IntroductionWelcome| 00:04 |
Welcome, my name is Chris Orwig.
In this course, we're going to focus in
| | 00:08 |
on the new features in Photoshop that are
most important to us as photographers.
| | 00:13 |
We'll look at how we can work with the
new and improved Smart Sharpen Dialog.
| | 00:16 |
Here we'll explore how we can sharpen our
images in order to achieve even better results.
| | 00:21 |
And we'll take a look at a fascinating
new feature which is called Camera Shake Reduction.
| | 00:26 |
This feature allows us to reduce blur in
our images that happens as a result of
| | 00:30 |
camera shake.
We'll explore how we can add creative
| | 00:34 |
blur effects to our photographs using the
blur gallery.
| | 00:37 |
And how we can now apply these blur
effects using Smart Filters.
| | 00:41 |
Next we'll look at how we can access
Camera Raw as a filter inside of Photoshop.
| | 00:47 |
Like how we can use the Radio Filter to
apply a selective adjustment or how can
| | 00:50 |
we use Upright in order to make some
automatic perspective enhancements and
| | 00:54 |
corrections to our photographs.
Now we'll be covering all of these topics
| | 01:00 |
and more, so without further delay, let's
begin.
| | 01:03 |
| | 59:59 |
(MUSIC).
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| Using the exercise files| 00:00 |
If you're a premium member to the
lynda.com online training library, you
| | 00:03 |
have access to the exercise files.
Once you have downloaded the exercise
| | 00:08 |
files, locate the exercise files folder
and simply double-click it to open it up.
| | 00:13 |
Here you'll discover that our exercise
files for this course are organized in
| | 00:16 |
the different folders based on the
different chapters.
| | 00:20 |
To start working on the files, simply
open one of the folders and then select
| | 00:23 |
the image that you want to open into
Photoshop.
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If you don't have access to the exercise
files, no big deal.
| | 00:29 |
You can always work on your own images,
or you can just simply follow along.
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Alright, let's begin.
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|
|
1. Improved SharpeningImproved Smart Sharpen| 00:00 |
Since the beginning of photography,
photographers have been interested in
| | 00:04 |
creating tack sharp photographs.
Therefore here, we're going to take a
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look at some of the improvements that
we'll encounter in the Smart Sharpen
| | 00:11 |
filter, which will allow us to sharpen
our photographs more effectively.
| | 00:17 |
We have a document which has two layers.
Click into the top layer which is titled,
| | 00:20 |
Smart Sharpen.
And then, navigate to the Filter
| | 00:24 |
pull-down menu.
Here, choose Sharpen, and then select
| | 00:27 |
Smart Sharpen.
Smart Sharpen has been the best way to
| | 00:31 |
sharpen our photographs for some time, so
go ahead and click on that menu item, in
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order to launch the Smart Sharpen dialog.
Now, at first glance, you'll notice that
| | 00:40 |
this dialog has changed.
And the first change that I want to
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highlight has to do with our preview on
the left.
| | 00:47 |
Here we can click and drag in order to
re-position the image so that we can
| | 00:49 |
evaluate a more important area of the
photograph.
| | 00:53 |
Yet, what we can now do, is we can also
change the size of this preview area.
| | 00:58 |
Simply position your cursor over the edge
or the corner of the dialogue.
| | 01:03 |
Here you notice the cursor changes.
That tells you you can click and drag in
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order to drag this out and open up more
space for the preview.
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In this way, you can see more of the
image and make a better decision when it
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comes to dialing in your sharpening
controls.
| | 01:18 |
Well, if you want an even larger preview,
which is what I recommend.
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Click and drag this dialogue to the top
left hand corner.
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And then drag it out so that it covers up
the entire Photoshop interface.
| | 01:31 |
In this way you can have a near full
screen preview of your photograph.
| | 01:35 |
All right, well next, let's talk about
some of our controls.
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First I want to highlight that we can
remove different types of blur.
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Lens Blur typically works best in as in
the previous versions.
| | 01:46 |
We can also work with Gaussian Blur,
which creates a little bit of a softer effect.
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And Motion Blur, which is helpful when
you're using a slower shutter speed.
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Well in most scenarios, Lens Blur will be
the best choice.
| | 01:57 |
So we'll leave that default setting on as
is.
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Next we have a few controls.
You know, one of the things that I've
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discovered is that one of the best ways
to learn Photoshop, or to learn a new
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dialogue like this, well, it's to
exaggerate.
| | 02:10 |
And that's what I'm going to do here.
I'm going to exaggerate with these
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sliders so that we can understand how
they work.
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And also, so that we can compare the
results to the previous version of Smart
| | 02:20 |
Sharpen in the previous version of
Photoshop.
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So here, I'm going to click and drag my
Amount slider way up, I mean, this is
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really high.
Next with the Radius slider, I'll bring
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that up as well.
Now, in doing that the image will appear strange.
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It will look horrible because here I have
over sharpened the image.
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Yet I wanted to do this, to introduce you
to a new control which is called Reduce
| | 02:44 |
Noise and this is a powerful slider.
You know what happens is when you sharpen
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an image.
You can also sharpen or bring out
| | 02:52 |
unwanted noise.
Here, let's zoom in on the photograph to
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take a look.
I'll click on the plus icon at the base
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of this preview and then I'll click and
drag in order to reposition the photograph.
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Here I can see noise on the skin, in the
hair, in the background.
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It just doesn't look very good.
And of course, I've exaggerated.
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Yet, I want to show you that exaggerated
view so that you can see how noise
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reduction works.
Click and drag to the right and that
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allows you to reduce the noise.
You'll notice that the noise, disappears,
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on the skin, and in the background.
And in this way, it allows us to sharpen
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our image even further, without
introducing unwanted noise.
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Next what I want to highlight is how we
can compare how this works with the
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previous version of Photoshop.
So here I'll go ahead and remove my noise reduction.
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So I'm disabling this slider here.
And next, if you click on the gear icon,
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you can turn on the option to Use Legacy.
This will show us how this image would
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appear in the previous version of
PhotoShop.
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Here's the legacy version and then click
again and now here's the new version.
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As you can see, it's sharpening the image
in much more effective ways.
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Sometimes this is helpful to see in a bit
more of a subtle view.
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So, I'll go ahead and reduce my Radius
and my Amount a little bit as well.
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Next I'll click on the gear icon and then
turn on Use Legacy.
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In this way, you can see that the edges
are glowing just a bit more.
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Lemme zoom in further so that you can
really see this.
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Again, click on the gear icon.
Here's the previous version of Photoshop,
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Smart Sharpen.
And now here's the new and improved version.
| | 04:24 |
Again it just does a better job.
Now that's not even taking into the
| | 04:27 |
equation Reduce Noise.
When we increase our noise reduction,
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what we'll see is a better view of the
photograph.
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And then, when we compare this to the
legacy version, we're going to see the
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image just completely fall apart.
Well next, let's talk about some other
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controls that we have here.
Here, I'll click and pan so that we can
| | 04:45 |
see the background and I'll remove my
noise reduction.
| | 04:49 |
In this way, what we'll start to see is
that we have some noise there in the background.
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Again, I'll exaggerate these controls so
that you can see that noise.
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Well, you can use your Shadows and
Highlights controls in order to protect
| | 05:00 |
certain areas of your photograph.
Click to expand this dialog, and here if
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I want to protect my shadows, I'll bring
up the Fade Amount.
| | 05:09 |
In doing that, you'll notice that, that
noise disappears there in the background.
| | 05:13 |
How about if I zoom in even further, so
that we can see that a bit better?
| | 05:16 |
And, again, here you can see with the
noise, and then protecting that area, you
| | 05:20 |
can bring up those amounts.
And, in this way, you can work on your
| | 05:24 |
shadows or your highlights.
Well, now that we've become familiar with
| | 05:28 |
the interface, and with some of the
controls, next what I want to do is reset
| | 05:31 |
all of this back to something a bit more
normal and then apply an appropriate
| | 05:34 |
amount of sharpening.
To reset a dialogue in Photoshop, hold
| | 05:40 |
down Option on a Mac, Alt on Windows,
that changes Cancel to Reset and then click.
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Next, I'll zoom out 100% because
typically.
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You want to evaluate your photograph at
100% or at a 1 to 1 view, in order to
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make the right decision when it comes to
your sharpening amount.
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All right?
Well next, typically, what you'll want to
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do is bring up your amount until the
photograph looks like it's falling apart
| | 06:03 |
a little bit.
Here with this image, I notice that my
| | 06:07 |
Radius is much too high.
The lower the resolution the file, the
| | 06:11 |
lower the Radius.
In this case, I have a relatively lower
| | 06:14 |
resolution file, it's not super huge or
super small, it's right in the middle.
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So, I think about 0.9 will work.
I should also point out, that very
| | 06:23 |
rarely, will this go above two or three.
Typically, it's right around one or two,
| | 06:28 |
or so.
Next we'll bring up our noise reduction.
| | 06:31 |
In doing that, I realize that the image
also looks a little bit softer, so here
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I'll increase my amount.
As you'll discover, it's a bit of a dance
| | 06:39 |
between using these three sliders in
order to dial in just the right amount.
| | 06:45 |
Next when you're evaluating your image
for how sharp it should be, you want to
| | 06:48 |
look for something which is subtle yet
significant.
| | 06:52 |
You want to make sure you're not
over-sharpening the photograph.
| | 06:55 |
So click and hold to see the before, let
go and then you can see the after.
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Now I'm aware that, that before and after
maybe really difficult to see once this
| | 07:03 |
movie is compressed and once you're
watching it on your own computer.
| | 07:08 |
Yet what I'm hoping is that now you know
how you can use these controls.
| | 07:12 |
And then evaluate how your image looks on
your own monitor.
| | 07:15 |
And here on my monitor, these settings
look great.
| | 07:18 |
The next step is to simply click OK, in
order to apply these settings to your photograph.
| | 07:24 |
And now here we've applied the Smart
Sharpening filter to the layer which we selected.
| | 07:29 |
Next I'll zoom in on the photograph, and
I'm going to zoom in, past 100% so we can
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see a bit of the before and after.
Here it is before, and then after, and
| | 07:37 |
then I'll zoom back to 100% too, so that
I can evaluate that on my own monitor.
| | 07:42 |
And that looks pretty good, and yet
perhaps even more importantly, now we
| | 07:45 |
know some of the new features that we'll
encounter in Smart Sharpen, so that we
| | 07:49 |
can sharpen our photographs more
effectively.
| | 07:53 |
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| Introducing camera shake reduction sharpening| 00:00 |
Here I want to introduce you to an
exciting new feature in Photoshop.
| | 00:04 |
It's called Camera Shake Reduction.
And Camera Shake Reduction really is a
| | 00:08 |
game changer.
And because of that, rather than just
| | 00:11 |
show you how it works, what I want to do
is dig a little bit deeper.
| | 00:15 |
So, in this first movie, I'm going to
talk about Shake Reduction.
| | 00:18 |
And then in the next movies, we'll take a
look at how we can actually work with
| | 00:21 |
this powerful tool.
Alright well for starters what is Camera
| | 00:26 |
Shake Reduction?
Well Camera Shake Reduction is a filter.
| | 00:29 |
It's a sharpening filter which allows us
to reduce blur.
| | 00:33 |
And it allows us to reduce a really
particular type of blur.
| | 00:37 |
Blur which happens when we're using a
slower shutter speed and we have a bit of
| | 00:41 |
camera movement.
And we have that camera movement or that
| | 00:45 |
camera shake, well the image will appear
soft, or blurry, and it just wont look
| | 00:49 |
very good.
And this can happen in many different
| | 00:52 |
types of photography.
Whether you're capturing architectural
| | 00:56 |
photographs, portraits, or nature
photographs, again this filter can help
| | 00:59 |
you out.
And so the key here is to think about
| | 01:02 |
slow shutter speed.
An whenever we have slower shutter
| | 01:05 |
speeds, often, this can introduce this
blurriness to our photographs.
| | 01:09 |
And typically, this happens in two
scenerios, whether we're capturing an
| | 01:13 |
image indoors or outdoors, and we have a
low light scenario.
| | 01:18 |
Perhaps we're capturing an image early in
the morning, we just don't have a lot of
| | 01:21 |
light, so we have a slower shutter speed.
And then, we have a bit of camera
| | 01:25 |
movement, and then the image is blurry.
Or, maybe we're indoors, and we're
| | 01:28 |
capturing a photograph where we can't use
a flash, and again, we have that slower
| | 01:32 |
shutter speed, and so, there's just some
blurriness in the picture.
| | 01:36 |
Or, in another situation, maybe we're
using a longer focal length lens, and
| | 01:39 |
we're just not holding that lens steady,
or we have a slower shutter speed and
| | 01:43 |
we're just not holding it steady, so the
image is blurry.
| | 01:48 |
Alright, well, another thing to keep in
mind, is that this particular filter, it
| | 01:51 |
works best in few situations, I've
already talked about a couple of these,
| | 01:55 |
so I just want to highlight a few things.
Well, it works best when we have good
| | 02:00 |
exposure, when we have even lighting, it
works when we're using slow shutter
| | 02:03 |
speeds, longer focal length lens.
It works best on still photographs, this
| | 02:08 |
doesn't work on videos.
Also, we need to have a lower noise photograph.
| | 02:13 |
If we have a lot of high noise, well, it
just won't work very well.
| | 02:17 |
That brings me to some of the limitations
of shake reduction.
| | 02:20 |
While Shake Reduction really is a
revolutionary tool, it is a tool which
| | 02:24 |
has limitations.
It's called Shake Reduction, not shake removal.
| | 02:30 |
In other words if the image is really
blurry due to a lot of camera movement,
| | 02:33 |
it just won't work.
It also has some difficulty if we have an
| | 02:37 |
image with specular highlights, a lot of
bright spots in the photograph.
| | 02:42 |
It has difficulty with noise as I've
mentioned previously and it won't fix a
| | 02:46 |
moving subject.
In other words if the movement is a
| | 02:50 |
result of the subject moving, well this
tool won't work, but that this one's all
| | 02:53 |
about that camera movement.
Well lets take a look at the interface.
| | 02:58 |
And here let's zoom in even closer.
When you open up an image in the filter,
| | 03:03 |
you'll notice first that there will be a
bounding box.
| | 03:07 |
This bounding box is called the Blur
Estimation Region of Interest.
| | 03:12 |
This the area that will be analyzed in
order to make a correction.
| | 03:16 |
You can customize this area by using the
blur estimation tool.
| | 03:21 |
Here you can you click and drag over your
image, to change which area, the filter
| | 03:24 |
is focusing in on.
Moving over to the right hand side.
| | 03:29 |
Here I want to highlight a few essential
controls.
| | 03:31 |
First we'll find we have blur trace
bounds.
| | 03:34 |
This will define the extent of the blur
size.
| | 03:37 |
And Photoshop will analyze our image, and
it will pick an option here for us, which
| | 03:41 |
in most situations will work well.
So you really won't need to modify that
| | 03:46 |
slider very much.
Next we have a couple of sliders which
| | 03:50 |
allow us to reduce noise.
Whenever you sharpen an image you can
| | 03:54 |
bring out unwanted noise or the first
slider titled smooth in, it allows us to
| | 03:58 |
deal with high frequency noise, in other
words all of those little tiny details.
| | 04:05 |
Next we have artifacts subtraction.
This works on the noise which is a bit
| | 04:09 |
larger than underneath that if we open up
the advanced tab.
| | 04:14 |
Here we have what's called the blur
trace.
| | 04:16 |
This is showing us how Photoshop has
analyzed the image and sort of figured
| | 04:20 |
out how the blur happened.
And we can get a little bit of a preview there.
| | 04:24 |
Underneath the Advanced panel, we have
our detailed preview.
| | 04:28 |
And this preview loop is really helpful,
because it can help us to look at our
| | 04:32 |
image up close.
And, we can use this preview loop, here,
| | 04:36 |
or we can press a shortcut key, which is
the q key, in order to view that preview
| | 04:39 |
over the image.
Alright, well, now that we've been
| | 04:44 |
introduced to Camera Shake, and now that
we've become a little bit familiar with
| | 04:47 |
the overall dialog, let's go ahead and
take a look at how we can use this new
| | 04:50 |
filter, and let's do that, in the next
few movies.
| | 04:55 |
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| Using Shake Reduction| 00:00 |
Now that we know a little bit about Shake
Reduction, let's take a look at how we
| | 00:03 |
can use this powerful new feature.
Here's a picture that I captured early in
| | 00:07 |
the morning, in a low light scenario.
