In this way, I can add a little
bit of yellow to the picture.
| | 01:19 | Well, now if we click on our Eye icon,
we can see that our overall before and
| | 01:24 | after isn't just about the tonal changes,
it's also about these color changes.
| | 01:30 | If ever you want to go back and modify
something, well, just click on the menu,
| | 01:34 | go back to the channel that you want to
change--say, the Red channel--and then
| | 01:37 | you can modify that by clicking and dragging.
| | 01:40 | And again, we can see that overall
effect. Here's our before and after.
| | 01:44 | Well, let's take a look at another example,
one that's different than this image.
| | 01:49 | For this image, really, we just needed to
kind of color correct it a little bit or
| | 01:52 | to warm it up, add some reds.
| | 01:54 | In the other image, now I want to
create some really creative color.
| | 01:57 | And at first glance, the colors
are vivid and bright and alive.
| | 02:02 | Well, I want to push that even further.
In order to do that, let's use Levels.
| | 02:07 | We'll click on the Levels icon. One of the things
that we know about Levels is that we can bring in our
| | 02:12 | endpoints in order to increase
contrast and color saturation.
| | 02:16 | We can also modify the midpoint in order to
change the overall brightness or darkness.
| | 02:21 | As colors become darker, they
typically become more saturated.
| | 02:25 | Let's take a look at our
before and after so far.
| | 02:28 | Here it is before and after.
| | 02:31 | With a few simple adjustments, this image
and the color in this image, well, it's
| | 02:35 | already looking a lot better.
| | 02:37 | Yet let's go further, let's
go into our different channels.
| | 02:40 | We'll start off by going to
the Red or the Red Cyan channel.
| | 02:44 | Remember, if you click and drag this to
the left, towards the word Red, well,
| | 02:48 | the image becomes more red.
| | 02:50 | Next, let's go to the Green Magenta
channel, drag away from green, and it
| | 02:55 | becomes more magenta.
| | 02:57 | Finally, we'll go to the Blue/Yellow
channel, and here we can either add blue
| | 03:02 | by clicking and dragging to the left or add
yellow by clicking and dragging to the right.
| | 03:06 | And by doing this, we really have
this completely different color palette.
| | 03:10 | Let me scoot this image over a
little bit so you can see the difference.
| | 03:13 | Here's our before, what we originally
thought was saturated and beautiful,
| | 03:18 | now it kind of looks pale in
comparison. And now here's after.
| | 03:22 | These are really rich ultra-vibrant
and saturated, interesting colors, and
| | 03:27 | what's great about this is we can use
these controls to make changes like this,
| | 03:32 | and then of course, we can always
modify the opacity of the Levels adjustment,
| | 03:37 | and we can do this in order to dial back this
color saturation in this intense color here.
| | 03:43 | Let's say we feel like we've gone a
little bit too far. We can just go ahead and
| | 03:47 | decrease the opacity until we find a
new spot for this image, and then again,
| | 03:51 | we can click on this Eye icon.
| | 03:53 | Here is our before, and now our after.
| | 03:56 | With Levels, we have a lot of creative controls.
| | 03:59 | We can work on tone, but
we can also work on color.
| | 04:02 | And by tapping into these different
channels, this just opens up the possibility
| | 04:07 | of making even more precise adjustments
when it comes to both color and tone.
| | Collapse this transcript |
| Painting in adjustments with levels and masking| 00:00 | In this movie, I want to build upon some
of the other topics which we've already
| | 00:04 | covered, and I want to focus in on
how we can work with levels and masking
| | 00:09 | together in order make an adjustment
in a specific area in our picture.
| | 00:14 | Let's go ahead and zoom in on this
picture a little bit so that we can take
| | 00:17 | a look at the detail.
| | 00:19 | I really like the natural window light,
yet one of the things that I'm noticing
| | 00:23 | is that I would like to brighten up her face.
| | 00:26 | I would like to bring more
focus to that area of the picture.
| | 00:29 | Well, to do that, we can use levels.
Let's click on the Levels Icon here.
| | 00:35 | In the Levels panel, what I want do is
Brighten things up, so I'll go to my
| | 00:39 | midtone point and click and drag to the left.
| | 00:42 | We can see that's brightening up the
face here, but it's also brightening up the
| | 00:46 | curtain and other elements as well.
| | 00:48 | Well, whenever you brighten something,
you almost always need to add a little
| | 00:52 | bit of black as well.
| | 00:53 | So go ahead and click and
drag this to the right too.
| | 00:57 | Next, what I want to do is limit
the adjustment just to the face.
| | 01:02 | To do that, we can use the built-in mask.
| | 01:05 | All of these adjustment layers,
they come with the built-in mask.
| | 01:08 | To access the mask, just
click on this icon here.
| | 01:12 | Next, I want to click Invert.
| | 01:14 | That will then change the mask from
white to black so that this is concealing
| | 01:19 | all of the Levels adjustment.
| | 01:21 | The next step is to select our Brush tool.
| | 01:24 | With the Brush tool, we want to
paint with white. So choose white as
| | 01:28 | your foreground color.
| | 01:29 | Then next, in the Options bar, we
want to choose a nice soft-edge brush,
| | 01:34 | perhaps try this one, here.
| | 01:36 | Go ahead and then increase the Size a
little bit so that you can then paint on
| | 01:40 | the area of the face.
| | 01:42 | Next step, you may want to
decrease the opacity of your brush.
| | 01:46 | Typically, with masking and
painting in light, we want to start with
| | 01:49 | something less than 100%.
| | 01:52 | Well, next step is going to be to just
click and paint across the image in this area.
| | 01:56 | And the great thing about this is
because we're painting with this nice low
| | 02:00 | opacity, it kind of has this soft feel
which matches the overall lighting and
| | 02:05 | mood effect in this photograph.
| | 02:07 | And here, I'm just painting back and
front and kind of building up this effect
| | 02:10 | here in this part of the image.
| | 02:11 | I also might paint in a couple other
areas around where I'm working, and I want
| | 02:15 | to do that just so that the light all kind
of matches together so that it feels cohesive.
| | 02:21 | With this simple Levels adjustment,
let's go ahead take a look at our progress.
| | 02:25 | We can do so by clicking on the
Eye Icon in this background layer.
| | 02:28 | Here's before, click on
it again, and here's after.
| | 02:32 | That looks so much better.
| | 02:35 | Let's go back to the Levels adjustment
by clicking on this icon, and if we want
| | 02:39 | to control this area even more, we can
click and drag this, and you can see how
| | 02:43 | I'm brightening up this area even more.
| | 02:46 | Now remember, whenever you brighten,
you also need to add a little bit of
| | 02:49 | contrast back in too.
| | 02:50 | So you want to be careful that you do
that correctly so you can bring in the
| | 02:55 | appropriate amount of detail.
| | 02:57 | The last thing that I want to highlight
here is that when you are masking, you
| | 03:00 | typically want to soften the edges of your mask.
| | 03:04 | You can do so by clicking on the Mask Icon,
and then you can go to the Feather panel.
| | 03:09 | This then allows you to decrease
the hardness of those edges.
| | 03:12 | It softens things up a little bit so that
your mask looks a little bit less choppy.
| | 03:16 | Well, here let's zoom out a little
bit so we can see this picture in this
| | 03:20 | context and then review the overall progress.
| | 03:23 | Again, here's before, and now here's after.
| | 03:26 | We have this really nice subtle,
beautiful adjustment that we've made simply by
| | 03:31 | modifying the levels and then by using
a mask and painting into that mask where
| | 03:37 | we want this adjustment to be applied.
| | 03:39 | The last step here that I find works
really well is to lower the layer opacity.
| | 03:44 | You want to do this kind of like you
would do if you were tuning an instrument
| | 03:47 | just to find just the right sweet spot for this.
| | 03:50 | Sometimes it's just nice to have this a
little bit less than 100% so that it's subtle,
| | 03:56 | it's realistic, so that the viewer is
going to focus in on the subject rather
| | 04:01 | than on your adjustment.
| | 04:02 | Well, after having made that final
adjustment, one more view. Here we have it.
| | 04:07 | Our before, and now our after.
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| Creative tip: checking in| 00:00 | Hey, welcome! You know, one of things that I love to do
when I'm teaching is to walk the aisles.
| | 00:05 | And I walk the aisles and I
ask the students questions.
| | 00:08 | I say, "Hey, how's it going. What's happening?
How are things for you today?"
| | 00:11 | And I get some pretty interesting
responses, and we have a bit of a dialog.
| | 00:16 | Now while you and I can't dialog today,
| | 00:18 | I can pose a question:
How are things going for you?
| | 00:21 | And I get some pretty interesting
responses to that as I mentioned.
| | 00:25 | Sometimes students will say, "You
know, things are great, I love it!
| | 00:28 | I can't believe this.
I've learned so many interesting things."
| | 00:31 | I give them a high-five, the pat
on the back, and I'm on my way.
| | 00:34 | Other students say, "You know, things
are great, but I just don't understand
| | 00:38 | masking. I don't get it."
| | 00:40 | And I say, "Okay, great, no problem.
| | 00:42 | Let's dig into masking, let's really
deconstruct how this works, so let's make
| | 00:45 | sure you get this topic."
| | 00:47 | Other students say, "You know what? I am
fried, I'm burned out. This class is so fast.
| | 00:52 | I don't get this, you know? I'm
not having any fun anymore.
| | 00:55 | I'm having a tough time."
| | 00:57 | And when I hear those words, I'm grateful
because we can do something about that.
| | 01:02 | I say, "Okay, well, what do we need to do.
What do we need to revisit?
| | 01:05 | What topics are you missing or what
do you need to do to change things up?"
| | 01:08 | Because the art and craft of photography is
supposed to be passionate, it's supposed to be fun.
| | 01:14 | And so we can correct course.
| | 01:15 | Well, then there're these other students
who say, "You know, I don't know how I'm
| | 01:20 | doing," and those are the
ones I'm most worried about.
| | 01:23 | I'm most worried about those because
they're the same students that I see a
| | 01:27 | few months or weeks later after the
class, and I say, "Hey, how are things?"
| | 01:32 | And they say, "You know, things are good,
the class was fun, but you know, I just
| | 01:35 | don't understand curves. I don't understand
masking. I don't really understand sharpening."
| | 01:40 | I'm thinking to myself, "Oh my gosh!"
| | 01:41 | These students don't understand
some of the most core, significant, and
| | 01:46 | important aspects of Photoshop.
| | 01:49 | And I think that they don't
understand these things because they weren't
| | 01:52 | honestly asking themselves that
question throughout the course, "How am I doing?
| | 01:58 | What am I getting? What am I not getting?"
| | 02:00 | So here's a question for you
once again: How are things?
| | 02:03 | And if you answer that question by
saying, you know I'm kind of burned out
| | 02:06 | or maybe you know what? I'm just
kind of passively watching this, I'm not
| | 02:10 | really learning it.