I was hand holding my camera and I
| | 00:11 |
captured this image at one 20th of a
second.
| | 00:15 |
So if you zoom in on the image, it looks
good but it's not quite sharp.
| | 00:19 |
In order to zoom in on this photograph,
I'm going to double click the Zoom Tool,
| | 00:23 |
I want to take this image to 100%, then
press the Space Bar key and click and
| | 00:25 |
drag in order to move around the image.
Now again here, the image looks okay, but
| | 00:32 |
it's just not tack sharp.
And so what I want to do is use shake
| | 00:35 |
reduction in order to improve this
photograph.
| | 00:38 |
And the great thing about shake
reduction, is that what it's going to do
| | 00:41 |
is actually fix the camera shake.
You know, sometime if you sharpen a soft
| | 00:46 |
image, it's kind of like cleaning a
broken window.
| | 00:49 |
Well, it doesn't fix the main problem,
but, camera shake, well it goes right to
| | 00:52 |
the root of the problem, fixes it a nice
way so that everything looks better.
| | 00:57 |
Alright, well in order to work with
camera shake, what we want to do is
| | 01:00 |
navigate to our Filter Pull Down Menu and
then go to sharpen because it is a
| | 01:03 |
sharpening filter and then choose the top
option there, Shake Reduction.
| | 01:09 |
This will then launch the Shake Reduction
dialogue.
| | 01:11 |
Alright well, here in our Shake Reduction
dialogue, we have some tools, we have the
| | 01:15 |
image preview area, then we have some
controls in a detail preview over here on
| | 01:18 |
the right hand side.
Well first I want to focus in on how we
| | 01:23 |
can evaluate, some of the shake reduction
results by zooming in on the image, using
| | 01:27 |
the detail panel.
Notice that the detail panel allows us to
| | 01:31 |
change the zoom rate.
The default zoom rate is 100%, or one
| | 01:35 |
time zoom, here we can click an drag
around.
| | 01:39 |
I'll click and drag around so that we can
focus in on this fisherman, who is
| | 01:42 |
bringing in some crab which he has
recently caught.
| | 01:45 |
Well it's nice to be able to see this
100% view, here using the detail panel
| | 01:49 |
and you can change the area that you're
focusing in on here, by clicking on this
| | 01:52 |
icon here.
When you reposition the cursor over the
| | 01:57 |
image, it allows you to view the image in
different ways.
| | 02:01 |
If ever you want to select an area, to
stay in focus in the detail panel, we'll
| | 02:04 |
just click on that and what it will do is
it will lock that area into the detail preview.
| | 02:10 |
Now, you can also undock the detail
panel.
| | 02:13 |
To do that, click on this icon here and
here you can see we can simply click and
| | 02:17 |
drag this around in order to reposition
how we're zooming in on the image.
| | 02:23 |
As I mentioned, Photoshop automatically
takes a look at your photograph and tries
| | 02:27 |
to find an area to analyse to figure out
the camera shape.
| | 02:31 |
And you know what, it's done a pretty
good job.
| | 02:33 |
Here in the loop, if we click and hold we
can see the before, and then let go and
| | 02:36 |
you can see the after.
I know that this may be difficult to see,
| | 02:41 |
so I'm going to zoom in four times, to
400%, just so that we can see some detail here.
| | 02:47 |
Here's before, and then I'll let go, and
there's after.
| | 02:51 |
Now another way that you can work with
this, which is even more effective, is to
| | 02:54 |
go Advanced mode.
When you're in Advance Mode, it allows
| | 02:59 |
you to have a better preview because here
every time I move the loop, it's actually
| | 03:02 |
going to just show me this small area.
So if we open up Advance Mode, what will
| | 03:08 |
happen is we can then look at the area
that it's analyzing.
| | 03:12 |
So here for a moment, I'm just going to
move the loop down below and you can see
| | 03:16 |
this is the region of interest, this is
the area it's analyzing in order to try
| | 03:19 |
to correct the photograph.
We can also dock the loop, if that's
| | 03:25 |
distracting, you can do so by clicking on
the X icon and that will then dock it
| | 03:29 |
over here.
If you want to use the loop, you can
| | 03:33 |
always click on this icon here and then
hover over the image until you get to the
| | 03:36 |
area that you want to focus in on and
then click in order to lock that in the preview.
| | 03:42 |
Click and hold to see the before, let go
to see the after.
| | 03:47 |
To undock the loop, you can either press
the Q key, or you can click on on this
| | 03:50 |
icon, which allows us to then move the
loop around and evaluate the photograph.
| | 03:56 |
Another way that you can view your image,
is by simply zooming in on this
| | 04:00 |
particular area, the preview of the
photograph here.
| | 04:03 |
One easy way to do that is with the Zoom
tool.
| | 04:07 |
Here I'll click on the Zoom Tool to
select it, then I'll go ahead and just
| | 04:10 |
click a few times in order to zoom in on
the photograph.
| | 04:13 |
And in this case, I'm going to zoom all
the way to 100%.
| | 04:17 |
Then I'll use the Hand tool, and click
and drag to pan around.
| | 04:21 |
Now, I can see much more of the
photograph.
| | 04:24 |
When you click and hold, this allows you
to, then, drag around, and to see your
| | 04:27 |
preview, just click on the Preview check
box, to look at your before, and then,
| | 04:30 |
now, the after.
Now because this image was in pretty good
| | 04:35 |
shape, it may be difficult for you to see
the before and after, but on my monitor
| | 04:39 |
it looks awesome.
All right well let's zoom in a little bit
| | 04:43 |
further so you can what's happening here.
I'll grab the zoom tool and I'll click a
| | 04:47 |
few times by this fisherman here and you
can see he's bringing in some crab and
| | 04:50 |
what I want to do is focus in on some of
the noise that I'm noticing in the background.
| | 04:57 |
Well, if we remove this or if we take our
Smoothing and Artifact Suppression
| | 05:00 |
Sliders all the way down, what we're
going to see is we're going to notice
| | 05:03 |
much more noise here in the background.
Photo Shop or render this out for us and
| | 05:08 |
now I can see that you know what, while
this is improving the photograph, it's
| | 05:12 |
also introducing some noise.
Again click on the preview button.
| | 05:16 |
We can see there's a before, it's soft,
blurry, it doesn't look very good.
| | 05:20 |
Now here is the after, it is sharper but
we have issues or problems with the noise.
| | 05:26 |
Well this is where smoothing, and
artifact suppression, come in to save the day.
| | 05:30 |
Now smoothing will help us to remove all
of these little teeny details in the
| | 05:33 |
background, they're now completely gone.
Artifact suppression, that deals with
| | 05:38 |
some of the larger artifacts that we have
in our photograph.
| | 05:41 |
You almost always will want to start off
with smoothing, and then do artifact
| | 05:45 |
suppression, second.
Also I should point out that, for the
| | 05:48 |
most part, Photoshop will do a good job
at determining how to remove this in the
| | 05:52 |
default settings of 20% approximately,
well typically they work very well.
| | 05:58 |
Well after we've dialed in our settings,
and after we've determined that Photoshop
| | 06:02 |
has done a good job with this shape
reduction, in order to apply thee
| | 06:05 |
settings, all that we need to do is to
simply click Okay and then Photoshop will
| | 06:08 |
render or apply those settings onto the
layer that we have selected.
| | 06:14 |
| | Collapse this transcript |
| Defining the Shake Reduction region of interest| 00:00 |
Now that we know a little bit about how
the shake reduction filter works, let's
| | 00:03 |
dig a bit deeper.
And in particular, in this movie I
| | 00:07 |
want to focus in on the importance of
knowing how to work with the reign of
| | 00:10 |
interest in order to accomplish the best
results with this filter.
| | 00:16 |
Well here you can see I have a portrait
that I've captured.
| | 00:19 |
I was using a longer focal length lens,
and I just wasn't holding the camera steady.
| | 00:24 |
If we zoom in on the photograph, you'll
notice that the image is a little bit soft.
| | 00:28 |
It's a bit blurry.
Let's see if we can't fix that, using the
| | 00:31 |
shake reduction filter.
Well you'll notice in my layers panel,
| | 00:35 |
that I have the original background
layer, and I've duplicated that, and I've
| | 00:38 |
named the new layer shake reduction.
You know I often like to apply sharpening
| | 00:43 |
to a separate layer just because it gives
you extra flexibility.
| | 00:47 |
So, let's go ahead and click into that
layer, Shake Reduction and then navigate
| | 00:51 |
to your filter pull down menu.
Next, we're going to go to sharpen and
| | 00:55 |
then we'll select Shake Reduction.
When you click on Shake Reduction, it
| | 01:00 |
will open up our Shake Reduction
dialogue.
| | 01:03 |
And one of the things that we know that
happens here is that when you open your
| | 01:06 |
image up in Shake Reduction is that
Photoshop takes a look at the photograph
| | 01:09 |
and then it tries to determine an area
which it can analyze in order to
| | 01:12 |
calculate how it can best correct this
picture.
| | 01:17 |
And that area is called our region of
interest.
| | 01:21 |
You can see the bounding box, which is
right here.
| | 01:23 |
Now if you don't see the bounding box,
you may recall from the previous movie,
| | 01:27 |
that you can turn the visibility of that
box on and off by opening and closing the
| | 01:31 |
advanced panel.
So again if you don't see that in this
| | 01:35 |
movie, or in the subsequent movie, just
open up the advanced panel and then
| | 01:38 |
you'll see the region of interest.
Now we can change that bounding box a
| | 01:43 |
number of different ways.
First let's take a look at how we can
| | 01:46 |
work with this with the loop.
Now if you have the advanced panel open,
| | 01:50 |
the loop by default will be dot.
You can undot the loop by pressing the Q
| | 01:55 |
key or by clicking on this little icon
right here.
| | 01:58 |
Then we can click this and drag this
around.
| | 02:01 |
Here I'll put it up on the face, let go,
and you can see the results.
| | 02:05 |
Well, let's say that we want the bounding
box to be right underneath this little
| | 02:09 |
preview loop.
Well, you can do that by clicking on this
| | 02:13 |
icon here.
It will relocate that bounding box, that
| | 02:16 |
region of interest, re-analyze the image
and then apply another correction and
| | 02:20 |
show us a preview of that correction.
If we click and hold here's the before,
| | 02:25 |
let go and then here is the after.
Well you know what in scene that I
| | 02:29 |
realized that doesn't work as well.
I want to move the region of interest
| | 02:33 |
back to where it was.
Let's take a look at how we can do that.
| | 02:37 |
Let's close the loop, and to do that
press the Q key or click on the little x
| | 02:41 |
right there.
Well, one of the ways that you can move
| | 02:45 |
this, is by hovering over the circle, in
the center of the bounding box.
| | 02:49 |
Then click and drag that back down to
where it was previously, let go, and
| | 02:52 |
Photoshop will do it's magic.
It will analyze the photograph, and then
| | 02:57 |
eventually render out the preview of how
that correction will look and show us
| | 03:00 |
that, in this window.
We can also manually change this bounding
| | 03:05 |
box by hovering over any of these corner
points and here we can simply click and
| | 03:09 |
drag to make those smaller.
Now, as we do that, every time Photoshop
| | 03:14 |
will need to recalculate and re-render a
preview of how that correction would look
| | 03:18 |
based on this being our region of
interest.
| | 03:23 |
Now, when it comes to selecting a region
of interest.
| | 03:27 |
You want to select an area where you have
defined edges, or lines, or a pattern.
| | 03:32 |
That will give Photoshop the most helpful
information in order to make the best correction.
| | 03:37 |
Here, if I accidentally move this to,
say, the background, which is out of
| | 03:41 |
focus well Photoshop isn't going to know
what to do.
| | 03:45 |
It gives us this little warning icon
saying, you know what I have no idea what
| | 03:49 |
is happen in regards to the camera shake
or the movement here.
| | 03:54 |
That brings me to this point of taking a
look at this little preview.
| | 03:57 |
What this allows us to do is see how the
camera was moving.
| | 04:02 |
If we click on this it will can extend
it.
| | 04:04 |
You can see that it just didn't
understand.
| | 04:06 |
There's no real sense to the movement.
On the other hand, if we relocate this
| | 04:10 |
back down to the driftwood heart, maybe
the fingers were we have nice defined
| | 04:14 |
edges, you notice that it will show us
this little preview here.
| | 04:19 |
And again, it is showing how that camera
movement occurred and then how it was
| | 04:22 |
apply that correction in order to make
the image look good.
| | 04:27 |
Well that photograph looks pretty good.
We can click and hold.
| | 04:30 |
Here's the before.
Let go.
| | 04:31 |
There's the after.
In order to apply that particular
| | 04:34 |
sharpening correction, you simply click
okay and then it will apply that
| | 04:38 |
correction to the layer which you have
selected.
| | 04:42 |
In this case, we can see here's our
before and then here's our after.
| | 04:47 |
And I mentioned previously that sometimes
I like to do my sharpening on a separate
| | 04:50 |
layer because it gives me extra
flexibility.
| | 04:54 |
Like in this case, I think the sharpening
is a bit too strong.
| | 04:57 |
Well, no big deal.
You can just simply lower the opacity in
| | 05:00 |
order to lessen that effect.
And again, if you know a bit about layers
| | 05:04 |
an masking an whatnot, you can take this
even further in the way that you
| | 05:07 |
customize, this particular sharpening
effect.
| | 05:12 |
Well now that we've seen one example
where we've, looked at how the reach of
| | 05:15 |
interest is really important, how we
defined it here, rather than the background.
| | 05:20 |
Let me show you one more example of this.
So that you can really understand how
| | 05:23 |
this works.
Next we're going to be working with this snapshot.
| | 05:27 |
It's simply a portrait of someone in a
hallway and it's not a great portrait.
| | 05:31 |
Yet this is a good situation to look at
because the region of interest in this
| | 05:35 |
photograph will really determine the
overall results.
| | 05:39 |
Again I have the background layer.
I've copied that and I like to apply the
| | 05:42 |
sharpening to a new layer.
So let's target that new layer.
| | 05:46 |
And then navigate to Filter, choose
Sharpen and then Shake Reduction.
| | 05:51 |
In this case I was using a longer focal
length lens, a slower shutter speed, so
| | 05:54 |
the image is a bit blurry.
Now when I open the photograph up,
| | 05:59 |
Photoshop analyzed the shoulder.
Now this isn't going to work very well
| | 06:03 |
and we know this isn't going to work very
well because it's tie dye shirt and there
| | 06:07 |
are not defined lines.
If we bring out the loop by pressing the
| | 06:13 |
Q key and then position this over the
face and maybe the little logo on the hat
| | 06:17 |
there, here's our before, let go.
There is the after.
| | 06:22 |
The image actually looks worse.
What we need to do is think up a
| | 06:27 |
different area to analyze.
And an area that would be great is this
| | 06:31 |
area right here with the hat, the
garment, and the eye, so let's go ahead
| | 06:35 |
and relocate that to this area.
And then, click on this icon.
| | 06:41 |
So that we can move that region of
interest to directly underneath this loop preview.
| | 06:46 |
Now, the results are much better.
They look stellar.
| | 06:50 |
Take a look at it.
If I click and hold, here's before.
| | 06:52 |
Let go, now here's after.
So again, the region of interest is
| | 06:57 |
really important when it comes to
accomplishing great results, when you're
| | 07:00 |
working with the Shake Reduction filter.
Alright.
| | 07:04 |
Well to finish this off I'll go ahead and
close the loop, and then simply click
| | 07:07 |
Okay in order to apply the sharpening
correction to that photograph.
| | 07:11 |
And that will then apply that correction
to the layer that we selected.
| | 07:15 |
| | Collapse this transcript |
| Understanding the Shake Reduction noise sliders| 00:00 |
Here, we're going to continue to build
off what we've learned about the Shake
| | 00:03 |
Reduction filter, and in particular,
we're going to focus in on reducing
| | 00:07 |
noise, and using the Noise Reduction
sliders, in this filter.
| | 00:12 |
All right, we'll be working with this
photograph that I captured, and this one
| | 00:15 |
is soft and blurry, again, because I was
using too slow of a shutter speed.
| | 00:19 |
An if we zoom in on the image we can see
that.
| | 00:22 |
So let's see if we can't add a little
snap, a little, sharpness to this
| | 00:24 |
picture, by using this particular filter.
So again, I've copied my background layer.
| | 00:30 |
Let's click into the layer shake
reduction, to target or select that
| | 00:34 |
layer, then navigate to the Filter
pull-down menu, choose Sharpen, and then
| | 00:38 |
Shake Reduction.