Well, correct course.
| | 02:12 | Do whatever it takes to bring back
a bit of passion or to make sure you
| | 02:15 | really learn a topic.
| | 02:16 | If there's something that you don't
know or you're not really certain about,
| | 02:20 | well, go back and re-watch that movie
five times until you really get it, because
| | 02:25 | if you revisit something you're not sure
about, you'll really own it, you'll get
| | 02:29 | to know it, it'll become part of your
working knowledge, and then you'll be able
| | 02:33 | to successfully integrate
that to your overall workflow.
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|
|
14. Making Color and Tone Adjustments with CurvesIntroducing the Curves dialog box| 00:00 | One of the colleagues who I teach with
is fond of saying that Levels and Curves,
| | 00:05 | they allow you to make similar adjustments.
| | 00:07 | It's just that Curves is so much better.
| | 00:10 | Levels is kind of like a row boat,
and Curves, it's like a power boat.
| | 00:15 | And it's a bit of an over-exaggeration.
| | 00:17 | But I think the point is, is that with these
two tools, we can make similar adjustments.
| | 00:22 | It's just that with Curves, we have more
power and precision. We have more control.
| | 00:27 | So here, what I want to do before we
actually start to work with Curves is
| | 00:31 | deconstruct the Curves dialog so we
can understand the composite and also
| | 00:36 | the different channel views that we have
here, and then we'll, of course, modify an image.
| | 00:40 | Well, here in the composite view, you can
see that we have this curve line, drag
| | 00:45 | it up, the image will become brighter.
Drag it down, the image becomes darker.
| | 00:49 | Yet we can also target
these different channels.
| | 00:52 | I've mentioned these in other places,
yet it's really important here because
| | 00:56 | you're going to spend a lot of time
using curves in order to correct and
| | 00:59 | enhance your photographs.
| | 01:01 | Let's first take a look at the Red channel.
| | 01:04 | In the Red channel you'll
notice that you have a red line.
| | 01:08 | If you drag it up towards the word Red,
what will happen is the image will become
| | 01:12 | more red. Drag it away and
it will become more cyan.
| | 01:16 | So you need to start thinking about the
Red channel really as the Red/Cyan channel.
| | 01:22 | Next, the Green channel. That one
is really the Green/Magenta channel.
| | 01:27 | Drag up it becomes green,
drag down it becomes magenta.
| | 01:32 | And then finally of course, we have that
Blue channel, which allows us to control
| | 01:36 | both the blue and the yellow in the image.
| | 01:39 | Well, let's take a look at how we can
modify a photograph--say, this one here that
| | 01:43 | we have in the background.
| | 01:44 | I'm going to open up the Curves dialog
in a way that it's just floating here
| | 01:48 | to keep things simple.
| | 01:50 | In this composite view, what we can do
is we can drag up to brighten up the
| | 01:54 | overall image, drag down and
it will darken the photograph.
| | 01:59 | You can remove a point by simply
clicking and dragging a point off.
| | 02:02 | Well, what about these endpoints?
| | 02:05 | Well, you can change the overall contrast
of your image by making this curve line
| | 02:10 | more flat by moving these endpoints.
| | 02:13 | Or if you bring these in, you can see that
you can then increase the overall contrast.
| | 02:18 | Well, let's go ahead and set
these back where they were.
| | 02:22 | Another thing that we can do is
target the different channels.
| | 02:25 | Here, in the Red channel, we can
make the image more red or more cyan.
| | 02:30 | Next, we'll go to the Green channel here.
We have an image which is more green and
| | 02:35 | then click and drag down,
it becomes more magenta.
| | 02:38 | And then the final demo here is the
Blue Yellow channel. Click and drag up, it
| | 02:42 | becomes more blue, and then the
opposite, in this case it becomes more yellow.
| | 02:48 | The reason why I'm spending so much
time talking about Curves is because I
| | 02:52 | really want you to memorize these
different channels so that you can then tap
| | 02:56 | into the different channels, so that you
can have precise control when it comes
| | 03:00 | to modifying your images.
| | 03:02 | Now of course, I've barely just introduced
this topic of Curves, so we have to
| | 03:05 | dig deeper, we have to figure out how we
can use this adjustment, and so let's go
| | 03:10 | ahead and do that in the next few movies.
| | Collapse this transcript |
| Using auto curves and adjustments to enhance an image| 00:00 | Now that we know a little bit about
curves, here in this movie, we'll take a look
| | 00:04 | at how we can use curves in order to
correct and enhance our photographs.
| | 00:08 | Well, we have seen this picture before,
we have worked on this in our chapter on
| | 00:12 | levels, and we applied an Auto
Correction to the photograph.
| | 00:16 | We can do the same thing with curves,
yet we can take this even further.
| | 00:19 | Well, let's go ahead and click on
this icon here in order to open up our
| | 00:24 | Curves Adjustment panel.
| | 00:26 | Let's take a look at some of the
options that we have here with this panel.
| | 00:30 | You'll notice that we have this curve line.
| | 00:32 | We can set points on this line by
simply clicking, and then you can drag up in
| | 00:37 | order to brighten that area or drag
down in order to darken that area.
| | 00:41 | You can also set multiple points.
| | 00:44 | Go ahead and click on that curve, and
here you can see I've added multiple points.
| | 00:48 | This can give you the ability to have
precision over controlling one area on the curve.
| | 00:53 | Yet you'll notice that as I move
one point, it changes the overall
| | 00:57 | characteristic of this curve.
| | 00:59 | If it ever bends a portion of the curve
that you don't want it to bend, like down
| | 01:03 | here, we will just click to add a
point, and then you can correct that.
| | 01:07 | Now here, I have made a really strange
adjustment, and I have been doing this just
| | 01:11 | to illustrate how we can work with
curves, yet I want to reset the curve.
| | 01:15 | How can we do that?
| | 01:16 | Well, you can either, click and drag points
off, or you can click on this Reset icon here.
| | 01:22 | Well, how else can we modify our image?
| | 01:25 | Well, let's say that we
want to darken the sweatshirt.
| | 01:28 | You can click on this icon which gives you
the ability to simply hover over your image.
| | 01:33 | As I move over my image, notice that
this little circle on the curve, well,
| | 01:37 | it changes position.
| | 01:38 | That's showing me the tone
or the value in that area.
| | 01:41 | Well, I can then click and then just
drag down to darken or drag up to brighten.
| | 01:46 | Now if I really want to work on the
sweater, I could drag down to darken and
| | 01:51 | then for the rest of this curve line,
well, I am just going to go ahead and push
| | 01:54 | that back to where it was.
| | 01:55 | So now I have an adjustment which is
primarily working on my brighter tones.
| | 02:01 | That doesn't look very good, but it
does illustrate how we can target specific
| | 02:05 | areas and how we can make
adjustments to those areas.
| | 02:09 | So let's go ahead and click Reset one more time.
| | 02:11 | Now that we're familiar with how this
Curve panel works and how we can click and
| | 02:16 | drag and make adjustments,
let's click on the Auto button.
| | 02:19 | What's great about the Auto button is
that it actually plots points for us.
| | 02:24 | This auto adjustment, well, it looks
similar to the adjustment in levels.
| | 02:29 | Yet here, by having these points plotted
on the curve, I can then access them and
| | 02:34 | change them--like this top point,
I'll click and drag it over.
| | 02:38 | I can also modify the middle point.
| | 02:40 | Here, I can soften this overall
contrast a bit, or maybe this one here, which
| | 02:45 | deepens the shadows and adds
that contrast and color saturation.
| | 02:49 | What Auto did for me was
it showed me an S-curve.
| | 02:53 | An S-curve is very common where you have
brighter tones here, darker tones here.
| | 02:58 | It's in the shape of a subtle S. The
more closely it resembles an S, the higher
| | 03:03 | the contrast, and by using Auto as a
starting point, what this can do for us is
| | 03:08 | help us come up with some great
options for how we want to process the image.
| | 03:13 | So let's go ahead and take a look at that again.
Here, I'll click the Reset button.
| | 03:17 | Next, we'll click on Auto.
As we can see here, this S-curve, it's too much.
| | 03:22 | So I'll click on my bottom point and
drag that up just a little bit or if you
| | 03:27 | don't want to drag it, you
can always use your arrow keys.
| | 03:30 | Tap the Up Arrow key, you can see
it's lifting this point up. Tap the down
| | 03:35 | arrow key, you can see it's bringing
that down. Or if you want to, you can just
| | 03:39 | simply click and drag.
| | 03:41 | After we've made this auto adjustment
and customized it just a bit for our
| | 03:45 | photograph, we can take a look at the results.
| | 03:48 | Here, we have that before and now after.
| | 03:51 | It added a nice amount of contrast
and color saturation, and the beauty of
| | 03:56 | working with Curves is that it gives
you the ability to make precise controls.
| | 04:00 | And now that we have taken a look at how
we can modify color and tone in general
| | 04:05 | ways, let's get a little bit more specific.
| | 04:08 | Let's explore how we can change tone
and also how we can make subtle, maybe
| | 04:12 | even significant color changes to our photographs,
and let's do that in the next movie.
| | Collapse this transcript |
| Changing brightness with curves and masks| 00:00 | Here, we're going to deepen our understanding
of how we can work with curves, and
| | 00:05 | we are working with this image here,
and in particular, we're going to focus in
| | 00:08 | on how we can modify tone and
also how we can change color.
| | 00:12 | Well, this particular photograph, I
captured of my daughter Annika. The image is
| | 00:16 | a bit too flat. It's lacking some contrast.
| | 00:19 | You may also notice there's a little
bit of that cool color shift that many
| | 00:23 | times we get in open shade, so let's
go ahead and correct that with curves.
| | 00:28 | Let's click on the Curves
icon in the Adjustments panel.
| | 00:32 | In this panel, I want to talk
about how you can customize this view.
| | 00:35 | You may notice that mine now
has a 10x10 grid, well, by default,
| | 00:40 | you have a 4x4 grid.
| | 00:43 | You can alternate between these two by
holding down the Option key on a Mac or
| | 00:47 | Alt key on Windows and clicking.
| | 00:49 | Typically you want to have a 10x10
grid, because it allows you to make more
| | 00:53 | precise adjustments.
| | 00:55 | The next thing I want to highlight
here is that if you hover over the edge of
| | 00:58 | the Curves panel, you'll notice that
your cursor will change. When it changes,
| | 01:03 | you can click and drag either to make
this dialog smaller, or you can extend this
| | 01:07 | in order to make this bigger.
| | 01:09 | So when you're getting really precise,
you may need to make it bigger, other
| | 01:12 | times that might be fine
to have this a bit smaller.
| | 01:15 | The next thing I want to
highlight is this great tool up here.
| | 01:19 | This tool allows you to select an area
of your image and then click and drag
| | 01:22 | to make an adjustment.
| | 01:24 | As I move over the image, you can see it's
highlighting the different areas of the photograph.
| | 01:29 | In the skin. It's all basically right here.
| | 01:32 | Well, in order to brighten that up, you just
click and drag up. You can see that we
| | 01:36 | can then brighten that up.
| | 01:38 | Now whenever you brighten things, you
also might need to darken some shadows,
| | 01:43 | because now this looks a little washed out.
| | 01:45 | Well, to do that, I'll just click on
this curve point and then just click and
| | 01:49 | drag down a little bit,
bringing some of that contrast back.
| | 01:52 | Well, now we have some nice contrast.