When you click on Shake Reduction it will
| | 00:44 |
open up the Shake Reduction dialogue, and
what we want to do is just, see what
| | 00:46 |
Photoshop is going to do in regards to
this region of interest.
| | 00:51 |
And in this case I think this region is
going to work well.
| | 00:54 |
The lighting's good.
There isn't a lot of noise.
| | 00:57 |
There are some lines or edges that it can
use to try to figure out the different
| | 01:00 |
type of blur that happened.
And in this little icon here, this shows
| | 01:05 |
us what's called the Blur Trace.
If we click on that, it'll show us, in
| | 01:08 |
this case, how the camera movement
occurred, kind of left to right, top to
| | 01:12 |
bottom a little bit at a bit of an angle.
When we look at the before and after, we
| | 01:17 |
can click and hold on this preview in
this Loop View, let go and you'll see the after.
| | 01:23 |
Click, you can see before, let go, and
the after.
| | 01:26 |
That looks pretty good, I realize it may
be difficult to see, so I'll click on
| | 01:29 |
this icon to extend that out, and then
I'm going to zoom way in, way to 400% here.
| | 01:35 |
And here's before, let go.
You can see the after, how it's defining
| | 01:38 |
those lines, and adding, a nice little
bit of sharpness to the photograph.
| | 01:43 |
All right, well, let's now take a look at
a couple of our sliders here.
| | 01:46 |
I'm going to click on the x to close that
loop preview.
| | 01:48 |
We're going to focus in on smoothing and
artifact suppression.
| | 01:52 |
By default they're at 20 percent.
Let's take a look at that would happen if
| | 01:56 |
we were to remove all of this noise
reduction, and let's do that after we've
| | 01:59 |
zoomed in on the picture.
If you double click the Zoom tool.
| | 02:04 |
Take the photograph to 100%.
Use the Zoom tool and click in even further.
| | 02:08 |
And you can go past 100%.
Here I'm at 200%.
| | 02:12 |
And what I want to do is just pan around
the image and take a look at the result.
| | 02:17 |
Click on the Preview check box.
And you can see, well, here's before and
| | 02:20 |
then here's after.
Well, in this view, let's remove all of
| | 02:24 |
this noise reduction by taking our
Smoothing and Artifact Suppression
| | 02:28 |
amounts to 0%.
What I'm hoping that you're able to see,
| | 02:32 |
is that there are, now, all of these
little strange artifacts.
| | 02:37 |
If you zoom in, even further, you can see
those, in these areas.
| | 02:41 |
If I click on the Preview check box,
here's before, the image is soft and blurry.
| | 02:45 |
Here's after, it's sharp, but we have
some problems.
| | 02:49 |
Well, here's where smoothing and artifact
suppression really save the day.
| | 02:53 |
As I increase this, you can see that all
of the small artifacts will disappear.
| | 02:57 |
And then with artifact suppression, as I
increase that, you're going to see some
| | 03:01 |
of the larger areas, or larger issues are
going to, become soft as well.
| | 03:06 |
Now one of the things to keep in mind
with these controls is that typically,
| | 03:10 |
lower amounts will work well.
If we go too high with smoothing, in
| | 03:14 |
artifact suppression.
Well, it's just going to render the image
| | 03:19 |
so that it looks blurry and soft and a
bit strange.
| | 03:23 |
Now this typically won't work well and
let me show you the before and after.
| | 03:26 |
Here's before and now here's after.
The image, it's a little bit sharper in
| | 03:30 |
certain ways, maybe a couple edges are
better, but we've just lost so much
| | 03:33 |
detail, that really, it's, it's not
going to work at all.
| | 03:37 |
So, again, typically, the 20% values, or
right around there, will work pretty well
| | 03:41 |
in regards to these amounts.
And, I wanted you to understand those
| | 03:46 |
controls, because in certain situations
20% won't be enough.
| | 03:51 |
Perhaps you have a bit more noise in your
photograph.
| | 03:53 |
You have that high frequency noise,
because you had a higher ISO setting.
| | 03:57 |
Well, in those situations, you may need
to crank smoothing up just a bit.
| | 04:01 |
So, if you need to, experiment with these
sliders, in order to help create the best results.
| | 04:07 |
Last but not least, I do want to
highlight source noise.
| | 04:10 |
Here we have four different options:
Auto, Low, Medium, and High.
| | 04:14 |
And again in most situations Auto works
really well.
| | 04:17 |
And if you know the amount of noise that
you have you can always experiment with
| | 04:20 |
these and just see if you can't come up
with a result that will look just a touch better.
| | 04:26 |
In this case when I choose low source
noise, it's not going to render that much
| | 04:29 |
of a difference.
It doesn't look that much better.
| | 04:33 |
We'll let this preview render out so that
we can see how that looks.
| | 04:37 |
Again, there are the results.
Now we can compare that to Auto.
| | 04:40 |
And if you were to look closely on your
own screen at your own images, what you
| | 04:43 |
would see is that after it rendered the
rough preview and then finally, gave you
| | 04:46 |
that final result, there would be a bit
of a difference.
| | 04:51 |
And typically Auto works better.
So, again, only use those sliders if you
| | 04:55 |
really know the amount of noise that you
have in your image, or you feel that it
| | 04:58 |
might just help you achieve better
results.
| | 05:01 |
That being said, what I've found, is
Auto, for the most part, works best most
| | 05:04 |
of the time.
Well, before we go, I'm going to zoom out
| | 05:08 |
to 100%.
And then take a look at the before and after.
| | 05:11 |
Here it is, before; and then now, the
after.
| | 05:15 |
That image looks much better.
| | 05:17 |
| | Collapse this transcript |
| Sharpening a camera phone photo with Shake Reduction| 00:00 |
As the saying goes, the best camera is
the one that you have with you.
| | 00:05 |
You know, I don't know about you but for
me more and more, I'm capturing images
| | 00:08 |
with smaller, more portable cameras.
I take a lot of photographs with my iPhone.
| | 00:13 |
And if you're using a camera phone often
what happens is you're using a slower
| | 00:17 |
shutter speed and you don't even know it.
Therefore, the image can be a little bit
| | 00:22 |
blurry or soft, and that was the case
with this portrait.
| | 00:26 |
We had just walked out of a faculty
meeting and I was talking with my
| | 00:29 |
colleague here, he was standing in front
of this interesting yellow wall, and I
| | 00:32 |
snapped the picture.
Yet the image is a bit soft.
| | 00:36 |
So what I want to do is see if we can't
use Shake Removal in order to improve
| | 00:39 |
this photograph, and also I want to talk
about how we can quote, soften the image,
| | 00:43 |
or lessen the effect, so that it isn't
over-sharp.
| | 00:48 |
Alright, well let's click into the Shake
Removal layer, and then we'll navigate to
| | 00:51 |
our Filter pull-down menu.
Here we'll choose Sharpen, an then we'll
| | 00:55 |
select, Shake Reduction.
This will then open the image up in the filter.
| | 01:00 |
PhotoShop will take a look at it.
It will define our region of interest,
| | 01:03 |
and then it will determine how it can
correct this picture.
| | 01:08 |
Now if we zoom in on this photograph
using the Zoom Tool here, I'll just click
| | 01:11 |
a couple times to zoom in on my good
friend and colleague Elliot here.
| | 01:15 |
We can see that the image does look a lot
better.
| | 01:19 |
If you click on the Preview button,
here's the original photograph.
| | 01:22 |
It's just a touch soft.
And then here's the photograph after the correction.
| | 01:26 |
Yet in my opinion, it's almost just a
bit, too sharp.
| | 01:30 |
I'm noticing the edges and the facial
hair just a little bit too much.
| | 01:35 |
Well, one of the ways that you can quote,
soften this effect, is by increasing the
| | 01:39 |
Smoothing Slider.
Now, this isn't really a softening effect
| | 01:43 |
but, let me show you what I mean.
Well, here I'm going to exaggerate for a
| | 01:46 |
moment and increase this all the way to
100%.
| | 01:50 |
Now I mentioned previously that if you
overdo the smoothing noise reduction your
| | 01:54 |
image will become soft.
You can see here this doesn't look good,
| | 01:58 |
but you can start to see how you could
use this in subtle ways, so that it might
| | 02:02 |
look good.
So rather than having this at a, setting
| | 02:06 |
of 20%, what if we took this say, to
about 30%?
| | 02:10 |
Well in this case, I think it gives a
pretty nice look.
| | 02:13 |
The image is still sharp, but we don't
see as much of the exaggerated small
| | 02:17 |
little details as we saw previously.
So you can always use these sliders to
| | 02:22 |
quote, kind of dial in, the amount that
you want to have when it comes to this
| | 02:25 |
Shake Reduction.
Alright, well next to apply that setting
| | 02:30 |
all that we need to do is to simply click
OK.
| | 02:33 |
That will then apply those settings to
the layer above the background layer.
| | 02:37 |
Another way that we could, of course,
kind of back this off is we could also
| | 02:40 |
reduce the opacity if we wanted to just
take this down even a bit further.
| | 02:45 |
Yet with this photograph I think this
amount looks pretty good.
| | 02:49 |
Here's the overall before and after.
I'll zoom in a bit more so you can see
| | 02:52 |
the results.
Here it is; there is our before.
| | 02:55 |
Now here is our after.
| | 02:58 |
| | Collapse this transcript |
| Using the Blur Direction tool| 00:00 |
Today we're going to take a look at a bit
more of an exaggerated example.
| | 00:03 |
And here I also want to introduce you to
another new feature that you'll encounter
| | 00:07 |
in the Camera Shake Reduction Filter.
And that is a new tool.
| | 00:11 |
This tool allows you to trace the
direction of the blur.
| | 00:15 |
Let's take a look at how this works.
We'll be working with this portrait that
| | 00:19 |
I captured of one of my friends who's a
fine art photographer.
| | 00:22 |
And here he is, holding a faceless
manequinn head, up in front of his face.
| | 00:26 |
And, if we zoom in on this image, one of
the things that we'll discover, is that
| | 00:29 |
there is a lot of camera movement.
You can see the camera movement, and how
| | 00:33 |
it's moving from top to bottom at a
little bit of angle.
| | 00:37 |
And in this case, that happened because I
was using, accidentally, too slow of a
| | 00:40 |
shutter speed.
Well, let's see if we can't use Camera
| | 00:43 |
Shake Reduction in order to fix this up a
bit.
| | 00:47 |
We'll click into the top layer in our
Layers Panel.
| | 00:49 |
Next, navigate to the Filter> Sharpen>
Shake Reduction.
| | 00:52 |
Upon launching Shake Reduction, Photoshop
will do its best to try to make a
| | 00:56 |
correction, and if we look in the preview
loop over here, we can see it did a
| | 01:01 |
pretty good job.
Click and hold.
| | 01:06 |
There's before, let go and there's after.
Much better detail in this area of the picture.
| | 01:11 |
Here I'm just going to click and pan
around a little bit.
| | 01:13 |
One of the things I notice is that I can
really identify the overall direction of
| | 01:16 |
the blur.
Well if you can, that's when this tool
| | 01:20 |
can come into play.
It's call the Blur Direction Tool.
| | 01:24 |
Click on this and zoom in on the image a
little bit.
| | 01:26 |
To zoom in I'll press Cmd++ Mac or Ctrl++
on Windows.
| | 01:31 |
Next you want to click and drag over
something where you're noticing that
| | 01:34 |
actual direction of the blur.
And here' I'm going to exaggerate this,
| | 01:37 |
so I can highly a helpful shortcut.
Now in doing this, we can see that we
| | 01:42 |
have the preview updated over here,
here's the before, and here's after.
| | 01:46 |
It isn't correcting anything at all.
That's because I dragged too far.
| | 01:50 |
Well to change the length of this blur
direction, you can use your bracket keys.
| | 01:55 |
Press the left bracket key to make that
much smaller.
| | 01:58 |
And as you can see here my preview as I'm
doing that, it's bringing together all of
| | 02:01 |
those details.
You can also click on this and move this
| | 02:05 |
to another location.
Well what about changing the angle?
| | 02:09 |
Sometimes you might need to do that.
And you can do that pressing Cmd +bracket
| | 02:13 |
keys on a Mac or Ctrl+ bracket keys on
Windows.
| | 02:17 |
If you forget the shortcuts, just hover
over the tool and those will show up up
| | 02:21 |
top right here.
Where here in this case, if we look in
| | 02:24 |
our little preview and click and hold,
you can see that this area, well didn't
| | 02:27 |
quite work out very well.
Yet by adding this little bit of trace it
| | 02:32 |
helped us to bring that area together a
little bit.
| | 02:35 |
I think you can especially see it down
here in this area, here I pressed the
| | 02:38 |
left bracket key to make that even bit
smaller, click and hold to see that before.
| | 02:44 |
Let go and then you can see the after.
We can also click on this icon here in
| | 02:47 |
order to disable this correction and in
doing that you can see what it looks like
| | 02:51 |
without that correction.
Click again and now you can see it just
| | 02:55 |
brought those edges a bit closer
together.
| | 02:58 |
And in this way this tool can help out in
situations like that where you know the
| | 03:01 |
blur direction and where you want to try
to correct that based on clicking and
| | 03:04 |
dragging across the image using this
tool.
| | 03:08 |
Alright well to apply these corrections
simply click OK, that will then apply
| | 03:12 |
those to the separate layer.
Here we can click on the Eye Icon and evaluate.
| | 03:17 |
Here's our overall before, and then now
the after.
| | 03:20 |
And in this case it did a pretty
phenomenal job adding a bit more detail
| | 03:23 |
to this portion of the image.
Now to a certain extent, this tool can't
| | 03:28 |
fix everything, yet it can help out to a
certain extent.
| | 03:32 |
And what I've discovered is if you work
with this tool on higher resolution file
| | 03:36 |
and then size them down to something
smaller, many times it can help you to
| | 03:39 |
create a workable file at a smaller size.
Well either way, I hope that this movie
| | 03:45 |
was helpful, as we looked at another new
feature in this tool which allows us to
| | 03:49 |
trace the blur direction in order to help
Photoshop and sometimes in order to be
| | 03:52 |
able to create even more precise results.
| | 03:57 |
| | Collapse this transcript |
| Improving long exposures with Shake Reduction| 00:00 |
One of the things that makes photography
fun, is that is allows us to capture a
| | 00:04 |
small slice of time.
An often we're capturing a small slice
| | 00:09 |
like, a 1/100 of a second.
Yet, what about those situations where
| | 00:13 |
you have a longer exposure, like with
this image here, I captured this with a
| | 00:17 |
four second exposure.
Well invariably, what can happen is you
| | 00:22 |
can accidentally move your camera or
tripod or just because of the nature of
| | 00:25 |
the longer exposure, the image can appear
a bit soft, and what I've discovered is
| | 00:29 |
that you can also use camera shake
reduction in order to sharpen up your
| | 00:32 |
photographs in situations like this.
Let's take a look at how we can do that.
| | 00:40 |
Here we'll click into the top layer,
which is titled Sharpen.
| | 00:43 |
Next navigate to the Filter Pull-Down
menu.
| | 00:46 |
Then choose Sharpen and then select Shake
Reduction.
| | 00:50 |
This will launch this image in the Shake
Reduction dialog and Photoshop will do
| | 00:53 |
its magic by analyzing the photograph and
trying to figure out any kind of camera
| | 00:57 |
shake that occurred.
Next, I want to zoom in on this image.
| | 01:02 |
To do that, let's double click the zoom
tool that will take the image up to 100%,
| | 01:05 |
press the space bar key and click and
drag in order to reposition the image.
| | 01:11 |
And here I want to focus in on the
background, then also some of the details
| | 01:14 |
on the text and the signs.
And, what we'll discover, is that once
| | 01:19 |
Photoshop finishes rendering this large
preview, we'll be able to look at our
| | 01:22 |
before and after, and here, we'll find,
that what its done for us, is just
| | 01:26 |
brought back some clarity, or sharpness
to the image.
| | 01:31 |
Let me show you what I mean.
Here, we'll click on the Preview check
| | 01:34 |
box to turn off the Preview, here's the
original file, this four second exposure.
| | 01:39 |
An again, the image appears a bit soft
just because of the length of the exposure.
| | 01:44 |
Next, we can turn on the preview check
box and we'll see how Photoshop can then
| | 01:47 |
correct that.
It can add a bit of snap, a bit more,
| | 01:51 |
legibility to the text fields down below.
An I wanted to show you this example,
| | 01:56 |
just to get you to begin to think about
how you can use camera shake reduction
| | 02:00 |
when you make a mistake, when you
inadvertently shake your camera.
| | 02:05 |
Yet you can also use it in those other
situations, like with this photograph,
| | 02:08 |
when you have a longer exposure and you
want to sharpen your image as well.
| | 02:13 |
| | Collapse this transcript |
|
|
2. Upsample and Resize More EffectivelyIntroducing the new Image Size dialog| 00:00 |
One of the most common things that we do
in Photoshop is we use the Image Size
| | 00:03 |
dialog, in order to resize our
photographs.
| | 00:08 |
And you know what, the Image Size dialog
has changed.
| | 00:11 |
And so in this movie, what I want to do,
is I want to get you familiar with some
| | 00:14 |
of these changes.
So that you can effectively resize your photographs.
| | 00:19 |
And so here I'm going to point out some
of the improvements in the new image
| | 00:22 |
sized dialog.
And then in the next movie, we'll talk
| | 00:25 |
about how we can use this dialog to
effectively resize our photographs.
| | 00:30 |
Alright, well to become familiar with
this dialog, one way that we can do this
| | 00:33 |
is by comparing it.
On the left you can see the new dialog.
| | 00:38 |
One the right there is the old.
Well how these 2 dialogs compare?
| | 00:40 |
Well at first glance you're going to
notice that they're different sizes.
| | 00:41 |
Also things have been configured in a
different way.
| | 00:42 |
I want to point out a few things here to
help you become familiar with this new dialog.
| | 00:43 |
One of the things that you'll notice is
they've taken features or options.
| | 00:53 |
Say like Scale styles and they've tucked
those away.
| | 01:01 |
You can now access that by clicking on
this little icon here, or what about
| | 01:05 |
constrained proportions.
Rather than a check box, you can now
| | 01:09 |
access this by clicking on the link icon
here.
| | 01:13 |
They've made some changes to make things
a bit more intuitive as you'll soon discover.
| | 01:17 |
Other changes you'll find are just about
repositioning things.
| | 01:21 |
In this case they've taken these two
items here and just put them on one line.
| | 01:26 |
Then there are of course some more
dramatic changes.
| | 01:29 |
For example If you've been using the
image size dialogue for sometime you're
| | 01:32 |
really familiar with how to work with
this area of the dialog.
| | 01:36 |
Well they've taken all of that and
they've condensed that into 1 location.
| | 01:41 |
Now you can still access all that
information but you'll soon discover that
| | 01:44 |
you can access this in an easier, in more
intuitive way.
| | 01:48 |
And then of course there are the
improvements.
| | 01:51 |
These are much welcomed improvements.
The first one I want to highlight is this
| | 01:55 |
Preview window.
Finally, we can see a preview of our
| | 01:58 |
image and we can see a preview of how the
image will appear when we're applying
| | 02:01 |
certain settings.
Another great improvement, are some
| | 02:06 |
different resampling options.
These resampling options, allow us to
| | 02:10 |
resample our photographs in more
effective ways, so that our pictures look bigger.
| | 02:15 |
Whether we're increasing the size of the
photograph, or decreasing it.
| | 02:19 |
Well, now that we've become familiar with
some of the changes that we'll encounter,
| | 02:23 |
in the Image Size dialog.
Let's take a look at how we can use this
| | 02:26 |
dialogue to resize our photographs, and
let's do that in the next few movies.
| | 02:31 |
| | Collapse this transcript |
| Resizing your photographs| 00:00 |
Now that we know a little bit about the
Redesigned Image Size dialogue, let's
| | 00:04 |
take a look at how we can use this
dialogue in order to effectively resize
| | 00:07 |
one of our photographs.
Well let's say we have a scenario like this.
| | 00:13 |
We have a photograph that we've opened up
in Photoshop, like this one here, and the
| | 00:16 |
file is pretty big.
But the client has requested a smaller size.
| | 00:21 |
Well, let's explore how we can use the
Image Size dialog in order to effectively
| | 00:25 |
resize this photograph in that way.
In order to access the dialog, navigate
| | 00:31 |
to the Image Pulldown menu and then here
choose Image Size.
| | 00:35 |
This will launch our image sized dialog.
On the left hand side you'll notice the
| | 00:40 |
preview, you can click and drag around
that preview in order to view a different
| | 00:43 |
portion of your image.
You can also zoom in or zoom out of the
| | 00:48 |
image by clicking on these icons here.
Now if you want a larger preview of your
| | 00:52 |
photograph, just hover over any of the
corners of the dialog.
| | 00:57 |
An that will change the size of the
dialogue as well as the size of that
| | 00:59 |
preview window.
Let's bring that back to where it was,
| | 01:03 |
and then here I'm going to zoom back in
to 100%, because often when evaluating,
| | 01:07 |
how you're re-sizing or re-sampling your
photograph, you want to be at this 100%
| | 01:11 |
view in order to see the appropriate
result.
| | 01:17 |
Well, next let's move to the right-hand
side, and let's make our way through this
| | 01:20 |
right-hand side from the top to the
bottom.
| | 01:23 |
We're going to highlight the most
important things.
| | 01:25 |
First we have our image size and
dimensions.
| | 01:28 |
Now these two fields are simply
displaying information.
| | 01:32 |
The image size, well, it's about 23 megs.
Next we have our dimensions.
| | 01:36 |
It's currently displaying those in
inches.
| | 01:39 |
If we wanted to change that to pixels or
to something else, we'll just click on
| | 01:42 |
this icon here and then make the
selection.
| | 01:45 |
Now when you make a choice here, it isn't
making a change to your photograph,
| | 01:48 |
rather it's just displaying the
information about your image.
| | 01:53 |
Next we have fit to original size, and
most of the time you want to leave that
| | 01:57 |
as is, and then underneath we have some
powerful controls.
| | 02:01 |
Now, in our case, what we want to do, is
resize our image, so we want to turn on
| | 02:05 |
this option for Resample.
Now, when we do that, we have some
| | 02:09 |
different resample options, I'll talk a
bit more about these in the next movie,
| | 02:13 |
but for now, I want to choose Automatic.
What Automatic will do, is it will choose
| | 02:18 |
the best option out of these options so
that you'll achieve the best results when
| | 02:22 |
you're resizing your photograph.
Well, next we need to resize this image.
| | 02:27 |
Currently, it's at ten by 14, at 240
pixels per inch.
| | 02:32 |
What the client wants, is a five by seven
at 300 pixels per inch.
| | 02:37 |
Well in order to change the image, I'll
go ahead and start at the top, and I'll
| | 02:40 |
change this to a five, so I now have a
five by seven.
| | 02:44 |
And next I'm going to change my
resolution to 300 pixels per inch.
| | 02:48 |
Now as I made those changes, you may have
noticed some changes in other areas of
| | 02:52 |
the dialogue.
For starters in our image size field up
| | 02:56 |
here we now see that the file would be
nine megs rather than 23 megs.
| | 03:01 |
Also in the preview window, it changed
our preview.
| | 03:05 |
It change a, as we change a dimensions
also as we change the resolution.
| | 03:10 |
This preview is showing us how this image
would appear with this method of
| | 03:13 |
resampling in this case automatic.
Well, here I think the photograph looks
| | 03:18 |
pretty good.
We now have a five by seven at 300 pixels
| | 03:21 |
per inch.
In order to apply this re-size all that
| | 03:24 |
we need to do is click OK and we have
successfully re-sized our photograph to
| | 03:28 |
these new demensions.
If you are ever a bit uncertain about
| | 03:32 |
re-sizing your photograph you can always
go back back to the image size dialog by
| | 03:37 |
going to Image.
An then image size, and here you should
| | 03:42 |
see how you've re-sized it.
In this way you can confirm, is it a five
| | 03:45 |
by seven at 300 pixels per inch?
Yes it is.
| | 03:48 |
Alright, great.
I'll go ahead an click Cancel.
| | 03:50 |
I did everything correctly there.
We have now effectively re-sized our
| | 03:54 |
photograph using the Redesigned Image
Size dialogue.
| | 03:59 |
| | Collapse this transcript |
| Resizing to create a poster-size print| 00:00 |
The improvements that you'll encounter in
the redesigned Image Size dialog are not
| | 00:05 |
just cosmetic.
Rather, they have redesigned and
| | 00:08 |
overhauled the engine, which allows us to
achieve better results, whether we're
| | 00:12 |
resizing a photograph so it's smaller or
larger.
| | 00:15 |
And what I want to do here, is take a
look at how we can resize an image, which
| | 00:18 |
is pretty big, and make it even bigger.
This a portrait that I captured of a
| | 00:23 |
world famous surfer, and I want to print
this out poster size.
| | 00:27 |
Well let's take a look at how we can use
the image size dialog in order to
| | 00:30 |
appropriately resize this photograph so
that we can achieve the best results.
| | 00:35 |
Well let's navigate to the Image pull
down menu and then select Image size in
| | 00:40 |
order to launch the image size dialog.
Once the image size dialog is open, what
| | 00:45 |
you'll want to do is you want to go ahead
and extend this by hovering over these
| | 00:48 |
corner points so that you have a really
large preview window.
| | 00:53 |
And we need that, because we're going to
make this image big.
| | 00:56 |
Next, click and drag, so that you can
view the important part of your photograph.
| | 01:00 |
Well currently, this image is about 20
megs, I could print this as an eight by
| | 01:05 |
13, at 240 pixels as is, yet I want to go
bigger.
| | 01:09 |
I want to print this about 20 by 30.
Well in order to make those changes, I'm
| | 01:14 |
going to change my width to 20, and that
will give approximately about a 20 by 30 image.
| | 01:20 |
Next I'll click and drag this around, so
I can view some important information
| | 01:23 |
here in the photograph.
And I've done some pretty extensive
| | 01:26 |
comparison using this particular dialog
with previous versions, and found that
| | 01:30 |
the results are stunning.
Yet as you start to dial in how you want
| | 01:35 |
to resize your images when they become
larger, what you want to do, is dig a
| | 01:38 |
little bit deeper into these resample
options.
| | 01:42 |
Now, Automatic will try to choose the
best option for your image, yet you may
| | 01:46 |
want to choose one of these other
options, to have even more control.
| | 01:51 |
For example, you can choose Bicubic
Smoother, if you want a little bit of a
| | 01:54 |
softer look.
Take a look at Automatic and then choose
| | 01:57 |
Bicubic Smoother, and what you'll notice
is the image is a touch more soft.
| | 02:02 |
Now with certain photographs which are a
bit more painterly, or, or you just want
| | 02:05 |
to have a little bit more of that look
which is soft, well, well this option
| | 02:08 |
might work great.
In other photographs, like this one,
| | 02:13 |
where I want it to be tack sharp, what
I'm going to want to choose, is Preserve Details.
| | 02:18 |
Now, Preserve Details and Automatic will
be very similar, except, Preserve Details
| | 02:22 |
gives us a slider, it's a noise reduction
slider.
| | 02:27 |
What this allows us to do is to preserve
detail, so that the image looks sharp,
| | 02:31 |
but so that we don't exaggerate any
unwanted noise.
| | 02:36 |
Let me exaggerate the slider amount here
in order to illustrate what I mean.
| | 02:40 |
Here I'm going to take this up to 100%.
Now as a side note, you would never want
| | 02:44 |
to do this to one of your photographs,
but I think it will show you how the
| | 02:47 |
slider works.
At 100% the image just looks kind of soft
| | 02:51 |
and strange.
If we navigate around the photograph to
| | 02:55 |
other area, like in this area here where
we have some texture or noise, again it
| | 02:58 |
removes that, but it also removes a lot
of the original quality of the picture.
| | 03:04 |
So typically what I've found is that this
noise reduction slider is going to be at
| | 03:08 |
a relatively low amount.
Here I'll go ahead and bring it up to
| | 03:12 |
maybe 5, 6 or 7%.
Now in doing that, at least in my
| | 03:16 |
monitor, it helps just take the edge off
of some of the sharpening effect which
| | 03:20 |
happened when it, sort of brought out
some details or artifacts which didn't
| | 03:23 |
look very good.
Click to hold to see your before and then
| | 03:28 |
let go to see the after.
And as you're working on this, again, you
| | 03:32 |
can dial this in, in order to find the
appropriate size.
| | 03:35 |
You can also compare this to Automatic,
here I'll go back to Automatic.
| | 03:40 |
And in this case, they're pretty close.
We can go back and forth between these two.
| | 03:44 |
Whenever you navigate back to Preserve
Details, it'll remember your last
| | 03:47 |
setting, so that you can then choose
those settings, if you want to apply them.
| | 03:52 |
With this particular image what I'm
going to do is take this up just a little
| | 03:55 |
bit more, in order to take the edge off
of some of the areas of the photograph.
| | 04:00 |
Well that looks pretty good.
In order to apply this to the photograph,
| | 04:03 |
all that we would need to do now, would
be to simply click OK, and it would then
| | 04:07 |
effectively resize this image, so that in
this case, we could print this photograph
| | 04:12 |
huge at a 20 by 30 size, at 240 pixels
per inch.
| | 04:17 |
(BLANK_AUDIO)
| | 04:17 |
| | Collapse this transcript |
| Upsampling a small JPEG with better results| 00:00 |
When it comes to resizing your
photographs, another common task that you
| | 00:04 |
may need to perform is to take a smaller
image and make it bigger.
| | 00:08 |
Here in this movie, we'll explore how we
can take a smaller JPEG file and make
| | 00:11 |
that bigger so that we could create a
bigger version of the file or a bigger print.
| | 00:17 |
Alright, well let's start off by
navigating to the Image Size dialog.
| | 00:21 |
First click on the Image Pull-down menu.
Next select Image Size.
| | 00:26 |
When you click on Image Size it will
launch our Image Size dialogue.
| | 00:30 |
Now because we're going to be making this
image bigger we need a larger preview area.
| | 00:34 |
So here position your cursor over the
corner or edge of this dialogue an click
| | 00:37 |
an drag to expand that.
or just click on the icon here in order
| | 00:42 |
to go full screen.
Next click and drag to move the area or
| | 00:45 |
the preview area so that you're viewing
an important part of the photograph so
| | 00:49 |
that you can evaluate the results of the
resizing.
| | 00:52 |
This is a portrait that I captured of
Kelly Slater and here you can see we have
| | 00:56 |
a smaller file size.
The file size here's only about fours megs.
| | 01:02 |
Next we have our dimensions, I want to
change this from pixels to inches, so
| | 01:05 |
click on the Pulldown menu and select
Inches.
| | 01:09 |
Here this is showing us that we could
create about a four by six inch print at
| | 01:14 |
240 pixels per inch.
Well I want to print this image out say
| | 01:18 |
as an eight times12, well in order to
increase the file size here we'll need to
| | 01:22 |
make a few changes.
What I want to highlight here first that
| | 01:26 |
one of the things that you can do is you
can simply change the resolution and
| | 01:29 |
sometimes that can help you change the
way that the image will be printed.
| | 01:34 |
And let me explain.
If you turn off the Resample checkbox,
| | 01:37 |
notice that that allows you to make
changes in these fields and in these
| | 01:41 |
fields alone.
So if we change the resolution from 240
| | 01:44 |
say to 180, here I'll go ahead and type
in 180, notice that this is showing me
| | 01:48 |
that I could now print this image out as
five by eight.
| | 01:54 |
Well how is that possible?
I haven't really changed the file size,
| | 01:57 |
notice the file size is still four megs
approximately.
| | 02:01 |
What's happened here is this is changing
how many pixels we have on one little inch.
| | 02:06 |
If we were to zoom in on the image and
count all of those pixels, well in a one
| | 02:10 |
inch area we would have 180 pixels across
and 180 pixels up.
| | 02:15 |
So by changing the resolution here to a
lower resolution, in a sense we're sort
| | 02:19 |
of stretching this image out.
An often when you're creating larger
| | 02:24 |
prints what you can do is simply lower
your resolution rather than printing at
| | 02:28 |
300 or 240 try 180.
What I found, when I've been creating
| | 02:32 |
prints is often I can create really high
quality, beautiful prints at lower
| | 02:36 |
resolutions like 240 or 180 and you can
get pretty good results.
| | 02:42 |
Alright so step one may be to change or
lower your resolution.
| | 02:45 |
Yeah when you do that make sure you turn
the Resample checkbox off.
| | 02:49 |
And the reason you want to change that
off is because this will allow you to
| | 02:53 |
change the resolution without throwing
away or making up new information.
| | 02:58 |
In other words the file size stays
exactly the same when you turn this check
| | 03:02 |
box off.
Alright, well, next, let's go ahead and
| | 03:05 |
turn this back on and then make some
further changes.
| | 03:08 |
I have a lower resolution, which will
work well.
| | 03:10 |
And I also want to change the dimensions.