I want to work on the color.
| | 01:57 | Before we do that, though,
let's look at our preview.
| | 02:00 | We can click on this Eye icon to
see our before and now our after.
| | 02:05 | That's looking much nicer.
| | 02:07 | Next, we'll go to our Curves pulldown
menu, and we can tap into these different
| | 02:11 | channels to make color adjustments.
| | 02:13 | Let's go straight to this Blue/Yellow channel.
| | 02:16 | This channel allows us to either change the
image to make it more blue or more yellow.
| | 02:22 | With the Targeted Adjustment tool still
selected, let's go ahead and hover over
| | 02:26 | the image and then go ahead and click and drag.
| | 02:28 | Sometimes you'll forget which way to
drag, but you can always make a drag and
| | 02:32 | you realize, "Oh, okay. That's wrong.
That's blue. I don't want that," and then
| | 02:36 | just drag in the opposite direction.
| | 02:38 | What I do want is a little bit of yellow.
| | 02:40 | Now the trick with warming up an
image like this is that if you go too far,
| | 02:45 | you'll need to add some other colors as well.
| | 02:48 | Let me exaggerate for a moment.
| | 02:50 | When I make this really yellow, do you
notice that it becomes kind of yellow-green?
| | 02:55 | So we're going to then need to add another
color to kind of work to balance that out.
| | 03:00 | So in other words, here's what we'll do.
| | 03:02 | We'll go ahead and click and drag down
just to warm that up a little bit, and
| | 03:05 | then we could go into one
of our other color channels.
| | 03:09 | Here, let's go to the Red channel.
| | 03:11 | Next we'll go ahead and click and
just drag up just a little teeny bit,
| | 03:14 | adding a touch of red.
| | 03:16 | It's kind of like mixing paint. We're
mixing these different colors together
| | 03:20 | until we get a color palette or
color look or feel that we like.
| | 03:25 | After having modified the color,
you also might want to go back to the
| | 03:29 | RGB composite view.
| | 03:31 | You may decide, well, now I can
brighten this up a little bit more because
| | 03:34 | I'm not so concerned about at
looking washed out, because now I have this
| | 03:38 | great color in the image.
| | 03:40 | Let's evaluate our progress. Let's do
so by clicking on the Eye icon. Here we
| | 03:45 | have our before. And that's what
curves does for your photographs, it takes
| | 03:50 | something that you thought looked good
and then it allows and empowers you to
| | 03:54 | make adjustments like this, which
will really help your images stand out.
| | Collapse this transcript |
| Using curves and masks to improve tone and color| 00:00 | Here, we're going to take a look at how
we can combine curves and what we know
| | 00:03 | about masking together in order
to come up with some great results.
| | 00:08 | We're going to be working
on two different images.
| | 00:10 | We'll start off with this one here.
| | 00:12 | This photograph of this professional
athlete was captured for a national
| | 00:16 | publication, and they wanted more
drama. They wanted deeper blacks.
| | 00:20 | So in order to make those adjustments,
let's go ahead and click on the Curves icon.
| | 00:25 | This will then open up our Curves
dialog, and we can use this tool which
| | 00:29 | allows us to click on an area of the image and
just drag to make an adjustment to that area.
| | 00:35 | I want to darken the background,
so here I'll click and drag down.
| | 00:39 | That looks really nice, more dramatic.
| | 00:41 | I also want to work on the helmet up
here, and I'll go ahead and click and drag
| | 00:45 | that down a little bit as well.
| | 00:47 | Well, now that I've done that, I like
the drama. I like the density of those
| | 00:51 | blacks, yet I'm noticing
that the eyes are too dark.
| | 00:55 | Well, we can mask this area away, and we
can do so by simply clicking in the mask.
| | 01:02 | When you click in the mask, you notice
that it changes your Properties panel.
| | 01:06 | Here, we can go ahead and click on the
Brush icon, and with the Brush icon we
| | 01:10 | want to paint with black.
| | 01:12 | To flip these two, press the X key.
Next, choose an appropriate brush size.
| | 01:17 | We'll go ahead and choose a smaller
brush, and also choose a brush that
| | 01:21 | doesn't have any hardness.
Then you want to lower your opacity.
| | 01:25 | Whenever you're working with light or
color or tone and curves, you always want
| | 01:29 | to have typically a little bit
less opacity, something under 100.
| | 01:33 | So we could go for, say, 70% or so.
| | 01:37 | Well, after having chosen that, I'll click
off of this, and then I'll hover over the image.
| | 01:41 | Well, here, my cursor is just too big,
so I'll press the Left Bracket
| | 01:46 | key to make this smaller, and then I'm going to go
ahead and just start to paint over this area of the image.
| | 01:51 | You can make the brush even smaller to
get into really specific areas if you
| | 01:55 | just want to limit this effect to this area.
| | 01:58 | Because we're painting with black,
we're concealing this effect, the darkening
| | 02:03 | effect on the image.
| | 02:05 | Click on the Eye icon and you can see
the before and after, or you can click on
| | 02:10 | the Eye icon inside of the Masks panel.
| | 02:13 | This will temporarily disable this
and you can see how this mask, well, it's
| | 02:17 | really helping out this part of the image.
| | 02:20 | Let's say we want to take this even further,
we want to brighten up the eyes.
| | 02:24 | To do that, we'll create
another Curves adjustment layer.
| | 02:28 | And you know, this is really common
when working on photographs, you'll have
| | 02:31 | multiple Curves adjustments
to work on different things.
| | 02:35 | Here, we'll go ahead and click and
drag up in order to brighten this up.
| | 02:40 | Next, we need to invert our mask.
| | 02:42 | We'll go ahead and navigate to
the Masks panel and click on Invert.
| | 02:47 | This is now concealing all
of the brightening effect.
| | 02:50 | None of it is applied to the image.
| | 02:53 | If we want to brighten up an area, we
can choose our Brush tool again, and
| | 02:57 | then this time we're painting with white,
because this time we're revealing the effect.
| | 03:03 | Again, we'll want a nice soft edge
brush, pretty low opacity, perhaps even
| | 03:07 | lower, and then go ahead and start painting.
| | 03:10 | And all that this will do is bring in this
brightening effect into this area of our image.
| | 03:14 | Now whenever you're working with brush
strokes, as we're doing here, it's almost
| | 03:17 | always a good idea to also soften
those brush strokes, and you can do so by
| | 03:22 | working with Feather.
| | 03:24 | Well, after we've done those few
brushstrokes here and a couple other places,
| | 03:28 | we'll go ahead and increase the Feather amount.
| | 03:31 | What that will do is just soften the
way that we painted in that adjustment.
| | 03:35 | If you click on the icon, you can
then see that before and now after.
| | 03:40 | Let me zoom in so you can see
this a little bit more closely.
| | 03:43 | Here, we have before and after, and it's
these two adjustments together which have
| | 03:50 | really changed the overall
characteristics of the image.
| | 03:53 | As we make these changes, we'll want to
change our zoom rate, zoom in and zoom
| | 03:57 | out, look at our before and after, then
if ever you've modified something in a
| | 04:01 | way that's too strong, you can either
double-click on the icon and go back to
| | 04:06 | the curve and change that, or you can
always just lower the layer opacity.
| | 04:11 | And by using these two techniques
together, you can come up with results which
| | 04:15 | really look natural and nice.
| | 04:17 | Here, with this image, I want to
darken the background a bit more, so I'll
| | 04:21 | double-click our first Curves
adjustment and just click and drag this down so I
| | 04:25 | have even more drama with this photograph.
| | 04:28 | Well, let's evaluate the overall
before and after, click and drag on the Eye
| | 04:33 | icons to hide those.
| | 04:34 | Here's our before, and now our after.
| | 04:37 | Well, now that we've seen how we can do
this with a black and white image, let's
| | 04:42 | go ahead and explore how we could work
with a color photograph and how we could
| | 04:46 | brighten an area of an image and also
change the color and how we can do this by
| | 04:50 | combining curves and masks together.
| | 04:52 | And so let's go ahead and
do that in the next movie.
| | Collapse this transcript |
| Making advanced selections and masks| 00:00 | Here, we're going to take a look at how
we can use Curves and masking together in
| | 00:04 | order to come up with some spectacular results.
| | 00:07 | Let's take a look at how we
can do that with this photograph.
| | 00:10 | Here, I'll go ahead and zoom in on
this picture, and I really like this
| | 00:13 | photograph. It's about
the bride and her daughter.
| | 00:16 | And somehow what I want to do is I
want to bring that subject forward.
| | 00:21 | So let's go ahead and click on our Curves icon.
| | 00:24 | Next what I want to do is simply
make a really basic Curves adjustment.
| | 00:28 | To do that we'll click on the targeted
adjustment tool and then hover over the
| | 00:32 | skin in the image and click and drag up.
| | 00:34 | This will brighten this area of the
photograph, yet it's also brightening
| | 00:39 | everything else. I don't want that.
| | 00:41 | The next thing I want to do is also add
a little bit of contrast, so I'll darken
| | 00:45 | this point by clicking and dragging this down.
| | 00:48 | Well, now that I have this little bit of
contrast and also brightening effect, I
| | 00:52 | need to mask this into the area where I want it.
| | 00:55 | So here, we'll click on the
Mask icon and then click Invert.
| | 01:00 | This allows us to conceal
or to hide this adjustment.
| | 01:04 | The next step is to select our Brush tool.