Remember I said I want an eight by 12.
| | 03:15 |
So once you turn this check box back on,
and make changes in these areas, for
| | 03:19 |
example, rather than five and a half
inches, I'll type in the number eight.
| | 03:24 |
What's going to happen here is it's
going to increase the overall file size.
| | 03:29 |
Notice my image size is now about nine
megs.
| | 03:33 |
Previously, it was about four.
So, what Photoshop had to do here was
| | 03:37 |
some magic, it had to invent or makeup or
interpolate this file, it had to add more
| | 03:41 |
information to it.
Well, it did this by this resampling, or
| | 03:46 |
this interpolation method that we have
selected here.
| | 03:50 |
Now, in this Pulldown menu, we can choose
different options.
| | 03:53 |
Here we can choose Automatic, Preserve
Details or Bicubic Smoother.
| | 03:57 |
And when we select Preserve Details what
this can allow us to do is to increase
| | 04:02 |
the file size which in turn will bring
out some of the edges or corners of those pixels.
| | 04:08 |
It will try to maintain the integrity of
the file.
| | 04:11 |
But sometimes this can exaggerate noise.
Well here we have a slider which is
| | 04:15 |
called the Reduced Noise slider.
This is an incredibly helpful slider.
| | 04:20 |
I'll go ahead and click and drag around
my preview area.
| | 04:22 |
So we can focus in on the face and also
the background.
| | 04:26 |
Notice that as I click and drag this to
the right.
| | 04:28 |
What we'll see is that some of this noise
here in the background and also on the
| | 04:32 |
face, it will disappear.
And when it comes to working on, say,
| | 04:35 |
portraits like this or reducing some of
that background noise can really make all
| | 04:39 |
the difference in the world.
Here I'll go ahead and exaggerate this
| | 04:44 |
all the way up to 100%.
In doing this what we'll see once it
| | 04:47 |
renders this preview is that the image
appears a little bit soft.
| | 04:52 |
Let me click on the image here, you can
see the before.
| | 04:54 |
Then I'll let go.
And what we'll see here once Photoshop
| | 04:57 |
renders a preview is the after.
Notice the image is now really soft in
| | 05:01 |
certain areas, the skin tone and the
background.
| | 05:05 |
Now you have to obviously be careful that
when you reduce the noise you don't sort
| | 05:08 |
of smooth things out too far.
Yet it's helpful to highlight that you
| | 05:12 |
can use this slider in order to get rid
of some of those artifacts or details
| | 05:16 |
which in variably show up when you
increase your file size.
| | 05:21 |
Think of it this way, we have this small
little delicate jpeg and we're stretching
| | 05:25 |
this out.
We're making it much bigger.
| | 05:28 |
When we do that of course parts of the
file might fall apart.
| | 05:32 |
Well that's where this slider can help
out.
| | 05:34 |
So here in this case when we're taking a
smaller file size and making it bigger,
| | 05:37 |
what I find is that works best is if you
use Preserve Details, and then use the
| | 05:41 |
Reduce Noise Slider.
And dial this in, or bring this amount up
| | 05:46 |
so you can reduce some of that noise so
that your image looks its best.
| | 05:51 |
Here with this photograph somewhere right
in around ten or 12 or 13 or somewhere
| | 05:55 |
around there will look well.
Here click and hold on the image, here's
| | 05:59 |
the before, let go we can see the after.
And again, once we see that preview I
| | 06:04 |
think that looks pretty good.
Well in order to apply these settings, we
| | 06:08 |
simply need to click OK.
An then when we do that, this'll then
| | 06:11 |
re-size the photograph.
An then once Photoshop renders this out,
| | 06:15 |
we'll be able to evaluate the results
here in Photoshop and also we'll now be
| | 06:19 |
able to create a print which is eight by
12 at 180 pixels per inch.
| | 06:25 |
| | Collapse this transcript |
| Changing image size and resolution with the Crop tool| 00:00 |
Another way that we can effectively
resize our photographs, is with the Crop
| | 00:03 |
tool, and, the Crop tool, has received
some welcome improvements.
| | 00:08 |
And so, here, what I want to do, is
highlight how we can use the Crop tool,
| | 00:11 |
in order to resize our photographs.
And, along the way, I want to point a
| | 00:15 |
couple of new features that you'll
encounter when you're working with this tool.
| | 00:20 |
Now, before we get to the Crop tool, I'm
going to talk a bit about this photograph.
| | 00:23 |
This is a portrait that I recently
captured of a family friend, and the
| | 00:26 |
family friend really wants this as a five
by seven print.
| | 00:31 |
So, let's start off by going to the Image
Size dialog, here, we'll go to Image>
| | 00:35 |
Image Size, in order to open up our Image
Size dialog.
| | 00:40 |
Here you can see our file size is about
25 megs.
| | 00:42 |
We could print this out as a 12 by 8, 300
pixels per inch.
| | 00:47 |
Well you may remember that I need to
change this to five by seven.
| | 00:50 |
Well if I try to do this here, if I enter
five, it gives me five by seven and a half.
| | 00:56 |
If I change my width to seven it gives me
4.6 by seven, so I don't have the correct
| | 01:00 |
aspect ratio in order to create a five by
seven image.
| | 01:04 |
So, rather than resize the image here in
the Image Size dialog, what I'm going to
| | 01:09 |
do is crop and re-size the image using
the Crop tool.
| | 01:14 |
So here let's go ahead and click Cancel
in order to exit out of the Image Size dialogue.
| | 01:19 |
Next let's select the Crop tool by
pressing the c key or by clicking on the
| | 01:22 |
tool here in the Tools Panel.
Now when we do that, you'll notice we
| | 01:26 |
have some options up here in the Options
Bar.
| | 01:29 |
First, let's click on this pull-down menu
and then choose a particular aspect
| | 01:33 |
ratio, say, one by one square.
Now, when we do that, you notice I have
| | 01:37 |
this overlay.
Now, one of the new features that you'll
| | 01:40 |
encounter is the ability to change the
overlay, and we've had this previously,
| | 01:43 |
but what's new is that we now have these
little icons which show us what this
| | 01:47 |
overlay will look like.
Often this can help us to select the
| | 01:52 |
appropriate overlay, and many times these
overlays can helps us to crop and
| | 01:55 |
recompose our photographs so that they
look their best.
| | 02:00 |
All right, well I don't want a square
ratio.
| | 02:02 |
What I do want to do is to resize this
image.
| | 02:05 |
Well, in the previous versions of
Photoshop, resizing with the Crop tool
| | 02:09 |
was awkward at best.
Well now what they have done, is given us
| | 02:12 |
some presets.
For example I can choose four by five at
| | 02:15 |
300 pixels per inch in order to crop and
re-size my image in one step.
| | 02:21 |
In this case let's say rather than a
vertical orientation, we want a
| | 02:24 |
horizontal, no big deal.
Simply click on this icon here, and then
| | 02:28 |
we can flip that around.
Now, it's five inches by four inches at
| | 02:32 |
300 pixels per inch.
Well, I'm closer to re-sizing my
| | 02:36 |
particular photograph.
Yet, remember what I want.
| | 02:39 |
I want a five by seven.
So, in order to change it, all that we
| | 02:42 |
need to do is to click into these fields.
I'm going to change that to a five, my
| | 02:46 |
inches are going to be seven.
And then, I can click and drag this
| | 02:49 |
around, so that I can recompose the
photograph.
| | 02:52 |
Now, in regards to resolution, I want to
change this to 240 pixels per inch, so
| | 02:56 |
I'll go ahead and enter in 240.
And now, I'm ready to apply this change
| | 03:01 |
to my photograph, yet before I do,
there's one more option that you
| | 03:04 |
definitely want to turn off, it's this
option here, Delete Crop Pixels.
| | 03:10 |
I recommend that you almost always have
that off because what that will allow you
| | 03:13 |
to do is to crop your image yet if ever
you want to go back and include perhaps
| | 03:16 |
this portion of the image that we're
going to crop off, well it will be saved
| | 03:20 |
with this file and you can always access
it at a later point.
| | 03:26 |
If you turn this option on, what it will
delete, anything that is grayed out,
| | 03:30 |
beyond the confines of this crop area.
So, again, I recommend that you turn that
| | 03:35 |
option off, because it's almost always
better to have that flexibility if you
| | 03:38 |
ever want to go back and re-crop your
photograph.
| | 03:42 |
Alright, well, to apply this, we can
either press Enter or Return, in order to
| | 03:45 |
apply that crop, so I'll go ahead and do
that, here.
| | 03:49 |
An then last but not least, what I
want to do, is open up our Image Size
| | 03:52 |
dialogue, to look up our overall file
size.
| | 03:56 |
Well here if we go to Image> Image Size,
what we'll see in our dialogue is that we
| | 04:01 |
now have this five by seven image, at 240
pixels per inch.
| | 04:06 |
We have this file that's about six megs
or so.
| | 04:09 |
This will work really well.
I can then print this image out and
| | 04:11 |
deliver it to the client.
So here I'll just click Cancel, and on
| | 04:15 |
that note, we now know how we can use the
Crop tool in order to crop and re-size
| | 04:18 |
our photographs.
Now before I wrap up this movie, you may
| | 04:22 |
be thinking, well why not always use the
Crop tool?
| | 04:25 |
Well often the crop tool does work really
well.
| | 04:28 |
Yet there's one step that's missing.
If I click back on the Crop tool, you may
| | 04:32 |
notice that I don't have an Image
Interpolation option.
| | 04:36 |
What it's going to use is automatic.
And typically automatic works best.
| | 04:41 |
Yet there may be those situations where
you want to use something else.
| | 04:44 |
And in situations like that, using the
Image Size dialog can really help out.
| | 04:48 |
So, you can specify exactly what you
want to do, when it comes to re-sampling
| | 04:51 |
your photographs.
Also, I like to think of re-sizing not as
| | 04:55 |
an either or question, rather it's both
and.
| | 04:58 |
Both of these tools, the Image Size
dialog and the Crop tool, work really well.
| | 05:03 |
Well now we know how we can work with
those tools, I hope that this will help
| | 05:06 |
you out as you seek to effectively resize
your photographs.
| | 05:11 |
(BLANK_AUDIO)
| | 05:11 |
| | Collapse this transcript |
|
|
3. Adding Better Blur to Images and VideoModifying still images with the Blur Gallery and Smart Filters| 00:00 |
Here, we're going to take a look at a
great new feature which allows us to have
| | 00:03 |
more flexibility when we're working with
the three filters that we'll find inside
| | 00:07 |
of the blur gallery.
Now before we get to how we can work with
| | 00:12 |
this in new ways, let's talk a bit about
how we did this previously.
| | 00:16 |
Well, previously, what you would do is
target a layer, then you would navigate
| | 00:21 |
to the Filter Menu > Blur.
And then we'd select either Field Blur,
| | 00:26 |
Iris Blur or Tilt Shift.
Let's go ahead and try Tilt Shift just
| | 00:30 |
for demo purposes.
This would then open up this blur gallery
| | 00:34 |
and here we can customize the type of the
tilt shift blur that we wanted to apply.
| | 00:39 |
If you click in this center circle you
can drag this around to re-position it.
| | 00:44 |
We can change the amount of the overall
blur, and also some of the blur characteristics.
| | 00:48 |
We can control what's sharp and what's in
focus.
| | 00:51 |
And also, the transition area between
what's in focus and what isn't.
| | 00:56 |
Now once we've come up with our desired
effect, we would simply click OK in order
| | 01:00 |
to apply this.
Now, the good side about these different
| | 01:04 |
types of blurs that we find in the blur
gallery is that, they allow us to come up
| | 01:07 |
with some really creative effects with
our photographs.
| | 01:12 |
The downside, is that this is completely
un-editable.
| | 01:16 |
We can't change the blur, we can't change
its intensity or modify it in any.
| | 01:21 |
Way shape of form.
Well, now this new feature, it actually
| | 01:24 |
allows us to do that.
And let me show you how.
| | 01:28 |
Here I'll Cmd+z on a Mac or Ctrl+z on
Windows in order to undo what we just did.
| | 01:35 |
Rather than going straight to that blur
gallery, first thing we're going to do is
| | 01:39 |
target the layer, and then right click or
Ctrl click that layer.
| | 01:43 |
In this contextual dialog, you're looking
for Convert to Smart Object.
| | 01:48 |
Once you've selected that, you'll notice
that the icon will change.
| | 01:52 |
It will show you that this is now a Smart
Object Layer.
| | 01:55 |
And we can now apply those filters, as
Smart Filters, which gives us even more flexibility.
| | 02:01 |
So here, we'll go to our Filter> Blur,
and then we'll choose one of these types
| | 02:07 |
of blur.
And again, all three work, I'm just going
| | 02:10 |
to use Tilt Shift for demo purposes.
W'ell now here we have that same blur gallery.
| | 02:15 |
We can go ahead and customize this, and
I'm just going to customize this a little
| | 02:19 |
bit to create this effect.
And let's say that.
| | 02:22 |
That's what I want to do, we'll click OK.
Well, once I clicked OK, I realize, oh
| | 02:27 |
gosh, the blur is way too heavy.
I want to decrease the blur amount, well,
| | 02:33 |
now we can.
To do that, you'll notice that we have
| | 02:37 |
these icons here, a mask and also, the
blur gallery.
| | 02:40 |
I can click on the icon to turn that off
or back on.
| | 02:44 |
And if you double-click on the blur
gallery word, it will re-launch the blur gallery.
| | 02:49 |
Here I could then decrease that blur
amount.
| | 02:52 |
i don't want something quite that strong.
I'm going to go ahead and modify these a
| | 02:55 |
little bit as well.
And then let's say I'll bring a little
| | 02:59 |
bit back up there, and I think that's
pretty good for, at least for, for now.
| | 03:03 |
Once we have that, we'll go ahead and
click OK.
| | 03:07 |
Well, now that i've done that, I like the
blur better but I see something that I
| | 03:11 |
want to change.
I really want to bring into focus this
| | 03:15 |
guy down here in the lower right hand
corner who's about to cross the street.
| | 03:20 |
I kind of, like that element of the
photograph.
| | 03:23 |
Well we can do that by painting on the
mask.
| | 03:26 |
Here if we click into this mask for our
Smart Filter, the blur which we just
| | 03:29 |
applied, we can then choose the Brush
Tool.
| | 03:34 |
Let's do so by clicking on the brush in
the Tools Panel.
| | 03:37 |
Next, we'll go to the Options bar and you
want to choose a brush without any
| | 03:40 |
hardness and a pretty big brush.
Then I want to paint with black because I
| | 03:45 |
want to conceal the blur.
I want to hide this, I want to bring back
| | 03:49 |
the sharpness.
So, we'll just start to paint over this area.
| | 03:53 |
And what is so phenomenal about this, is
we can use that blur gallery to come up
| | 03:57 |
with some really creative results.
And then, we can hand paint in, how we
| | 04:02 |
want to modify that.
For example, the car isn't quite in
| | 04:06 |
focus, so I'll just paint it in, so now
it is.
| | 04:10 |
So now, I've created my own version of
this Tilt Shift Blur.
| | 04:14 |
And keep in mind this works with all of
those different types of blur effects
| | 04:18 |
that we'll find inside of that blur
gallery and you can really come up some
| | 04:22 |
really fascinating results.
Now last but not least what I want to
| | 04:27 |
highlight as well as you can start to
stack up the different filters that you apply.
| | 04:34 |
In addition to using these from the blur
gallery.
| | 04:36 |
Let me show you what I mean.
So if we click on the Image rather than
| | 04:39 |
the Mask, now we're targeting the image
here, we can go back to our Filter pull
| | 04:43 |
down menu.
Here I'll choose Noise> Add Noise.
| | 04:49 |
When we do this and when we Increase this
amount, what we're going to see is that
| | 04:52 |
we're adding noise to this area of the
image.
| | 04:56 |
Where the blur effect is being applied.
Now I've exaggerated the amount so that
| | 05:01 |
you can really see this, but what's
helpful with that is that when you're
| | 05:04 |
adding the blur, sometimes, at least in
my opinion, the blur's a little bit too
| | 05:07 |
Gaussian, or too smooth, too perfect.
So we could add a bit of texture into
| | 05:13 |
that by adding some some noise,
monochromatic noise and perhaps just a
| | 05:16 |
really small amount there and in doing
that if we add may be just 0.5 or
| | 05:20 |
something along those lines we can add
just a little bit of texture in there so
| | 05:23 |
that it emulates or simulates a little
bit more how it shift lens would work if
| | 05:27 |
were capturing an image on film.
In either way I just kind of like having
| | 05:35 |
a bit of texture there.
And then we can click OK.
| | 05:39 |
The great thing about stacking up these
different filter effects is that if you
| | 05:42 |
apply one and want to change it's amount,
again just double-click the name, and we
| | 05:46 |
could increase that amount.
Or we could go back and decrease it and
| | 05:52 |
then click OK.
If you decide that you don't like that at
| | 05:55 |
all and it doesn't really work for you,
well just turn it off by clicking on the
| | 05:59 |
eye icon and it will remove that effect
whatever it is.
| | 06:03 |
Whether it's adding noise or of course
working with blur.
| | 06:08 |
So in this way, you can see that this new
functionality, which allows us to take
| | 06:12 |
advantage of using Smart Objects, really
increases and expands the way that we can
| | 06:16 |
work with that blur gallery.
It allows us to have more flexibility and
| | 06:21 |
more creative control, as we seek to add
creative blur effects, to our photographs.
| | 06:27 |
| | Collapse this transcript |
| Adding a creative blur effect to video clips| 00:00 |
Here we're going to take a look at a
great new feature which allows us to use
| | 00:03 |
the different blur effects, which we'll
find in the blur gallery, and then apply
| | 00:07 |
those to our video files.
Well here you can see that I have a video file.
| | 00:14 |
And if we quickly scrub through this what
you'll notice is that this is a video
| | 00:17 |
portrait, and really there are two parts
to this.
| | 00:21 |
There's this shot here, and then there is
another shot.
| | 00:25 |
What I want to do is, I want to add a
little bit of visual interest by applying
| | 00:29 |
some sort of a blur effect to this video
clip.
| | 00:33 |
To do that we want to target the clip
that we want to work with.
| | 00:37 |
Next navigate to the filter pull-down
menu and here we'll choose Convert for
| | 00:40 |
Smart Filters.
In doing this, this will allow us to
| | 00:44 |
apply these blur effects in really
interesting ways.
| | 00:48 |
So, in this case, it's just telling us to
enable Re-editable Smart Filters, the
| | 00:51 |
selected layer will be converted into a
smart object, well, that's exactly what
| | 00:55 |
we want to do, so here, we'll just click
OK.
| | 00:58 |
Next, we'll navigate to the filter
pulldown menu.
| | 01:01 |
Now here, when we go to the Blur
category, you'll notice that all of these
| | 01:05 |
blur options are turned on.
And they're only turned on because this
| | 01:10 |
layer is now a Smart Object layer.
And when we can then do is use one of
| | 01:14 |
these options here from the Blur Gallery.
In this case let's go ahead and start off
| | 01:19 |
with Iris Blur.
Here I'll click on that option.
| | 01:22 |
And it will launch the blur gallery with
whatever frame I had previously selected
| | 01:25 |
by scrubbing to that on the timeline.
In this case what I want to do is just
| | 01:30 |
have the face in focus.
So I'm going to change the shape of this blur.
| | 01:35 |
And in doing that, I'll go ahead and
really focus in on the face and then
| | 01:38 |
increase the overall blur amount.
And then click OK in order to apply that.
| | 01:44 |
It will then apply that blur to the
entirety of this clip.
| | 01:47 |
If we click on the Play button, what
we'll see is that this will then play
| | 01:51 |
with this particular blur effect being
applied to it.
| | 01:56 |
We can also scrub through the timeline in
order to see how that will work.
| | 02:00 |
And here I'm going to move down the
timeline a little bit, and in doing that,
| | 02:03 |
one of the things that I notice, is that
when I get to the second clip, it doesn't
| | 02:06 |
really work, because this part of the
face, well it's out of focus.
| | 02:11 |
And I want that near eye to be in focus.
To change that, just simply double-click
| | 02:17 |
the word Blur Gallery.
That will then relaunch this gallery, and
| | 02:22 |
here I could then customize that.
So I could have more of this image in focus.
| | 02:26 |
In this case, more of the face.
And I could go ahead and modify that so
| | 02:29 |
that that then works a little bit better
with this photograph.
| | 02:33 |
I also think it works well to decrease
the overall blur amount so it's a bit
| | 02:36 |
more subtle.
So again, here just looking to find just
| | 02:40 |
the right amount there, and then click
OK.
| | 02:43 |
So, as you work with this, what's
fascinating is it allows you to soften
| | 02:46 |
certain parts of your video clip as you
can see here.
| | 02:50 |
Next what we want to do is just scrub
back to the front part of this video portrait.
| | 02:55 |
So I'll go to this area here to make sure
that this works as well.
| | 02:58 |
And to scrub to a different part of your
video clip, you just simply click on the
| | 03:01 |
play head needle which is right here.
And then drag, and here you can see again
| | 03:06 |
it's just softening this portion of the
image.
| | 03:09 |
Now as with all Smart Filters, we can
also hand paint on the mask.
| | 03:15 |
In other words if there's an area of the
image that we want to protect, say bring
| | 03:19 |
back the focus to, well we can just click
it in the mask.
| | 03:24 |
Choose the Brush Tool by clicking on that
in the Tools Panel.
| | 03:26 |
Next you typically want to work with a
brush without any hardness.
| | 03:31 |
And here I'll decrease my brush size, and
then I'm going to choose black, black to conceal.
| | 03:36 |
In this case it's going to bring back
some of the sharpness here.
| | 03:41 |
We can also work with brushes with lower
opacity, which will just, a little bit
| | 03:44 |
more subtly, bring back some of the
focus.
| | 03:47 |
So, in this way, you can start to
customize that.
| | 03:50 |
Now, if ever, you want to bring back the
Blur effect, and in this case, I'll paint
| | 03:54 |
with white.
And, I'll paint back in some of the Blur
| | 03:57 |
effect in this portion of our video clip.
The great thing about the smart filters
| | 04:02 |
is that we can always turn off the filter
altogether.
| | 04:05 |
Here's that before, and then here's the
after.
| | 04:07 |
And then we can, as we've seen
previously, can double click the word
| | 04:11 |
Blur Gallery in order to change the
overall intensity of that effect.
| | 04:16 |
Like with this video clip here, I think
it might be nice to have a little bit
| | 04:19 |
more of this out of focus.
And so I'm just going to bring that in,
| | 04:23 |
again just customizing this so that it
works really well, for this clip here,
| | 04:27 |
this segment of my video file, as well as
this later segment that we have over here.
| | 04:33 |
And in this case I think that that this
works well.
| | 04:36 |
So as you can see, this new feature which
allows us to take advantage of converting
| | 04:40 |
the video file to a smart object, and
then applying these different blur
| | 04:44 |
effects that we have, can really open up
some new and exciting possibilities as we
| | 04:48 |
seek to apply creative effects to our
video clips as well.
| | 04:54 |
| | Collapse this transcript |
|
|
4. Camera Raw ImprovementsA new way to leverage the power of Adobe Camera Raw| 00:00 |
Occasionally there is a new feature
introduced to Photoshop that literally
| | 00:04 |
changes the way that you work with
Photoshop forever.
| | 00:08 |
And in this movie I'm going to show you
just one of those features.
| | 00:11 |
It's a feature which allows us to apply
Camera Raw settings to any layer in
| | 00:15 |
Photoshop as a filter.
Typically when we work with Camera Raw,
| | 00:19 |
with think about using Camera Raw at the
beginning of our workflow.
| | 00:23 |
Now we can use it at any time.
Let me show you what I mean.
| | 00:27 |
Well here I have a portrait of a bride
and her daughter, and one of the things
| | 00:30 |
that I want to do is I want to warm this
image up.
| | 00:33 |
I also want to darken these highlights
that I'm noticing on the right hand side
| | 00:37 |
of the image, and I want to warm the
image up overall.
| | 00:40 |
Well in order to do that, we can do this
now with Adobe Camera Raw.
| | 00:44 |
To access that, click on a layer, any
layer, and then navigate to your Filter
| | 00:48 |
pull down menu.
Here we're going to select Camera Raw Filter.
| | 00:54 |
Now that this image is opened up in
Camera Raw, what we can do is zoom in on
| | 00:57 |
it a little bit, and here I want to make
a few corrections.
| | 01:01 |
The correction that I want to make is I
want to warm this file up.
| | 01:04 |
So, I'm just going to drag my temperature
slider to the right.
| | 01:07 |
Also, I want to bring down some of the
highlights that I'm seeing here, so I'll
| | 01:09 |
use the Highlights slider in order to do
that.
| | 01:13 |
To double-check my work, you can click on
this icon here, and as you do that, you
| | 01:16 |
can check for clipping.
In this case, you can see how I'm
| | 01:19 |
correcting the over-exposure on that part
of the image.
| | 01:23 |
You know, certain corrections are just
easier to make in Camera Raw.
| | 01:26 |
That's definitely the case when it comes
to clipping.
| | 01:29 |
So here, I'll go ahead and turn that
indicator off, now that I've corrected
| | 01:32 |
that part of the image.
We can make other adjustments as well.
| | 01:36 |
I'll increase the shadows, we can work
with contrast, clarity, you name it.
| | 01:40 |
Anything you can do in Camera Raw, you
can now do to a layer in your Photoshop document.
| | 01:45 |
Well in this case, I think this
photograph looks great.
| | 01:48 |
Press the P key, there's our preview,
before, press again, now here's after.
| | 01:54 |
Those are some pretty subtle yet
significant adjustments.
| | 01:57 |
And whatever you need to do, again you
can do here, and then simply click OK in
| | 02:01 |
order to apply those settings.
Now in this case, our photograph was
| | 02:06 |
improved really quickly, and we were able
to take advantage of the muscle and the
| | 02:10 |
strength of Camera Raw, and apply that
strength to a layer quickly and
| | 02:13 |
seamlessly without even really thinking
about it.
| | 02:18 |
Well, now that we've been introduced to
this whole idea of how we can work with
| | 02:22 |
Adobe Camera Raw as a filter, let's
continue to dig into this topic and let's
| | 02:25 |
do that in the next movie.
| | 02:28 |
| | Collapse this transcript |
| Using Adobe Camera Raw as a Smart Filter| 00:00 |
Being able to access Adobe Camera Raw as
a filter and apply Camera Raw settings to
| | 00:04 |
a layer in PhotoShop really opens up for
us a whole new way of working on our photographs.
| | 00:11 |
And one of the things it allows us to do
is to be even more flexible with how we
| | 00:14 |
process our pictures.
And that's definitely true when it comes
| | 00:18 |
to working with smart objects.
Now smart objects allow you to make non
| | 00:23 |
destructive edit, in other words, you can
always undo what you've done.
| | 00:27 |
Let me show you what I mean, and let me
show you that by way of showing you how
| | 00:30 |
we can use Adobe Camera Raw as a smart
filter.
| | 00:34 |
One of the things that you can do with a
layer in Photoshop is you can right-click
| | 00:37 |
or Control Click it, and then you can
choose Convert to Smart Object.
| | 00:42 |
Or you can simply target or select the
layer, and then navigate to your Filter
| | 00:46 |
pull down menu.
And here you can choose convert for smart filters.
| | 00:50 |
Both techniques do the same thing.
Here I'll choose Filter and then Convert
| | 00:54 |
for smart filters.
This dialogue will tell me that to enable
| | 00:58 |
re-editable smart filters, the selected
layer will be converted into a smart object.
| | 01:03 |
Great.
That's exactly what I want to do.
| | 01:05 |
So, here we'll go ahead and click Okay.
Well now that we've done that, we can
| | 01:10 |
then go to Filter and choose Adobe Camera
RAW, and here's where things get interesting.
| | 01:15 |
Let's go ahead and click on that in order
to open up Camera Raw.
| | 01:19 |
Well now that we're here in Adobe Camera
Raw, let's make some adjustments to this
| | 01:23 |
portrait of my daughter Anica, before
shes about to go rock climbing.
| | 01:27 |
Well, Annie really wished she had a
purple helmet.
| | 01:31 |
So I'm going to change the color of her
helmet.
| | 01:33 |
And an easy way to do that is to click on
this icon here and then the select the
| | 01:37 |
option for hue.
Next you can position your cursor over
| | 01:42 |
the image, and then click and drag up or
down.
| | 01:45 |
In this case we'll click and drag up in
order to change the color of her helment.
| | 01:50 |
And again, we can do any adjustment that
we want to do in Camera Raw, I'm just
| | 01:53 |
using this one to illustrate a point.
Well, after we've changed the color of
| | 01:58 |
the helmet, next, what I'm going to do is
click Okay in order to apply that to this photograph.
| | 02:04 |
Well, having done that, and having, let's
say, shown this photograph to my
| | 02:06 |
daughter, Annie, shes says, you know what
Dad?
| | 02:09 |
Purple's okay but could you ever make my
helmet green.
| | 02:13 |
Way out, no big deal.
All that we need to do is to double click
| | 02:16 |
the camera filter which is located
underneath our layer here.
| | 02:21 |
I'll double click that in order to reopen
Camera Raw.
| | 02:25 |
Next we'll select that tool once again,
the same tool that we select a
| | 02:28 |
previously, its a hue option there.
And then here what I'll do is go ahead
| | 02:32 |
and click and drag down.
And I'm going to make this a little bit
| | 02:35 |
more of a teal green color.
So as you can see, any adjustment that
| | 02:40 |
you make in Camera Raw is now completely
editable.
| | 02:44 |
In other words, it's non-destructive, and
you can make other adjustments as well.
| | 02:48 |
Let's make something that's a little bit
more normal.
| | 02:50 |
Here in the basic panel, what I want to
do is increase the contrast.
| | 02:55 |
As I increase the contrast, I'm also
going to increase the exposure.
| | 02:58 |
And then click Okay.
Now this adjustment, it isn't very good.
| | 03:03 |
It's over the top.
I went too far.
| | 03:05 |
Again no big deal.
Double click this slider here, that will
| | 03:08 |
bring you back to your Camera Raw
controls.
| | 03:11 |
And then I can dial this in so that it
looks much better.
| | 03:14 |
And we can do the same thing with any of
the controls or panels that we have here
| | 03:17 |
in Camera Raw.
Next I'm going to click Okay in order to
| | 03:21 |
apply these new settings to the
photograph.
| | 03:24 |
Now you may be thinking, alright, this is
great.
| | 03:27 |
We can now apply non-destructive Camera
Raw adjustments to our photograph.
| | 03:31 |
What's the catch?
Well the only catch is that whenever you
| | 03:35 |
convert a layer to a smart objectn, it
increases your file size.
| | 03:40 |
Now sometimes that increase in file size,
it's worth it.
| | 03:43 |
It's worth the tradeoff to have that
extra flexibility.
| | 03:46 |
So just be aware of that, that whenever
you're working with this particular
| | 03:49 |
technique, it is going to increase your
overall file size.
| | 03:52 |
But also it's going to give you that
extra flexibility, which sometimes can
| | 03:56 |
make all the difference in the world.
| | 03:58 |
| | Collapse this transcript |
| Using the Radial Filter to selectively brighten a photograph| 00:00 |
Here I want to highlight an exciting new
feature in Adobe Camera Raw, which is
| | 00:03 |
called the Radial Filter.
Now you can work with the radio filter
| | 00:07 |
when you're using Camera Raw as a
standalone application, or when you're
| | 00:10 |
running Camera Raw as a filter, as I'll
be doing here in this movie.
| | 00:15 |
An again, you can use it in both
situations.
| | 00:19 |
The Radial Filter allows us to adjust
specific areas of our image really quickly.
| | 00:24 |
And here I'm going to look at a couple
different photographs, so we can really
| | 00:27 |
learn how to use this particular tool.
Well to select the Radial Tool Filter,
| | 00:31 |
you can press the j key, or you can click
on this icon, here.
| | 00:36 |
And this is an iPhone photograph that I
captured of my youngest daughter, Elsie.I
| | 00:39 |
love her smile, her tongue's sticking out
in expression.
| | 00:43 |
But what I want to do is brighten up the
face.
| | 00:45 |
So you press the j key, or select the
tool, and then you make your way over to
| | 00:48 |
the controls on the right.
Here I'm going to increase the exposure,
| | 00:52 |
also my shadows.
Next, I'm going to simply click and drag
| | 00:56 |
over this area.
As I do that, you can see I have this circle.
| | 01:00 |
This is the area that will be affected.
Now, we can change that by simply
| | 01:04 |
hovering over it and clicking and moving
it around, or we can hover over one of
| | 01:07 |
these anchor points, and we can increase
or decrease the size of this area of influence.
| | 01:13 |
So, in this case, I'm just going to
position it over here face, and then, I'm
| | 01:15 |
going to brighten it up a little bit
more.
| | 01:17 |
If ever, you go too far, no big deal, you
can always bring that back down, so that
| | 01:21 |
you have the desired effect.