| | 01:08 | We want to paint with white in order
to reveal that brightening and color
| | 01:12 | saturation effect, and so we'll go ahead
and go up to her Options bar and choose
| | 01:17 | a nice big brush here,
something probably around 70 or so.
| | 01:20 | Make sure you have no brush hardness.
| | 01:23 | Next, let's decrease our opacity here,
something less than 100%, perhaps
| | 01:27 | somewhere around 75 might work well.
| | 01:30 | And you know, there's no real science to
the opacity amount. It depends upon how
| | 01:34 | often you want a kind of brush or paint
over it in order to build up the effect.
| | 01:39 | Next, we'll hover over the image
and go ahead and just start to paint.
| | 01:43 | And here, what I want to do is start to
bring some brightness to the subject,
| | 01:47 | bring some brightness
over here to these flowers.
| | 01:49 | I'm just clicking and painting.
| | 01:51 | I'll do this on the dresses as well a
little bit, here, just bringing in a little
| | 01:55 | bit more brightness into
this area of the photograph.
| | 01:58 | And I'm just panning across the image,
and we want to pan around so--because I'm
| | 02:03 | in Full Screen mode, I'll press the
Spacebar key. That allows me to move around
| | 02:07 | and paint in different areas.
| | 02:09 | And then next, because I've made all
these brushstrokes--you can see them here in
| | 02:13 | my mask--I need to Feather these.
| | 02:16 | I want to make sure they don't look like streaks,
so I'll go ahead and click and drag these up.
| | 02:20 | Let me exaggerate this so
you can see what I mean.
| | 02:23 | When I really crank this up, notice
my mask just looks like a big blob.
| | 02:28 | Well, that's because it's softening all
of those brushstrokes, so you want to
| | 02:32 | bring that up so you have nice soft edges.
| | 02:35 | This allows you to paint this adjustment
in, in a way that has a more softness
| | 02:40 | than is possible just with the brush.
| | 02:43 | Well, this is already looking great.
Let's take a look at our progress.
| | 02:46 | Here, we have it. There is
our before and now our after.
| | 02:50 | I'll go ahead and decrease that Feather
amount just a little bit more and then
| | 02:54 | go back to the Curves adjustment.
| | 02:56 | Now that I have this masked in, I
can go ahead and modify this even more.
| | 03:01 | I can control the contrast
and also the overall brightness.
| | 03:05 | I may even want to go into some of
the channels, say like the Blue/Yellow
| | 03:09 | channel, and then use my targeted
adjustment tool and click and drag down to add
| | 03:13 | a little bit of yellow.
| | 03:15 | Or perhaps we want to add some red.
| | 03:17 | Go to that Red channel and then click and
drag up just a few points there of red perhaps.
| | 03:23 | What I'm looking for is
creating this really nice golden look.
| | 03:27 | Let's zoom in and take a look at our progress.
| | 03:30 | Here, we have our before--what we
originally saw--and now our after.
| | 03:36 | And that's what Curves does for your photographs.
| | 03:38 | We're controlling how someone looks
at this picture, and we're doing so by
| | 03:42 | making this Curves adjustment--as
we've done here--and then painting it into
| | 03:46 | this specific area so that the viewer focuses
in on what's most important in our photographs.
| | Collapse this transcript |
| Enhancing a portrait with hand-painted masks| 00:00 | We are going to take a look at some
advanced techniques which really combine
| | 00:04 | some of the different things that we
know about selections and masks, and we are
| | 00:08 | going to do this in order
to improve this photograph.
| | 00:11 | This picture I captured for the cover
of a National Magazine, and they wanted me
| | 00:15 | to open up the shadows so
that the image would print better.
| | 00:18 | In particular, I needed to brighten up
some of the areas of this photograph, say
| | 00:23 | like these dark shadows here.
| | 00:24 | Well, let's start off by going to our
Select pulldown menu, and let's select
| | 00:29 | those shadows by going to Color Range.
| | 00:32 | With Color Range, what you can do is
you can click on an area of your image in
| | 00:35 | order to sample that tone.
| | 00:38 | Here, we can see these on
a white matte background.
| | 00:41 | You may have a different preview.
| | 00:42 | If you do, you can change that by clicking
on this menu and choosing different options.
| | 00:47 | Sometimes it's helpful to see these on
different previews, say like this White
| | 00:51 | Matte so that we can see what we have selected.
| | 00:54 | So you can either click on an area,
increase the Fuzziness in order to
| | 00:59 | select more or less.
| | 01:00 | Another thing you can do is
choose Localized Color Clusters.
| | 01:04 | What this does is it limits our
selection more to this area, as you can see.
| | 01:09 | A different way that you can make a
selection is by clicking on this pulldown
| | 01:12 | menu and choosing something, say like
Shadows, and this will then give you a
| | 01:16 | selection of all of these deep dark shadows.
| | 01:19 | Well, this one is a little bit too much, so
I want to go to something a little bit less.
| | 01:24 | So here, we'll go ahead and navigate back
to our Sample Colors, and I just want to
| | 01:28 | click on this dark shadow there,
increase my fuzziness. You can control the
| | 01:33 | range, how far that reaches out from that point.
| | 01:35 | I want it to reach out to the
other areas where I have deep shadows.
| | 01:40 | And you'll notice it's selecting
this area more than the other areas.
| | 01:44 | That's why certain areas are kind of faint.
| | 01:47 | We've talked about some of these
things when we talked about selections, yet
| | 01:51 | here I think this is a helpful review.
| | 01:53 | Well, we're doing this simply
to create a good selection.
| | 01:57 | If you click OK now, you can see
that I've selected the problem area.
| | 02:01 | Well, now I can go ahead and create a
Curves adjustment, and by doing that,
| | 02:06 | it will create a Curves
adjustment with a built-in mask.
| | 02:10 | If I make an adjustment here in Curves,
you're going to notice that it's just
| | 02:13 | working on this area of the photograph.
| | 02:16 | Take a look at that precise control I
have over those shadows, so I can bring
| | 02:20 | those shadows up by simply
clicking and dragging this up.
| | 02:23 | It's also helping out some of my shadows
in the other areas where I have problems.
| | 02:28 | Well, one of the things that can happen,
when you've brightened something like
| | 02:32 | this, especially dark shadows, is you
can introduce perhaps a little bit of
| | 02:36 | color saturation, or you can see
some color noise in that area.
| | 02:40 | So what I want to do is I want to desaturate
this same exact area that I brightened.
| | 02:47 | Yet Curves doesn't have the ability
to desaturate. How can we do this?
| | 02:51 | What you can do is you can go ahead and
Command-click or Ctrl-click on your mask.
| | 02:58 | That will activate any mask as a selection.
| | 03:01 | You can see all of those marching ants are
showing me that I've reactivated this mask.
| | 03:06 | It's now a selection.
| | 03:07 | Well, now all that we need to do is to
click on another adjustment layer, say
| | 03:12 | like Hue/Saturation.
| | 03:14 | Next, I can go ahead and change
the saturation by desaturating.
| | 03:17 | Now just to show you the area that I've
selected, I am going to click on Colorize.
| | 03:22 | This will look a little bit strange, but
I want to highlight what's happening here.
| | 03:26 | If I increase this and change this color,
say, to something like let's say green,
| | 03:30 | that's really noticeable.
| | 03:32 | I know this looks kind of strange, but
again, I'm just highlighting that this
| | 03:35 | mask is allowing us to affect this
area more intensely, and then some of the
| | 03:41 | other areas that aren't as dark,
a little bit less intensely.
| | 03:45 | And we're only able to create
this because we used Color Range.
| | 03:48 | Well, I don't want to add that color
effect, so we'll click off Colorize.
| | 03:53 | What I do want to do is just desaturate
this a little bit to prevent that area
| | 03:58 | really from having any problems.
| | 04:00 | And one of the main points that I'm
illustrating here is how we can use our
| | 04:03 | different selection techniques, how we
can turn those selections into masks, and
| | 04:09 | then also how we can reuse our masks
by Command-clicking or Ctrl-clicking them
| | 04:14 | to activate the mask and then
to create yet another adjustment.
| | 04:18 | Well, let's take a look at the overall
progress that we've made with this image.
| | 04:22 | Here is before, and then now if we
turn these on, we have our after.
| | 04:27 | And the beauty of this is that if the
client says, "You know what? That's nice.
| | 04:31 | But it's a bit too bright." Well, we
can just go ahead and double-click on the
| | 04:35 | Curves adjustment and make the needed
change in order to bring back some of that
| | 04:39 | original contrast there.
| | 04:41 | Now the last thing that I want to
highlight here is that when you're using this
| | 04:45 | technique, if ever you notice that your
edges in your mask--well, they are just
| | 04:50 | too harsh, you can always soften those.
| | 04:52 | Here is a great way to preview this.
| | 04:55 | Hold down the Option key on
a Mac or Alt key on Windows.
| | 04:59 | This will change your view to this mask here.
| | 05:01 | When I look at this mask, I realize, gosh!
These edges are actually pretty choppy.
| | 05:07 | Well, to soften those up, you can go
ahead and increase the Feather amount.
| | 05:12 | That will then soften the edges of this mask.
| | 05:15 | And by Option-clicking or Alt-clicking
your mask icon, you just get a preview.
| | 05:19 | You just get to see this.
| | 05:21 | Hold down Option on Mac, Alt again on
Windows, and you can then go back to the
| | 05:26 | image and also increase the Feather amount here.
| | 05:29 | And by increasing that, a lot of times it
just makes those mask work that much better.
| | 05:35 | So let's increase our Feather a
little bit here on this one, and then also,
| | 05:39 | let's match that same Feather amount
approximately, and so we'll go ahead and
| | 05:43 | increase that as well.
| | 05:45 | Now that we've made those adjustments,
well, this image, it's good to go.
| | 05:48 | Here is our before, and then now our after.
| | Collapse this transcript |
| Using, modifying, and saving curves presets| 00:00 | Here, we're going to briefly take
a look at how we can work with Curves
| | 00:03 | Presets and also how it can
save some of our own precepts.
| | 00:07 | Let's go ahead and click on the Curves
icon, and this will open up the dialog.
| | 00:12 | Now you may have noticed that at the top of
the dialog you have this Preset pulldown menu.
| | 00:16 | If you click on this, you have a number
of different Options. We can choose to
| | 00:21 | make the image Darker by
simply clicking on that option.
| | 00:24 | Notice it just applies the Subtle
Adjustment. Well, having seen that adjustment,
| | 00:28 | you can imagine what Lighter
will be. It's just the opposite.
| | 00:32 | And sometimes these adjustments, they
will give us really nice starting points
| | 00:36 | for our photographs.