Well, let's say that you want to brighten
| | 01:26 |
another area of a photograph.
What if you have something a bit more complex?
| | 01:30 |
Well, let's take a look at one of those
examples, and to do that, I'll open up
| | 01:33 |
another image, in Adobe Camera Raw.
Alright, well now I have another
| | 01:38 |
photograph open of my daughter, Elsie and
one of our good friends holding her.
| | 01:43 |
And here again, what I want to do is
brighten up a few areas of the photograph.
| | 01:47 |
So, press the j key to select the Radial
Filter.
| | 01:49 |
Next, we have similar settings or we have
the same settings we used last time.
| | 01:54 |
An in this case I'll just click an drag
over this part of the image in order to
| | 01:56 |
brighten up the face.
Now if you want to have another area,
| | 02:00 |
let's say we want to brighten up Kim's
face here, what we can do is click an
| | 02:03 |
drag over that.
Now as we do that, what we can do is have
| | 02:08 |
unique controls for each setting.
If it's too bright there, well we can
| | 02:12 |
darken that one, or we can add more
contrast or saturation.
| | 02:15 |
Whatever you want to do.
And we can do this edit by edit.
| | 02:19 |
Another way to create a new edit is by
clicking on, New.
| | 02:22 |
Once you click new, you can go ahead and
click and drag over an area.
| | 02:27 |
Now let's say you click and drag over an
area like this right here, and then you
| | 02:30 |
decide that, know what, you actually
don't want that adjustment.
| | 02:34 |
Well how can you get rid of it.
Well, you can get rid of an adjustment by
| | 02:38 |
holding down the Option key on a Mac Alt
on Windows.
| | 02:41 |
You'll notice that the cursor changes
into a little pair of scissors, then
| | 02:44 |
simply click on that and it will remove
that adjustment from that particular area.
| | 02:50 |
All right, well, after having removed
that, I've decided that actually looked
| | 02:53 |
pretty good, so I'll go ahead and bring
that in.
| | 02:55 |
And essentially what we're doing here is
we're sort of adding lights where
| | 02:59 |
lighting in post production using this
Radial Filter.
| | 03:03 |
Now in this case, I think the image looks
a little bit better,yet i find that all
| | 03:06 |
of these overlays are a bit distracting.
Well you can hide those overlays by
| | 03:11 |
clicking on this icon or by using the
shortcut key, the v key.
| | 03:15 |
Let's go ahead and click on the icon to
hide all of those overlays.
| | 03:19 |
Next, if you want to view the before and
after, you can press the p key.
| | 03:23 |
Before I do that, I'm going to zoom in a
little bit, so we can get up close to
| | 03:26 |
this cute, adorable girl, here.
And now, I'll press the p key, there's
| | 03:30 |
before, now, here, is after.
Well, so far, so good, we're learning how
| | 03:34 |
we can use this tool, and really, what
we're doing, is just scratching the
| | 03:38 |
surface, there is so much more that we
can do.
| | 03:42 |
Let me open up one more image, so we can
talk just a bit more about how we can
| | 03:45 |
work with this tool.
Well now that I have another photograph
| | 03:49 |
open in Adobe Camera Raw, want to take a
look at how we can use the Radial Tool in
| | 03:52 |
a little bit of a different way.
This is a portrait of a famous musician.
| | 03:59 |
And what I want to do, is I want to make
this portrait better.
| | 04:02 |
I want to draw in the focus to the face.
So rather than adding light, what I want
| | 04:06 |
to do is actually darken the outer edges
of the image.
| | 04:09 |
Let's take a look at how we can do that.
Again, we'll press the j key or click on
| | 04:13 |
the icon for the Radial Tool.
Next I'm going to go ahead and reset
| | 04:17 |
these sliders by double clicking them.
If you double-click them, it will take
| | 04:21 |
them back to their default settings.
Then what I want to do, is I want to
| | 04:25 |
darken my exposure.
So I'm going to darken this significantly.
| | 04:29 |
Now at first this won't look good, but
just stick with me.
| | 04:32 |
Again, I'm going to go ahead an click an
drag over this area.
| | 04:35 |
So right now I'm darkening his face.
It doesn't look good.
| | 04:39 |
Yet if you scroll down to the bottom of
this dialogue you notice that you can
| | 04:42 |
dial in this effect so its on the inside
or the outside of the circle.
| | 04:47 |
What I want, is this effect to be on the
outside of the circle.
| | 04:50 |
Here I'll go ahead and click outside.
Now you can see that the darkening
| | 04:54 |
effect, it's darkening everything but the
face.
| | 04:57 |
Notice that we also have a feather
slider.
| | 04:59 |
If we decrease that feather slider, that
will give us a harder edge.
| | 05:04 |
Now in order to see that, though, we need
to turn off the overlay.
| | 05:07 |
Remember the shortcut for that?
It's the v key.
| | 05:10 |
Or you can always just click on this icon
here.
| | 05:12 |
All right.
Here we can see we have this really harsh
| | 05:15 |
edge, and if I change my exposure even
more, you can see how defined that is.
| | 05:19 |
Well, as we increase this feather amount,
it makes that softer and softer.
| | 05:25 |
If we press the p key, we can see here's
our before, now here's our after.
| | 05:28 |
Now this is obviously exaggerated, but
the great thing about Camera Raw, is that
| | 05:32 |
all that you need to do to fix this, is
to simply move your sliders.
| | 05:36 |
An what I'm interested in doing is just
darkening these outer edges just a bit,
| | 05:39 |
again, so there's more focus on the face.
Now, this may seem like a pretty subtle
| | 05:44 |
adjustment at this point.
Let me show you what it is.
| | 05:47 |
Here's before yet now here's after.
Yet, I think this makes this portrait a
| | 05:51 |
bit stronger and so now if you need to
bring back those overlays in order to
| | 05:55 |
modify the circle, remember that you can
press the v key to do so or you can click
| | 05:58 |
on this icon here and here we can further
customize this in order to change that
| | 06:02 |
shape so that we can control.
What area of our image is being effected.
| | 06:10 |
Now again, here we are just scratching
the surface, but I hope that by showing
| | 06:13 |
you these three images that its starting
to give you insight into how you can use
| | 06:16 |
this new powerful tool in order to work
on your photographs.
| | 06:22 |
And keep in mind, you can use any
combination of these sliders together.
| | 06:25 |
In order to work on a specific area of
your image.
| | 06:28 |
| | Collapse this transcript |
| Making multiple Radial Filter adjustments| 00:00 |
Now that you know a little bit about how
to work with the Radial filter, what I
| | 00:03 |
want to do is dig a bit deeper.
And I want to go through a bit of a
| | 00:06 |
workflow on this photograph here, in
order to show you a few more tips and
| | 00:09 |
shortcuts that you can use when you're
working with this tool.
| | 00:13 |
Alright, in this particular case, I
captured this portrait in open shade so
| | 00:17 |
the lighting is pretty even.
I want to make it a bit more interesting.
| | 00:21 |
And I want to do that with the radial
filter.
| | 00:24 |
You may remember that you can select that
tool by pressing the J key, or by
| | 00:27 |
clicking on this icon here.
And once you've made a selection of the
| | 00:31 |
tool, what you'd want to do is dial in
your controls.
| | 00:34 |
In this case, I'm going to increase my
exposure, decrease the highlights, and
| | 00:37 |
I'll just bring up the shadows a little
bit, as well.
| | 00:41 |
I'm also going to increase the overall
color temperature to warm things up a touch.
| | 00:45 |
Then, position the cursor over the area
you want to modify in this case the face,
| | 00:48 |
and click and drag out.
Here I'm going to do is just add some
| | 00:52 |
light to this portion of the image.
I also want to add some light here so go
| | 00:55 |
ahead and click and drag to add another
area.
| | 00:59 |
In this case, what I'm really trying to
do is just add a bit of a glow or focus
| | 01:02 |
to the subject.
In a sense, I'm lighting the subject
| | 01:06 |
after the fact.
Now, currently, we can't really evaluate
| | 01:09 |
this because of the overlays.
You may remember the shortcut to turn
| | 01:13 |
those off.
It's the V key.
| | 01:15 |
The V key allows you to show and hide the
overlays.
| | 01:19 |
Next, we want to press the P key, or
press on this icon, to see there's our before.
| | 01:23 |
Now, here's our after.
Some subtle yet very important improvement.
| | 01:26 |
And whenever you're making improvements
like this, and you're kind of pulled
| | 01:30 |
back, what you also want to do is zoom
in.
| | 01:32 |
There are a number of different ways that
you can zoom in.
| | 01:35 |
Perhaps one of the easiest is to press
Cmd plus on the Mac, or Ctrl plus on Windows.
| | 01:40 |
And, what you want to do, is just zoom in
here, so you can see the details or see
| | 01:43 |
the results.
As I click on the Preview button, now,
| | 01:46 |
here's the before and then here's the
after.
| | 01:49 |
I realize, I want to change this, just a
bit further.
| | 01:52 |
So, I'll bring back the overlays, by
pressing the V key.
| | 01:55 |
Next, what I want to do, is click into
this one, here.
| | 01:58 |
What I really want to do is just warm
that up a little bit more.
| | 02:01 |
And then add a bit of color saturation.
Just add a bit more color to the face.
| | 02:06 |
Well now that I've done that, the next
thing that I want to do is I want to
| | 02:09 |
create a Vignette.
So here I'm going to zoom out.
| | 02:13 |
A really easy way to zoom out so you can
see the whole image is to double-click
| | 02:16 |
the Hand tool.
That will then allow you to see the image
| | 02:20 |
in its entirety.
Next let's go back to the Radial filter.
| | 02:24 |
And what I want to do here is I want to
create an effect which goes all the way
| | 02:27 |
around the edges of this.
So it's darkening in the edges so the
| | 02:31 |
focus is really on the subject.
So, in order to do that, I'll first dial
| | 02:35 |
in my controls here, you can reset these
by dragging them, or by double-clicking
| | 02:39 |
those sliders, to take them back to their
default settings.
| | 02:43 |
And here, I'm going to decrease the
exposure.
| | 02:45 |
I'm going to really over exaggerate this,
so that you can see how this next
| | 02:49 |
shortcut works.
Well, what you can do, is you can go
| | 02:52 |
ahead and double-click on your image.
With the Radial filter selected, what it
| | 02:56 |
will do, is it'll apply that filter all
the way to the edge of the image.
| | 03:01 |
Here, again, I'm going to over exaggerate
the exposure.
| | 03:04 |
Currently, you can see that it's
darkening the middle of the image.
| | 03:07 |
Well that's exactly the opposite of what
I want.
| | 03:10 |
Now, you may remember, as well, that what
we can do it we can flip this around by
| | 03:13 |
going down here and clicking on this
option.
| | 03:16 |
Yet, there's a better way to do that and
that is by way of a shortcut.
| | 03:20 |
If you ever make an adjustment and it's
the opposite of what you want we'll just
| | 03:24 |
click the X key, think of X for exchange.
What it does is it flips that, so that
| | 03:30 |
now it's just darkening those edges.
Now, again, this darkening effect is a
| | 03:34 |
bit over the top, so here I'm going to
lessen that by increasing the exposure a
| | 03:37 |
bit so that I have a bit more of a subtle
darkening effect on the edges.
| | 03:42 |
Currently you can see that it's pretty
nice yet one of the problems is that it's
| | 03:45 |
also darkening the subject a bit.
Well the good news is that you can extend
| | 03:49 |
this beyond the confines of this document
window and sometimes this may be helpful
| | 03:53 |
to see if we really exaggerate things a
bit.
| | 03:56 |
As I increase this outside of this, you
can see how I can control that area that
| | 04:00 |
it's affecting.
In this way what you might need to do is
| | 04:03 |
to zoom out by pressing Cmd minus on a
Mac or Ctrl minus on Windows.
| | 04:08 |
And here I can dial this in so that I
have a vignette, that's where I can
| | 04:11 |
really control regard to where its
effecting the image.
| | 04:14 |
I can also move this around a little bit
as well.
| | 04:17 |
So I can dial that in.
Next I'll zoom that again and then I'll
| | 04:20 |
increase my exposure because remember I
just want a subtle effect.
| | 04:24 |
Alright well now that I've done this its
difficult to evaluate how the image looks.
| | 04:30 |
So here I'll double click the Hand tool
so I can see all the image.
| | 04:34 |
Next I'll click on the Radial filter so I
have all those options visible.
| | 04:38 |
Then I'll press the V key to hide the
overlays.
| | 04:40 |
Then I'll press the P key.
A lot of short cuts there, but there's
| | 04:43 |
some valuable ones.
I press the P key for preview or I click
| | 04:47 |
on this icon here.
Here is our before and now here is our after.
| | 04:52 |
I hope that it's helpful to see how you
can integrate this tool into your overall
| | 04:55 |
work flow in order to come up with some
phenomenal result.
| | 05:00 |
I also hope that you picked up a few of
those tips and shortcuts.
| | 05:04 |
Now if I went too fast as I was talking
about those, it may be helpful to go back
| | 05:08 |
and rewind and re-watch this movie, and
write down a few of those tips and
| | 05:12 |
shortcuts, so that you can then begin to
integrate those into your own workflow.
| | 05:19 |
| | Collapse this transcript |
| Automatic perspective enhancements with Upright| 00:00 |
Here, I want to introduce you to an
exciting new feature in Adobe Camera Raw
| | 00:03 |
and this new feature is called Upright.
Upright allows you to make perspective
| | 00:09 |
corrections to your photographs in more
efficient and effective ways.
| | 00:13 |
And, in order to really understand how
this feature works, what we're going to
| | 00:16 |
do, is working on three different images.
We'll start off with this photograph here
| | 00:21 |
that I captured of this interesting
concert hall.
| | 00:25 |
Now in this case, I was using a wider
angle lens.
| | 00:27 |
As a result, there's some distortion.
You can see the distortion on the sides
| | 00:31 |
of the photograph, how things are sort of
bending out.
| | 00:35 |
Lets take a look at how we can correct
that distortion using Upright.
| | 00:39 |
In order to access Upright, we need to go
to the panel, which allows us to make
| | 00:42 |
lens correction.
And that panel can be accessed by
| | 00:46 |
clicking on this icon right here.
Go ahead and click on that icon.
| | 00:50 |
Now the first step for working with
Upright is to go to the Pro File tab.
| | 00:55 |
In the Profile tab, what you want to do
is click on Enable Lens Profile Corrections.
| | 01:00 |
You want to have this on because it will
ensure that you achieve better results
| | 01:03 |
later when you're using Upright.
Now, if this option is grayed out because
| | 01:08 |
your file doesn't have the metadata
embedded in it, well that's no big deal.
| | 01:13 |
Just skip this step and make your way to
the next one.
| | 01:16 |
The next step is to go to the Manual tab.
Once you click on the manual tab, you'll
| | 01:21 |
see our Upright controls here as well as
some other manual controls underneath it.
| | 01:26 |
Well for starters, what are these upright
controls.
| | 01:29 |
Well the first one is A for automatic.
If you click on Auto what it will do is
| | 01:33 |
it will apply a balanced perspective
correction to your photograph.
| | 01:37 |
And in this case, these corrections are
phenomenal.
| | 01:40 |
Let me show you the before and after.
If you press the P key, that will show
| | 01:44 |
you the before.
Press it again, now here is the after.
| | 01:48 |
If you forget that shortcut you can
always click on this icon here to view
| | 01:51 |
the before and after preview.
Well as you can see it's really just
| | 01:55 |
correcting things so that all of my lines
look good.
| | 01:58 |
This image is so much stronger.
Now you can remove any of your Upright
| | 02:02 |
corrections by clicking on this icon
here, that will then disable those corrections.
| | 02:07 |
Well what are these other controls?
Well, the three other controls allow you
| | 02:11 |
to apply a correction if the horizon
isn't straight.
| | 02:15 |
Or perhaps if you want to apply vertical
and horizontal corrections.
| | 02:18 |
And then finally last but not least this
one allows you to apply all of them,
| | 02:22 |
horizontal, vertical, level, and
perspective corrections.
| | 02:26 |
Now, if I click on this, one of the
things you're going to notice, is that
| | 02:29 |
the image looks good, but it doesn't look
great.
| | 02:32 |
With certain images this will work well
in other situations like with this
| | 02:36 |
photograph if we click on auto I think
that looks that much better.
| | 02:41 |
Now after you've made some corrections
what you may want to do is customize it
| | 02:44 |
even further.
One way we could do that is to use the
| | 02:48 |
manual controls.