| | 00:37 | Again, here with this one we see that
before and after. It's just brightening up
| | 00:41 | the image a little bit. You could
always customize this after the fact by
| | 00:45 | bringing this down, perhaps,
or changing those amounts.
| | 00:48 | They also are some Creative Presets,
for example, we can choose Cross Process.
| | 00:54 | Now in doing this with this photograph,
this just looks way too over the top.
| | 00:58 | Well, you can change this either by
going into the Specific Channels and
| | 01:03 | Modifying the way that it's changing
the color here, as you can see that I'm
| | 01:06 | changing with these amounts.
| | 01:08 | Or you can always try just lowering the opacity.
| | 01:11 | Here, I'll just decrease the
opacity, and I'll bring this way down.
| | 01:14 | So I have a little bit more of a Subtle
Effect that kind of creates this vintage field.
| | 01:20 | Here is that before, and now here's after.
| | 01:23 | Let's say that what you want to do is
rather than use one of these Presets, you
| | 01:28 | want to create one of your own.
| | 01:29 | Let's go ahead and get rid of this
curves adjustment. We can do so by clicking
| | 01:33 | on the Trashcan icon here, or down
here in the Layers panel--either one, it
| | 01:38 | does the same thing.
| | 01:39 | So let's go ahead and Delete that.
| | 01:42 | Next, I am going to click on
the Curves Adjustment layer icon.
| | 01:45 | Then what I want to do is I want
to navigate to my Blue Channel.
| | 01:49 | I'm interested in making
this image much more yellow.
| | 01:52 | So I'll go ahead and click and drag that down.
| | 01:54 | Then I'll go into my Red/Cyan channel,
and I am also going to add some cyan by
| | 01:59 | clicking and dragging down.
| | 02:01 | Again, I'm interested in trying to
make this subtle type of a color effect,
| | 02:05 | Well, here it's too strong, so I'll modify it.
| | 02:08 | I'll bring this back up a little
bit, go to my Blue/Yellow channel,
| | 02:11 | bring that back up as well.
| | 02:13 | And here's my adjustment.
Here is before and then after.
| | 02:18 | The Skin Tones look a little bit different,
and I've changed the way that image looks.
| | 02:22 | I also want to go to my RGB channel
and just brighten this up and then add
| | 02:28 | just a touch of contrast.
| | 02:30 | Let's say that this is one way that
I like to process my images or just an
| | 02:35 | option that I want to have.
| | 02:37 | Well, you can Save this out as a preset
by clicking on the Fly-out menu, in the
| | 02:41 | far right-hand corner of the Curves Dialog.
| | 02:43 | Here, we'll choose Save Curves Preset,
and I'll go a head and save this one as
| | 02:48 | co-color 1, then click
Enter or Return to Save that.
| | 02:54 | We can then access this
preset from this pulldown menu.
| | 02:58 | Let's go back to the default setting.
| | 03:00 | Here it is without any color
adjustment, straight out of the camera.
| | 03:04 | Next, go to the preset, we can then
choose our preset, and here we could further
| | 03:09 | customize this, or as we've seen before,
we can always lower the opacity of the
| | 03:13 | adjustment so that we have a
more subtle type of an effect
| | 03:17 | The whole point here is that
anything that you want to save in regards to
| | 03:20 | curves, you can do so by presets.
| | 03:23 | So if ever you find yourself doing
something over and over again, or doing
| | 03:28 | something in a similar way to multiple
images, it might be helpful to create a
| | 03:32 | preset so that you can simply access
that preset from that pulldown menu and
| | 03:37 | then further modify your photograph.
| | Collapse this transcript |
|
|
15. The Art of Blending ModesIntroducing the magic of blend modes| 00:00 | In order to deep in and further
our knowledge of how we can create
| | 00:03 | compelling photographs in Photoshop,
here we're going to explore the amazing
| | 00:08 | world of Blending modes.
| | 00:10 | Blending modes allow us to combine
things together, so that when we combine
| | 00:15 | them they somehow blend.
| | 00:16 | It allows us to create something different.
| | 00:19 | It's almost like we have two layers,
and then when we blend them, the final
| | 00:24 | result, well it's something that we
couldn't have achieved without a blending mode.
| | 00:28 | So here what I want to do is talk
about the Blending modes dialog.
| | 00:32 | I also want to walk through a number
of different examples of using Blending
| | 00:36 | modes, working with images and sample
files, and slides, so that you can have a
| | 00:41 | really good working understanding of
these modes, because these are powerful.
| | 00:45 | They are powerful for making
corrections and also for coming up with creative
| | 00:48 | ways to modify your photographs. All right!
| | 00:50 | Well here we have the Blending modes dialog.
| | 00:54 | Now at first glance when we see this,
either in the Layers panel or in some
| | 00:58 | other areas as well, which I'll talk about in
a few moments, it's kind of hard to look at.
| | 01:03 | There are all of these little words.
| | 01:05 | What does all of this mean?
| | 01:06 | Well the first key is you'll
notice the Blending modes are grouped.
| | 01:11 | If we can understand these groups,
well this can be the key which will really
| | 01:15 | help us unlock how Blending modes work.
| | 01:18 | So let's take a look at these different groups.
| | 01:21 | We can think of this first group as
Blending modes which allow us to darken.
| | 01:26 | The next group, these are Blending
modes which allow us to brighten or lighten.
| | 01:30 | Then we have that third group.
| | 01:32 | This is really about contrast.
| | 01:34 | Next we have a group which allows us to
create comparison and also creative effects.
| | 01:39 | And then finally we have a group
which allows us to blend or modify the way
| | 01:43 | colors are combined, and
this isn't over simplification.
| | 01:48 | Yet, by thinking about these groups in
this way can really help us understand,
| | 01:53 | how we can start to tap into this
strength of Blending modes. All right!
| | 01:56 | Well let's take a look at
how we can work with them.
| | 01:59 | I'll go ahead and open up this as our
guide over here and then what I want to do
| | 02:03 | is march through a number of different
slides, and my hope is that these slides
| | 02:08 | will help us understand these modes.
| | 02:11 | Here I've the first slide, it's a
grayscale, it's sitting on top of this image.
| | 02:16 | I'll open up my Layers panel and I
want to modify this grayscale right here.
| | 02:20 | You can see it in my Layers panel.
| | 02:23 | To do this, I'll go to my pulldown
menu, and here I'll choose Darken.
| | 02:27 | In this case, it's only
affecting the darker pixels.
| | 02:31 | It isn't doing anything to those brighter tones.
| | 02:34 | Well what about if we take this to Lighten.
| | 02:36 | Well you can guess what's going to
happen here, right, it's exactly the opposite.
| | 02:41 | Okay well what then about
say Overlay or Soft Light?
| | 02:45 | Well what these do is they
increase the whites and also the blacks.
| | 02:49 | They deepen the blacks, but
nothing happens to the midtones.
| | 02:53 | Now if you can understand these three
things, well this can really help you
| | 02:57 | start to work with these modes.
| | 02:59 | Let's take a look at this with
another sample file here, in another slide.
| | 03:03 | Here I've another grayscale.
| | 03:06 | The three most common Blending modes
that photographers use are Multiply,
| | 03:10 | Screen, and Soft Light.
| | 03:12 | Let's try those out.
| | 03:14 | Multiply, as we know, darken things.
| | 03:16 | We can see it's creating this darkening effect.
| | 03:19 | The next one is Screen.
| | 03:21 | When we choose Screen, well
it's going to brighten this side.
| | 03:25 | Then we're going to go
down and choose Soft Light.
| | 03:28 | We already know what Soft Light does,
right, the whites become wider, the blacks
| | 03:32 | become deeper and darker. All right!
| | 03:33 | Well that's kind of interesting
but what about with a photograph?
| | 03:38 | Let's take a look at how we can
blend this into the background image.
| | 03:42 | Let's use some of these similar
Blending modes, say like Darken.
| | 03:45 | We'll compare that to Lighten,
and then maybe even Soft Light.
| | 03:49 | And by going through those Blending
modes, you're starting to see that these
| | 03:53 | kind of changed the way these two
images interact or the way these images
| | 03:57 | are blended together.
| | 03:59 | Okay, well that's kind of interesting, but we
still need to dig deeper. What about Color?
| | 04:05 | We'll go ahead and target this layer,
just a layer with the red rectangle.
| | 04:10 | If we go to our Blending modes, we know
that we can choose the different modes
| | 04:13 | like Darken or Lighten.
| | 04:16 | You can see how it's changing the color
and the underlying effect, and how it's
| | 04:20 | modifying what's underneath it based
on its color and also its tone, and then
| | 04:25 | finally down at the bottom, the two perhaps
most important for this, are Hue and Color.
| | 04:30 | When we choose Hue, it's just affecting
the background and not the gray at all
| | 04:35 | because there isn't much color here.
| | 04:37 | When we choose a Blending modes, say
like Color, it's almost like we have a
| | 04:41 | transparent sheet of color on top of our image.
| | 04:45 | We can see through it to the texture and tone.
| | 04:48 | That's a really helpful Blending mode when it
comes to blending color into our photographs.
| | 04:53 | Let's look at one more slide which
will help us understand color as well.
| | 04:57 | In this layer, rather than going
through all the Blending modes which we've
| | 05:00 | already seen, what I want to do here
is highlight one final Blending mode
| | 05:05 | and that is Luminosity.
| | 05:08 | Luminosity actually removes the color.
| | 05:11 | It just shows us the luminance value
of these different color areas, and it
| | 05:16 | removes or reduces a lot of the color there.
| | 05:19 | So why is this a good blending mode?
| | 05:21 | Well it's a great blending mode
for layers that you've sharpened.
| | 05:25 | You can sharpen those layers, and in
doing that, sometimes you can bring
| | 05:29 | out noise or problems.
| | 05:31 | By changing the Blending mode to
Luminosity, well this can help out a lot, and
| | 05:35 | as you can start to imagine these
different Blending modes have different uses
| | 05:39 | for when working with photographs. All right!
| | 05:41 | Well let's take a look at now
where we can find these Blending modes.
| | 05:45 | Well here you can see we have
this dialog, we've talked about that.
| | 05:49 | We'll find this dialog in our Layers panel.
| | 05:51 | We'll also find it in the Options
bar for a number of different tools.
| | 05:56 | Here are a few just to highlight.
| | 05:58 | In other words, we can
change the way a layer blends.
| | 06:01 | We can also change the way our brush
stroke or cloning or healing or other tools
| | 06:06 | blend in to what we're created. All right!
| | 06:09 | Well to recap, Blending modes, they
allow us to combine two things together, so
| | 06:14 | that we can come up with a unique result.
| | 06:16 | They allow us to blend in a way that
helps us to create something that we
| | 06:20 | couldn't have created
without using Blending modes.
| | 06:23 | And now that we know a little bit about
how these Blending modes work, let's put
| | 06:28 | what we've learned to practice and
let's do that in the rest of this chapter.
| | Collapse this transcript |
| Blending multiple images together| 00:00 | I hope that you're getting excited
about Blending modes, because these are a
| | 00:04 | ton of fun, and here we're going to focus
in on how we can blend two images together.
| | 00:09 | You'll notice in my tabs here that
I've two images open, this first one,
| | 00:13 | no_parking.jpg, and then
this other one, brighton.jpg.
| | 00:18 | Well, the first thing that I want to
do is change my view, so that I can see
| | 00:21 | these two images side-by-side.
| | 00:23 | To do that, navigate to your Window
pull down menu, then choose a Arrange, and
| | 00:28 | then select one of these
options, like 2-up Vertical.
| | 00:31 | This just shows me both of these images.
| | 00:34 | Well, I want to bring the one
of these images into the other.
| | 00:37 | To do that, select the Move tool,
and then just Click Drag and Drop.
| | 00:43 | Once the image is in, you'll see in your
Layers panels that you now have two layers.
| | 00:48 | Press the F key to go to Full Screen mode,
so we can focus in on what we have here.
| | 00:53 | Now in order to Blend these two layers together.
| | 00:56 | We can access the Blending
modes in the Layers panel.
| | 00:59 | You want to target or click on
the layer that you want to Blend.
| | 01:02 | Next, from this pull down menu we
can try some of these options which I
| | 01:06 | mentioned in the previous movie.
| | 01:08 | Maybe you want to try Multiply.
| | 01:10 | that would then Darken
the image. It looks good.
| | 01:12 | but perhaps it's a bit too muddy.
| | 01:14 | Well, what about Screen?
| | 01:16 | Will Screen allow us to see through
the image, but it also brightens it up.
| | 01:20 | You know the Screen Blending mode
is kind of like having two projectors
| | 01:24 | projecting the same image at one screen.
| | 01:27 | It shows you double the brightness value.
| | 01:30 | In this case that just doesn't work.
| | 01:32 | Well, how about if we go down to the
Blending mode, which I had mentions that
| | 01:35 | photographers like to use a lot?
| | 01:37 | That one is soft light.
| | 01:39 | Well, when we select that, this looks
kind of interesting, but I want even more,
| | 01:44 | I want this to be even stronger.
| | 01:47 | Well, Stronger Version of soft light is Overlay.
| | 01:51 | If we select that option you can see it
gives us a little bit more of a punch here.
| | 01:55 | Well, we have seen that what we can
do is click and select the Blending
| | 01:59 | mode, yet here what I want to do, is
share with you a really useful shortcut
| | 02:04 | for trying to find the Blending mode, which
will work for your project or your images.
| | 02:09 | If you have the Move tool
Selected, you can use the shortcut.
| | 02:12 | So press the V key to select the Move
tool or click on it in the tools panel.
| | 02:18 | Next, rather than going to this menu,
I want you to press Shift+Plus or
| | 02:23 | Shift+Minus key.
| | 02:25 | By pressing Shift+Plus, you can move
forward through these different Blending modes.
| | 02:30 | By pressing Shift+Minus, you can
scroll backwards through these modes.
| | 02:34 | And by doing this, this can help you
become to get familiar with how these
| | 02:39 | Blending modes work and also it can
help you find the right Blending mode for
| | 02:43 | the project at hand.
| | 02:44 | So here I'm, just keep tapping that plus
key, going all the way through, until I
| | 02:49 | get back to overlay.
| | 02:51 | The last thing that I want to highlight
here is that as you work with Blending;
| | 02:55 | always know that you can do
more than one Blending mode.
| | 02:58 | You can also stack these up.
| | 03:00 | In other words, I can go ahead and
click on this layer and Duplicate it.
| | 03:04 | To do that, press Command+J on Mac or
Ctrl+J on Windows or click and drag this
| | 03:09 | to the New layer icon.
| | 03:11 | Well now I've two layers with Overlay
Blending, you can see how it's really
| | 03:16 | built up that effect, or I could
change this to a different Blending mode.
| | 03:20 | Now it's on soft light.
| | 03:22 | Now if I move this off to the side,
you can start to see that had this really
| | 03:26 | interesting effect, where I have all of
these Blending modes combining together.
| | 03:31 | So you can start to use Blending
modes for creative purposes like this.
| | 03:35 | Or in other situations, you're going to
use these modes in order to correct or
| | 03:39 | maybe even enhance your photographs.
| | 03:41 | There are so many different uses
with Blending modes, it's amazing.
| | 03:45 | So let's go ahead and continue to talk
about these modes, and let's do that in
| | 03:49 | the next few movies.
| | Collapse this transcript |
| Using blending modes to remove white or black| 00:00 | Another situation where blending modes
can be helpful is when you need to remove
| | 00:04 | either black or white from a layer.
| | 00:07 | Let's say, for example that you
photographed a product on a white background
| | 00:11 | and you just want to remove that white
background quickly in order to see how
| | 00:15 | this product will work with this
other image or maybe you have a logo or a
| | 00:20 | graphic, like I have here.
| | 00:21 | You'll notice that I have two graphics,
they're both similar except one is inverted.
| | 00:27 | Let's turn off the visibility of the
inverted icon or logo and let's go to this one here.
| | 00:32 | Let's click on this layer and let's
say that what we want to do is we want to
| | 00:36 | use this logo on this image, yet
we want to get rid of the whites.
| | 00:41 | Well to do that, we can use
one of our blending modes.
| | 00:44 | So we'll go to the Blending modes
pulldown menu and we can choose one of these
| | 00:48 | blending modes, which allows us
to focus in on the darker pixels.
| | 00:52 | Remember, if we choose one of these, it
will then remove or kick out the white.
| | 00:57 | That's no longer there.
| | 00:58 | So I could then reposition this to
include this, say, in this layout slide.
| | 01:03 | Or, on the other hand, if we have the
opposite scenario or we have an object or
| | 01:08 | graphic that we photographed and it's
in a black context and we want to remove
| | 01:12 | that black really quickly, what we can
do here is we can target the layer and
| | 01:18 | then we can go to our Blending mode
pulldown menu and here we'll choose one of
| | 01:22 | these lighten blending modes.
| | 01:24 | When we do that, we'll see that that
will then remove that background color so
| | 01:28 | that all that remains is white.
| | 01:30 | Now as you use these blending modes,
it always won't work perfectly, because
| | 01:34 | things aren't pure black or white, but
sometimes what I find is that, by using
| | 01:40 | these blending modes, it can help me to
determine if it's worth it to mask that
| | 01:44 | item out of that context in order to
include it in a particular project.
| | 01:48 | Well these blending modes, they give
us quick access to be able to see in
| | 01:52 | preview what it might look like if we
were to knock out or remove that color.
| | 01:57 | And then in other situations, like with
these two graphics here, well this just
| | 02:00 | works perfectly and all that we have
to do is to choose the correct blending
| | 02:04 | mode in order to finish off our project.
| | Collapse this transcript |
| Improving exposure, contrast, and color with blending| 00:00 | Here we are going to take a look at
how we can use Blending modes in order to
| | 00:03 | correct and enhance our
photographs in some interesting ways.
| | 00:07 | We'll be working with three
different pictures and we are going to start
| | 00:09 | off with this one here.
| | 00:11 | This photograph is over-exposed.
| | 00:14 | So what I want to do is learn how I
can use Blending modes and how I can use
| | 00:18 | these efficiently in order to
correct things say like Exposure or Color.
| | 00:23 | Well, first let's go ahead and copy
our Background layer, we can do so by
| | 00:26 | clicking and dragging this to the new
layer icon or by pressing Command+J on a
| | 00:31 | Mac, Ctrl+J on Windows.
| | 00:33 | Next, we know that there are set of Blending
modes which allow us to darken our pictures.
| | 00:39 | So let's go ahead and choose one
of those and let's try Multiply.
| | 00:42 | This one typically works
well in situations like this.
| | 00:45 | Well, here you can see what Multiply did
is it brought down the overall exposure
| | 00:49 | from this all the way down to this.
| | 00:52 | You next want to customize this.
| | 00:55 | In order to do that you can go ahead
and lower the Opacity so you can determine
| | 00:59 | how far you want to go in regards
to this overall darkening effect.
| | 01:02 | And here we have our before and then our after.
| | 01:05 | Now we can do this by copying or
duplicating layers or we can simply do this
| | 01:11 | with adjustment layers.
| | 01:13 | And when we use an adjustment layer,
it actually takes up less file size.
| | 01:17 | Let me show you what I mean.
| | 01:18 | Here I'll delete this layer by
pressing Delete or Backspace.
| | 01:22 | Next, I'll click on one of my
Adjustment layer icon say like Curves.
| | 01:26 | And with Curves I am not going
to make any adjustments at all.
| | 01:30 | I'm just leaving it as is.
| | 01:32 | Next, with this Adjustment layer, with
no adjustments applied, we are going to
| | 01:36 | go to our Blending mode pull-down
menu and choose Multiply once again.
| | 01:40 | What you'll see is exactly the same if
you would copy that Background layer.
| | 01:46 | The reason why I wanted to show you this
though is because this is more efficient.
| | 01:50 | Again it takes up less file size and
here we can go ahead and decrease this or
| | 01:55 | we could also make
adjustments with this layer as well.
| | 01:58 | Well let's jump to another image.
| | 02:00 | We are going to now move to this
photograph here, this one is portrait.jpg.
| | 02:05 | In this case this photograph, it's
lacking contrast and also brightness.
| | 02:10 | So I could either copy the Background
layer or I could create an Adjustment
| | 02:15 | layer, either technique works.
| | 02:17 | Here let's go ahead and copy the
Background layer and let's do this twice.
| | 02:21 | Press Command+J on a Mac twice,
press Ctrl+J on Windows twice.
| | 02:25 | What I want to do is have one layer
which allows me to bring back some contrast,
| | 02:30 | so I'll go ahead and name this layer
contrast, if I can spell this correctly.
| | 02:34 | And next I want this one to
brighten up my image or lighten it.
| | 02:38 | So let's go ahead and turn off the
visibility of those Eye icons there for a
| | 02:42 | moment and then turn on the
visibility for brighten and target that layer.
| | 02:46 | Well, with this layer we know that we
have a few different Blending modes which
| | 02:50 | we can use which will brighten up our image.
| | 02:53 | Lighten and Screen those work really well.
| | 02:56 | If we choose Screen or if we
choose Lighten, what we'll see is a
| | 02:59 | brightening effect.
| | 03:00 | Here with this image, Screen works better;
| | 03:02 | it gives us a better boost of those tones.
| | 03:05 | Yet the image is flat. I need contrast.
| | 03:09 | So we'll click on this topmost layer
and target that one and then choose the
| | 03:14 | Blending mode say of Soft Light and
by doing this, this will now have this
| | 03:19 | really nice contrast.
| | 03:21 | Take a look at our overall progress.
| | 03:22 | Here is before and now here's after.
| | 03:25 | And even more, we can then dial in how
much contrast we want by clicking in that
| | 03:30 | layer and lowering the Opacity.
| | 03:32 | We can also control our brightness by
clicking in this layer and then lowering
| | 03:36 | the Opacity of that Blending mode.
| | 03:38 | And we can find the sweet spot for
our image, so that in this case this
| | 03:41 | portrait, it has presence and intensity.
| | 03:45 | Again, here is that before and then after.
| | 03:48 | And the point with this image is to
think about how you can use multiple
| | 03:52 | blending modes together in order to come up
with some really stunning results. Alright!
| | 03:58 | Well the last image we are going to
look at is this one here and this time what
| | 04:02 | I want to do is I want to apply a
Blending mode which will bring out my colors.
| | 04:07 | A great Blending mode to do that is Soft Light.
| | 04:10 | So here once again we can either copy
the Background layer or click on the
| | 04:14 | Adjustment layer icon, both
techniques they do the same thing.
| | 04:19 | Let's click on the Adjustment layer
icon just to keep things simple here and to
| | 04:22 | keep our file size down.
| | 04:24 | And the next I'll go to my pull-down
menu and here I'll choose Soft Light and by
| | 04:29 | choosing that, with this
photograph we can see that wow!
| | 04:32 | Those colors they just now sing, I
mean those are warm and beautiful.
| | 04:38 | This won't make all of your
photographs look like this, but Soft Light adds
| | 04:42 | really nice contrast and also color saturation.
| | 04:46 | And we can use this Blending mode in a
lot of different situations where we want
| | 04:50 | to bring out contrast if you can see
here and also where we want to bring out
| | 04:54 | some of that color
saturation. So here's my hope.
| | 04:58 | My hope is that by showing you these
different examples, the first one where we
| | 05:02 | looked at how we could use a Blending
mode in order to darken, we can use that
| | 05:07 | to correct exposure or other times
we may need to use a blending mode to
| | 05:11 | brighten things up and also add some contrast.
| | 05:14 | How we can use or stack
multiple blending modes together?
| | 05:18 | Here we also talked about how you can
increase or decrease your Opacity in order
| | 05:23 | to change or dial in the effect.
| | 05:26 | And then the final one that we looked at,
was this one here and with this one we
| | 05:30 | talked about how we can use that Soft
Light blending mode and how that can help
| | 05:34 | us out with contrast and color saturation.
| | Collapse this transcript |
| Using blending shortcuts| 00:00 | If this chapter has increased your
interest in Blending modes and if you're
| | 00:04 | interested in getting better at
working with blending modes, if you want to
| | 00:07 | become a Photoshop power user, well then
you'll find this movie helpful, because
| | 00:12 | here I want to share with you a way that
you can navigate to your blending modes
| | 00:16 | by way of a shortcut. Let me explain.
| | 00:19 | Well we already know that what we can
do is target a layer, and if we have our
| | 00:23 | Move tool selected, well we can press
Shift+Plus or Shift+Minus and we
| | 00:27 | can scroll through our blending modes.
| | 00:29 | Yet we can also use a shortcut key
combination to change the blending modes.
| | 00:35 | Here I've listed the
most popular blending modes.
| | 00:38 | On a Mac, you press Shift+Option
and then a letter;
| | 00:41 | On Windows, that's Shift+Alt plus the letter.
| | 00:45 | So for example, here I'm on this layer.
| | 00:48 | I've duplicated my Background layer,
and I want to change this duplicate
| | 00:52 | layer's blending mode.
| | 00:53 | To do so, you want to
have the Move tool selected.
| | 00:57 | Next, you can press that shortcut key command.
| | 01:00 | Here I'll press Shift+Option+M or
Shift+Alt+M. You can see that that took this
| | 01:06 | to that Multiply blending mode.
| | 01:08 | You'll see that over here in the Layers panel.
| | 01:11 | If we want to change this to Screen,
we'll just press that shortcut key
| | 01:14 | combination with the S key or O for Overlay,
F for Soft Light, and then C for Color.
| | 01:21 | And by using these shortcuts, you can
quickly navigate to the various blending modes.
| | 01:26 | Now these shortcuts, they aren't for
everyone, yet they are for those of you who
| | 01:30 | are interested in really taking your
blending skills to that next level.
| | 01:35 | You can always, if you forget these,
just simply go ahead and go back to the
| | 01:38 | menu, or in order to teach yourself
these blending modes, you just press down
| | 01:43 | Shift+Option on a Mac or Shift+Alt on
Windows, and then start tapping all of
| | 01:49 | the different letter keys on your keyboard,
and slowly you'll start to pick these up.
| | 01:54 | Most importantly, I think you want to
memorize at least the blending mode for
| | 01:57 | Normal and Soft Light, because for
photographers, those are the two blending
| | 02:02 | modes that we use most frequently.
| | Collapse this transcript |
|
|
16. Correcting ColorWorking with color correction in Camera Raw| 00:00 | When it comes to Color Correction,
the place that you want to begin is
| | 00:03 | Camera Raw, because Camera Raw
allows you to apply these adjustments in a
| | 00:08 | way that's nondestructive.
| | 00:10 | It's also incredibly easy.
| | 00:12 | All that we need to do here to color
correct this photograph of a parachute is
| | 00:17 | we need to press the I key.
| | 00:19 | That will then select the White
Balance tool, which you can see here.
| | 00:23 | Next, we want to hover over our image,
and as we do that, we're going to look
| | 00:27 | for something that we think should be neutral.
| | 00:30 | This might be something
that's white, gray or black.
| | 00:33 | Well here, I'll go ahead
and click on the parachute.
| | 00:36 | When I do that all of a sudden all of that
kind of dingy yellow color, well it's removed.
| | 00:42 | You can press the P key to look at your before
and then press it again to look at the after.
| | 00:47 | In this photograph, well
it looks just much better.
| | 00:50 | And after you've color corrected
your image, you may need to modify your
| | 00:54 | Temperature and Tint sliders a little bit.
| | 00:57 | So here, you could go ahead and click
and drag those perhaps one way of making
| | 01:01 | it more cool or more warm.
| | 01:03 | When you click on something, you
don't always get it just perfect.
| | 01:07 | Like with this image, I think it looks a
little bit better with this one cooled off a bit.
| | 01:12 | Well then after having color
corrected this photograph, we'd simply need to
| | 01:15 | click on Open in order to open this
image up and to continue working on it
| | 01:20 | in Photoshop.
| | Collapse this transcript |
| Correcting color with the eyedroppers| 00:00 | In digital photography color is
sometimes kind of tricky, sometimes what will
| | 00:04 | happen is due to our camera settings
or perhaps some mistake that we've made
| | 00:09 | we'll open up an image and we'll see
that the color isn't correct in Photoshop.
| | 00:14 | Like with this photograph here we
can see there's some sort of our red or
| | 00:17 | maybe magenta shift.
| | 00:18 | Well how can we fix this image?
| | 00:20 | We're going to take a look at how we
can fix our photographs in regards to
| | 00:24 | color by using the Eyedroppers which are
located in the Levels and the Curves Adjustments.
| | 00:30 | Let's start off with Levels.
| | 00:32 | We'll go ahead and click on
the Levels icon right here.
| | 00:36 | You'll notice that on the
left we have three eyedroppers.
| | 00:39 | The black and the white eyedropper allow
us to set our black point and our white
| | 00:44 | point and also to color correct.
| | 00:47 | We'll talk about those a little bit later.
| | 00:49 | For now I want to focus in
on our Midtone eyedropper.
| | 00:53 | If you select that you can
then hover over your image.
| | 00:56 | If you know there's something that
should be neutral in your image perhaps like
| | 01:00 | this gray T-shirt here or maybe the
black snowshoe, you can then click on that
| | 01:04 | and it will color correct or remove
that color cast from your photograph.
| | 01:09 | Let's take a look at one more photograph and
also how we can do the same thing with curves.
| | 01:15 | Here we'll look at this picture which
is a portrait of two of my good friends
| | 01:19 | and I like their expressions, it's really warm.
| | 01:22 | But I noticed or I think I noticed
there is some sort of a color shift.
| | 01:26 | Again, we can go to Curves.
| | 01:28 | Here we will click on the Curves icon in
order to open up curves and we're going
| | 01:32 | to work with the Midtone Eyedropper.
| | 01:35 | Yet before we do that I want to
highlight something that can help you out as you
| | 01:39 | seek to color correct your photographs.
| | 01:41 | If we select the Eyedropper from the
tools panel what you can do is you can hold
| | 01:46 | down the Shift key and click on
something that you think should be neutral.
| | 01:50 | In this case, I'm Shift+Clicking on the jacket.
| | 01:54 | I'm doing this to set a point here;
| | 01:56 | in my Info panel I can then evaluate
that point, what it's showing me is my Red
| | 02:01 | is 50, my Green is 57, and my Blue is 67.
| | 02:06 | So I have some sort of a blue shift.
| | 02:09 | If this was neutral I would have
equal amounts of Red, Green, and Blue.
| | 02:14 | So again, this little eyedropper point
that we added by Shift+Clicking that just
| | 02:19 | a way to measure color in our image.
| | 02:21 | Well I remember that that
jacket was black because I was there.
| | 02:26 | So I want to use that point in
order to color correct my photograph.
| | 02:30 | So let's now go back to our
Properties panel and let's select our Midtone
| | 02:34 | Eyedropper for our Curves adjustment.
| | 02:37 | Here we'll go ahead and click on this
area, and as we do that we'll notice that
| | 02:41 | the image is now color correct.
| | 02:44 | Take a look at the before and after.
| | 02:46 | Here's before and then now here's after.
| | 02:49 | It looks much more warm, the jacket looks
neutral, the face or the skin tone looks great.
| | 02:54 | And if we go into the Info panel what
we'll see is that these numbers are now
| | 02:59 | much more close together.
| | 03:01 | Equal amounts of red, green and blue,
equal neutrality, and so by clicking
| | 03:05 | on that area in the jacket we now
have successfully color corrected this
| | 03:10 | photograph.
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| Correcting color and tone with the eyedroppers| 00:00 | Here we are going to dig a bit deeper
into working with our eyedroppers, in
| | 00:03 | particular, I want to take a look at
how we can set our white and our black
| | 00:07 | points in our photograph, and also
how we can color correct this image.
| | 00:11 | In order to do this, let's go
ahead and open up a Levels adjustment.
| | 00:15 | We can do that by clicking on this icon here.
| | 00:18 | Now I've already mentioned that we have
these eyedroppers, the black eyedropper
| | 00:22 | and also the white eyedropper.
| | 00:23 | Well, what's the deal with these
eyedroppers and why do they matter?
| | 00:27 | Whenever we are viewing an image on a
screen, typically your white point and
| | 00:31 | your black point, well, it
really isn't that important.
| | 00:34 | Yet if you're going to send an image
to a printer, whether it's going to be
| | 00:37 | printed say in a magazine or a
publication or book or maybe just on your Desktop
| | 00:42 | printer, well you need to make sure you
have good detail on your whites and also
| | 00:45 | your blacks, otherwise the
image won't print very well.
| | 00:48 | Well, we can use these two eyedroppers
in order to set an appropriate amount
| | 00:53 | of black and white, so we have good detail
in both of those areas of our photograph.
| | 00:58 | We can find the area where we can
set these points in levels, in a really
| | 01:02 | kind of ingenious way.
| | 01:04 | If you hold down Option on a Mac or Alt
on Windows, you can click on the icon,
| | 01:09 | in this case the black icon
here and then just drag it to left.
| | 01:13 | This will show me my deepest darkest blacks.
| | 01:16 | Right from the get-go, I notice that
the jersey here, the shirt, this black
| | 01:20 | area, that's one of my deepest areas.
| | 01:22 | So I want to remember that.
| | 01:24 | And we are Option+Clicking or Alt+Clicking
and then dragging this just to find
| | 01:27 | the tones or the deep or
darkest tones in the image.
| | 01:31 | We can do the same thing with our whites.
| | 01:33 | Let's go ahead and hold down
Option or Alt and click on that.
| | 01:36 | Here I'll drag to the left, so that I
can see the brightest colors in my image.
| | 01:40 | What I'm noticing are a few things here.
| | 01:43 | I'm noticing that the brightest tones
are here in the sky and also this in the
| | 01:47 | image on the right shoulder here.
| | 01:49 | The thing that we want to do is say
well, which white do we want to select?
| | 01:53 | Sometimes you'll have whites with
specular surfaces, say like with something
| | 01:57 | which is shiny, and there won't
be any detail there, that's okay.
| | 02:02 | Yet if it's a garment like in this
situation, we want to have detail there, so
| | 02:06 | that we have some sort of texture
or even shape to that object there.
| | 02:10 | So we are going to use those two points,
and we held down Option or Alt just
| | 02:15 | to find those points.
| | 02:17 | You know, sometimes you can just look at an
image and you can figure that out for yourself.
| | 02:21 | Other times, well, this little trick,
it can help you find the white point
| | 02:25 | and the black point.
| | 02:27 | Now that we've found those points,
what we need to do is to customize these
| | 02:30 | tools or kind of set them up and then use them.
| | 02:33 | So the first step is going to be to
double-click one of our tools, in this case,
| | 02:37 | I'll start with my black eyedropper.
| | 02:39 | You want to make sure Only
Web Colors is turned off.
| | 02:43 | Next, in the middle you have
Hue, Saturation and Brightness.
| | 02:47 | We're interested in Brightness.
| | 02:49 | And in order to have good detail on
your blacks, one of the standard numbers
| | 02:53 | that we can enter here is 5.
| | 02:56 | If we then use this tool with these
settings, it will ensure that we'll have
| | 02:59 | decent detail in our deepest blacks.
| | 03:02 | So again, you just want to add
that 5 there. Next click OK.
| | 03:06 | Now that we've set up the tool, we
want to use it, so we haven't really done
| | 03:09 | anything yet, we've just been
evaluating the photographs, setting up our tool,
| | 03:13 | now that it's set up, we are going
to go ahead and hover over that area.
| | 03:16 | And before we click, we want to make
sure that we're not clicking with Point
| | 03:20 | Sample, let me show you what I mean.
| | 03:23 | You notice I have the
eyedropper up here in my Options bar.
| | 03:26 | By default, the Sampling is going to be
Point Sample, just click on one pixel;
| | 03:31 | we need to average the area.
| | 03:33 | So depending on the resolution of
your file, you'll want to average it out.
| | 03:37 | This is a lower res file, so a 3x3 or 5x5
really would be fine.
| | 03:42 | If it were a higher resolution file,
you might want to choose one of these
| | 03:45 | other options here.
| | 03:46 | All right, well now that we've dialed
that in, we'll go ahead and click on this
| | 03:50 | area, and what's going to happen is
it's going to change our overall image.
| | 03:54 | Essentially what it did is it kind of
brought up some of my blacks and some
| | 03:57 | of those deeper tones.
| | 03:59 | Let's click on the eye icon, and you can
see there is that before and then after.
| | 04:04 | So while this image has a little bit
less contrast, it's going to print better.
| | 04:08 | All right, well next let's work with our whites.
| | 04:11 | Here we'll double-click on the
eyedropper for setting the white point, make sure
| | 04:15 | Only Web Colors is off and then change
the Brightness value here to 95 and then
| | 04:20 | go ahead and click OK.
| | 04:23 | Now if ever it asked you to save
those values as default settings;
| | 04:26 | click Yes or click OK, because these
are typical or standard default settings,
| | 04:32 | 95% for whites 5% for blacks.
| | 04:35 | Now than we've dialed in this tool,
we'll go ahead and click on that area and
| | 04:39 | what that will do then, is it
will correct that issue as well.
| | 04:42 | You'll also notice with that last click is that
it color corrected the image a little bit too.
| | 04:47 | All right, well to finish this one off,
I am going to go ahead and select my
| | 04:51 | Midtone eyedropper and here I'll just
click on the black sleeve and I am going
| | 04:56 | to do that to color correct this photograph.
| | 04:58 | So by doing that I'm making sure
that this area here is neutral.
| | 05:02 | Well, let's evaluate the overall
progress we've made with this photograph.
| | 05:06 | Here you can see the before, we had a color
shift and also some problems with the tonality.
| | 05:11 | Click this again, now we have
really good detail across the board.
| | 05:15 | The color is correct and this
image will print really well.
| | 05:19 | Now I should say too that if the final
destination for your photograph say is
| | 05:23 | the iPad or a mobile phone or you're
just going to view it on a monitor,
| | 05:27 | well, in those situations, your
white with detail and black with detail,
| | 05:31 | they're not as important.
| | 05:33 | That being said, it's still nice to
have some detail in those areas, because
| | 05:37 | sometimes it just makes or helps you
take advantage of the full tonal range, it
| | 05:41 | makes the image look more
complete, yet it's not essential.
| | 05:45 | Yet when it comes to printing, this
technique is really essential and also
| | 05:49 | really helpful, in order to ensure
that you can create a compelling print
| | 05:53 | from your digital file.
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17. Enhancing ColorsUsing a Replace Color adjustment| 00:00 | This chapter is going to be a ton of
fun because here we are going to explore
| | 00:04 | how we can change, modify and
enhance color and in particular, with this
| | 00:09 | image, we are going to take a look at a
powerful adjustment which allows us to replace color.
| | 00:14 | Well, before we begin, let's go ahead
and duplicate or copy our Background layer
| | 00:20 | so that we have something to compare it to.
| | 00:22 | So we'll go ahead and press Command+J
on a Mac or Ctrl+J on Windows.
| | 00:27 | Let's name this new layer, color.
| | 00:29 | You can rename the layer by
double-clicking into the layer name and simply
| | 00:32 | typing out a new name.
| | 00:34 | Now that we have this duplicate layer,
let's go to our Image pull-down menu,
| | 00:39 | then select Adjustments.
| | 00:41 | Next, in the submenu make your way
all the way down to the bottom here and
| | 00:45 | choose Replace Color.
| | 00:48 | This will open up our Replace Color dialog.
| | 00:51 | What this will do is it will give us
the ability to change the color of our
| | 00:55 | image in this layer.
| | 00:56 | That's why we duplicated it, so that
we can have two versions of this image.
| | 01:00 | Well, you may notice here
that you have some eyedroppers.
| | 01:04 | Let's go ahead and click on the
background because that's what we want to change.
| | 01:08 | You will notice that it's showing me it's
targeting primarily this color here, this blue.
| | 01:13 | Let's go ahead and see what
happens if we change that color.
| | 01:16 | I'll go ahead and change the Hue and
for the most part it does a decent job.
| | 01:21 | Yet, you notice that it's
not selecting everything.
| | 01:25 | We can see that in the
mask and also on the image.
| | 01:28 | Here you can see that this area
down here isn't selected enough.
| | 01:32 | Well, we can change that by
dialing in our amount of Fuzziness.
| | 01:37 | As I increase that you notice
that more of this area is selected.
| | 01:41 | As I now change the Hue, we can see that
that's changing more of that background color.
| | 01:46 | We can also modify this, a different way.
| | 01:48 | Let me show you what I mean.
| | 01:50 | Here just for demo purposes, I'm going
to go ahead and decrease my Fuzziness.
| | 01:54 | I am decreasing it way down.
| | 01:57 | Now I only have this small
slice of the image selected.
| | 02:01 | Well, if ever you need to build up a
selection, you want more selected, you want
| | 02:06 | to turn off Localized Color Clusters.
| | 02:10 | Next, you can click on one of these
two icons to either add or subtract
| | 02:14 | from that selection.
| | 02:16 | Here let's click on the icon with the
Plus and go ahead and click and as I
| | 02:20 | do that, I can build up my selection.
| | 02:23 | You can also just click and drag and
you can do that on the image or you can
| | 02:26 | do that on the mask.
| | 02:28 | Now obviously, my Fuzziness amount is
really low and it's helpful to kind of
| | 02:32 | see how you can build up this selection here by
simply clicking and dragging around your image.
| | 02:37 | Well, of course, we would want to
increase that Fuzziness as well and by
| | 02:42 | combining those two techniques, it
can give us just that perfect selection.
| | 02:46 | Now what's great about this is this
allows us to change color and also saturation.
| | 02:53 | Perhaps we want something
a little bit more muted;
| | 02:55 | maybe a more subtle color palette or
you can also change the overall brightness
| | 03:00 | of that area that you have selected.
| | 03:02 |
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