You want to go ahead and remove a bit
| | 02:51 |
more of the distortion.
I'm also going to change it's aspect.
| | 02:55 |
We drag this to the left, it'll stretch
things out.
| | 02:57 |
Drag it to the right, it'll make things
tall.
| | 03:00 |
Well here I'm going to do is just, add a
little bit of height to this photograph.
| | 03:03 |
I'll press the P key, here's my before,
now here's the after.
| | 03:07 |
After you're made multiple adjustments,
what you might need to do is to help
| | 03:11 |
Photoshop out.
You might need to click on this link here
| | 03:15 |
which is called Reanalyse.
This will help Photoshop to reanalyse the
| | 03:19 |
image with these additional adjustments
and then come up with even better results.
| | 03:25 |
Take a look at the photograph now, and
then I'll click Reanalyse.
| | 03:27 |
Here it goes.
And it may have been difficult to see but
| | 03:31 |
what it did was subtly corrected things
so that the photograph looks even better.
| | 03:35 |
Last but not least I want to brighten up
my corners, so I'll go down to my lens
| | 03:38 |
vignetting control here and I'm just
going to brighten those up.
| | 03:42 |
You can see how you can brighten or
darken the edges and corners of the
| | 03:44 |
photograph and I think that looks good.
We'll press the P key, there's our before.
| | 03:49 |
Press it again, here's after that allows
us to accomplish really professional
| | 03:54 |
results without a lot of effort and that
is the magic of Upright.
| | 03:59 |
Now the thing to keep in mind with
Upright, is as you start to use it,
| | 04:02 |
you're going to get really excited with
the results, yet sometimes, when you use
| | 04:05 |
it, don't forget to also use some of
these other controls.
| | 04:10 |
Because it's a combination of all of
these lens correction controls and
| | 04:14 |
sliders together which often will lead to
the best results.
| | 04:19 |
Let's take a look at another photograph.
Now let's go outdoors.
| | 04:22 |
We're going to click on this picture
here.
| | 04:25 |
This is a portrait that I captured of
Jack O'Neill, there he is on his Porch in
| | 04:28 |
his home in Santa Cruz California.
Jack invented the wet suit.
| | 04:33 |
He's an amazing person.
And I like this portrait, yet one of the
| | 04:37 |
problems with it, is my horizon line
isn't level.
| | 04:41 |
Here's where upright can help out.
Now before we just to upright though,
| | 04:45 |
remember what the first step is?
We need to go to the Profile tab.
| | 04:50 |
Here, I want to click onto Enable the
Lens Profile Corrections.
| | 04:54 |
You don't want to forget that important
step because it will ensure that the
| | 04:57 |
results later, will be that much better.
Next we'll go to the Manual tab.
| | 05:02 |
Here, I'm just going to apply this auto
correction, or I could apply the leveling
| | 05:05 |
feature, which just levels the photograph
out.
| | 05:08 |
Now in most situations I find that auto
just does a better job than all of the
| | 05:11 |
other ones because it gives you this nice
balanced perspective.
| | 05:16 |
Well in this case our photograph, it
looks great.
| | 05:19 |
I'll press the P key, here you can see
the before.
| | 05:22 |
Press it again, here is the after.
It's a subtle yet very significant
| | 05:25 |
improvement to this photograph.
Let's jump to one more picture.
| | 05:30 |
Here we going to click on this picture of
a good friend of mine who's a phenomenal artist.
| | 05:35 |
And here he is in his studio, and this
portrait it looks good but again you can
| | 05:38 |
see that, that the perspective is off,
it's leaning a little bit over.
| | 05:44 |
One of the ways you start to identify
issues in your photographs is to turn on
| | 05:48 |
the grid.
You can turn on an off the grid overlay
| | 05:52 |
by pressing the V key or, by clicking on
this icon here.
| | 05:57 |
Now when we do that we can also change
the grid size as well.
| | 06:00 |
An sometimes it's helpful just to have a
grid on to realize oh, you know what?
| | 06:05 |
I can kind of see, how this isn't level
or how there's some sort of perspective issue.
| | 06:09 |
Press the V key again to turn it off, or
click on this icon to turn off the
| | 06:13 |
overlay view of that grid.
Well, here what I'm going to do is simply
| | 06:17 |
click on the Auto button and in doing
that, it'll provide a nice correction so
| | 06:21 |
that everything is level and straight.
And the image just looks more balanced.
| | 06:27 |
And oftentimes what will happen is the
photograph will just feel better, it will
| | 06:30 |
be a little bit more easy to look at.
Here I'll press the P key.
| | 06:34 |
Here's before, an then I'll press it
again, an here's after.
| | 06:38 |
So as you can see Upright, this new
feature in Adobe Camera Raw, really is powerful.
| | 06:44 |
It's one of those features that you'll
want to start integrating into your
| | 06:48 |
workflow right away.
| | 06:50 |
| | Collapse this transcript |
| Using Upright in advanced ways| 00:00 |
Now that we have a good working
understanding of how to use the Upright
| | 00:03 |
tool in Adobe Camera Raw, what I want to
do here is dig a bit deeper.
| | 00:08 |
I want to take a look at two different
photographs, so that we can explore how
| | 00:11 |
we can achieve good results even when we
have difficult situations.
| | 00:16 |
And along the way, I'll throw in a few
tips as well.
| | 00:19 |
Well, here you can see I have a
photograph that I captured of a critique rack.
| | 00:24 |
And on this rack, I've set out all of
these different books which inspire me.
| | 00:28 |
Yet the perspective is just completely
off.
| | 00:31 |
And it's off because of the way that I
was standing, because I was close to the
| | 00:35 |
book rack.
Well, let's see if we can't level this
| | 00:38 |
out a bit, make it a bit more straight
and improve the overall perspective.
| | 00:42 |
To do that we're going to navigate to our
Lens Corrections tab.
| | 00:46 |
We want to make some corrections with
Upright.
| | 00:48 |
Yet before we do, it's always helpful to
go over to the Profile tab.
| | 00:51 |
And here we're going to click on Enable
Lens Profile Corrections.
| | 00:55 |
Next, we'll go to the Manual tab.
Well, here in the Manual tab, we've
| | 00:59 |
talked about the different Upright
Options that we have.
| | 01:02 |
And I've mentioned that typically the
Auto Option works best.
| | 01:06 |
Now, when I click Auto here, it doesn't
do very much, let me show you.
| | 01:10 |
Here's without any adjustment, and then,
here's with the adjustment.
| | 01:14 |
So it's trying to correct this, but again
it just can't figure out which line to
| | 01:17 |
actually follow.
And in this case, what we really need to
| | 01:21 |
do is we need to go over to this last
Option which is full.
| | 01:25 |
What this will do is it will apply this
correction, and it will apply corrections
| | 01:29 |
in a 3D perspective even if has to make
some pretty dramatic movements.
| | 01:33 |
So when we click on this Option, all of a
sudden we see that things have leveled
| | 01:37 |
out pretty significantly.
Let me change the scale here, so that I
| | 01:41 |
am going to zoom in on this and I am
going to zoom in on this so I can just
| | 01:43 |
see the book is here so I can really
focusing on those books.
| | 01:48 |
And as I do that we can see that we have
a pretty good perspective in this area of
| | 01:51 |
the photograph.
Now if we click on the Preview check box,
| | 01:55 |
you can see here is our before and how
here is our after.
| | 01:58 |
So, in certain situations where you
really need to make dramatic shifts,
| | 02:02 |
sometimes you'll find that this Full
Option, will just save the day, as it
| | 02:05 |
does here, with this particular
photograph.
| | 02:10 |
Now after you've made these adjustments,
you of course may want to customize them
| | 02:13 |
a little bit further, and in this case we
could just modify these in order to get
| | 02:16 |
this exactly how we want it.
Now this can't correct everything.
| | 02:21 |
In other words, you'll notice the wall in
the background is still crooked, as is
| | 02:24 |
this little bench behind the rack.
Yet for the most part, the important
| | 02:28 |
stuff, the lines on this particular rack,
where they're now level and straight, and
| | 02:32 |
they look much better.
Again, pressing the P key, here's our
| | 02:36 |
before, and then here's our after.
Alright, well, let's take a look at
| | 02:40 |
another exaggerated example.
I'm going to click on this next image I
| | 02:43 |
have here, Holiday Lights.
This is a photograph that I captured of
| | 02:46 |
one of my neighbor's house who rely likes
to decorate for the holidays.
| | 02:51 |
And here you can see I captured it with a
fish eye lens, so that we have a lot of
| | 02:55 |
distortion, a lot of bend.
Well, let's say we show this image to someone.
| | 02:59 |
They say you know what, I love the image,
but I just wish it was cropped in and
| | 03:02 |
everything was a bit more level.
Well we could go to Upright.
| | 03:07 |
We could try Auto.
We click on Auto and see how it would do.
| | 03:10 |
Well, Auto did an okay job.
Let me scale in here a little bit.
| | 03:14 |
But still things are leaning way back.
You can see how the house is leaning backwards.
| | 03:19 |
Here's before and here's after.
And as you look at that, you start to
| | 03:22 |
realize too, you know what, it's actually
worse.
| | 03:25 |
Well, what about full?
Well, try full, again, that didn't really
| | 03:28 |
solve the problem.
Well what have I missed here?
| | 03:31 |
Why hasn't this worked out well?
Well this hasn't worked out well because
| | 03:35 |
I neglected to go to Profile tab.
And without the Profile tab, all of these
| | 03:40 |
adjustments just won't work.
So if ever your in Manual, and working
| | 03:44 |
with the Upright controls, and it just
isn't working.
| | 03:47 |
Go back to Profile, double check, make
sure that you checked on this Option.
| | 03:51 |
Because in doing that, that can help you
to achieve better results.
| | 03:55 |
Well, here I'm going to go back to
Manual.
| | 03:56 |
I'm going to re-analyze the photograph,
now that I've done that.
| | 04:00 |
And as you can see, it's now corrected
this image in some pretty striking ways.
| | 04:05 |
Now with that Profile turned on, the lens
profile, here we can see there's our
| | 04:09 |
before, now here's our after.
Things are much more level.
| | 04:13 |
And again, we could make further
adjustments if we needed to.
| | 04:16 |
In this case I might just rotate this
over a little bit, or perhaps change the
| | 04:19 |
overall perspective just a touch here.
And now after having worked on these two
| | 04:25 |
images and the images in the previous
movie.
| | 04:28 |
I hope that you can now start to see how
you can use these upright controls in a
| | 04:31 |
large variety of situations in order to
make effective perspective improvements
| | 04:35 |
to your photographs.
| | 04:38 |
| | Collapse this transcript |
| Improved retouching with the Spot Removal tool| 00:00 |
Here we're going to take a look at, how
we can use some of the improvements that
| | 00:03 |
we'll encounter in the spot removal tool,
in order to more effectively retouch our photographs.
| | 00:09 |
You know, when it comes to removing
blemishes or retouching pictures in
| | 00:12 |
Camera Raw, it's a really effective way
to work, because it allows us to work
| | 00:16 |
quickly and to accomplish great results.
Now we'll be looking at different
| | 00:21 |
photographs and we're going to start off
with this beauty picture here.
| | 00:25 |
In order to access this spot removal
tool, you can click on it's icon here or
| | 00:28 |
press the B key.
Next you'll notice we have some controls.
| | 00:33 |
Now we've had this tool in previous
versions of camera raw, yet there are
| | 00:36 |
some new improvements.
And with this image, I want to highlight
| | 00:40 |
one of those improvements.
Alright, well lets zoom In on the
| | 00:43 |
photograph a little bit.
One of the things that I notice here that
| | 00:46 |
there are some little variations or
there's some freckles.
| | 00:49 |
Let's say that we need to remove those.
Well one easy way to visualize those
| | 00:53 |
areas, to identify the areas that you
need to work on, is to turn the option
| | 00:57 |
which is called Visualize Spots.
You can do that by clicking on the icon
| | 01:02 |
right there, or you can press the Y key.
I memorized that one because I think, why
| | 01:07 |
am I here, what do I want to do?
Oh yeah, I want to work on these small
| | 01:11 |
little areas.
Now this works well with a beauty
| | 01:14 |
portrait like this or a landscape.
Again, it just highlights the variation.
| | 01:19 |
Now, you have a slider which allows you
to dial in this perspective and again,
| | 01:22 |
it's just showing you where Photoshop is
noticing some sort of variation.
| | 01:27 |
And you know what, now that I notice
these little areas, what I can do, is
| | 01:30 |
then seek to remove them.
Here I'll just decrease my brush size a
| | 01:34 |
little bit, and I'm going to make that
perhaps about a six, an then I'm just
| | 01:37 |
going to click on these spots.
And when you click on something with the
| | 01:41 |
spot removal tool, what it will do is it
will automatically select an area for
| | 01:44 |
you, that it thinks will work well in
order to remove that variation.
| | 01:49 |
And you can see I'm just clicking through
the photograph, in order to try to remove
| | 01:52 |
those spots.
Now invariably you're going to need to
| | 01:55 |
turn off this view, right?
That's why I shared with you that shortcut.
| | 01:59 |
Press the Y key, to turn that view off,
press the Y again to turn it back on.
| | 02:04 |
Again, it's just a helpful way to analyze
your photograph to try to find those
| | 02:08 |
areas that you want to work on.
Of course, if you forget this shortcut,
| | 02:12 |
you can always just click on this icon
here as well.
| | 02:15 |
Now when you're doing this, eventually
you'll need to evaluate your work right?
| | 02:20 |
You want to see if this actually removed
those little areas.
| | 02:23 |
Well, in order to do that, let's turn off
the overlay by clicking on this icon, and
| | 02:27 |
then we'll click on our preview button.
Here's our before, and now here's our after.
| | 02:32 |
If I zoom in a little bit more, you can
see the before, and then now the after.
| | 02:37 |
So, again, I just wanted to highlight,
visualize spots because it allows you to
| | 02:41 |
identify areas you might want to work on,
in your photograph.
| | 02:45 |
Well, the spot removal tool has gotten
better in other ways as well and I want
| | 02:48 |
to show you that by working on different
photographs and we'll do that in the next movie.
| | 02:54 |
| | Collapse this transcript |
| Removing larger distractions with the Spot Removal tool| 00:00 |
In this movie, we're going to take a look
at an exciting new feature with the spot
| | 00:03 |
removal tool in Adobe Camera Raw.
You know, when we think of using the spot
| | 00:08 |
removal tool in Camera Raw, we think of
removing small spots, but now we can
| | 00:11 |
actually remove or reduce larger
distractions as well.
| | 00:15 |
Like with this portrait, there's this
little pole in the background, and what I
| | 00:19 |
want to do is remove that because I find
that it's distracting.
| | 00:23 |
So here I'll zoom in on the photograph a
little bit.
| | 00:25 |
And then what I'm going to do, is select
the spot removal tool.
| | 00:28 |
To do that, press the B key or click on
the Tool icon here.
| | 00:33 |
Next, what we want to change our brush
size, so position your brush near the
| | 00:36 |
area of the item that you want to remove.
Then you can press the right bracket key
| | 00:41 |
to make your brush bigger, the left
bracket key to make your brush smaller.
| | 00:45 |
You want your brush just a little bit
bigger than the area that you're working
| | 00:48 |
on, in this case, the pole.
Next I'm going to go ahead an click an
| | 00:52 |
drag over that.
Now if you didn't cover it entirely, well
| | 00:55 |
you can just go back as I'm doing here,
in order to cover this up.
| | 00:58 |
You want all of the blemish to be inside
of that little outline, then let go.
| | 01:03 |
Photoshop will automatically sample an
area in order to correct that.
| | 01:08 |
In this case it didn't work very good,
because it sampled an area where's
| | 01:10 |
there's some nails in the background.
No big deal, just click and drag this to
| | 01:14 |
a new area.
You can just move that so it looks really good.
| | 01:18 |
Well, what about other things?
Let's say, for example, we have this
| | 01:21 |
reflection, here.
Again, click and drag over that, and
| | 01:24 |
then, what you'll need to do, of course,
is reposition this, so that those lines
| | 01:27 |
line up really well.
So, as you can see, here, what you can
| | 01:31 |
start to do, is you can use this tool in
order to retouch larger areas of your photograph.
| | 01:37 |
Now this is a really simple example,
let's make things a little bit more
| | 01:40 |
complicated and let's do that by opening
up another photograph, in Camera Raw.
| | 01:46 |
Alright, well now I have another
photograph open in Camera Raw, and this
| | 01:49 |
is a photograph that we saw previously in
this chapter, yet we saw a version of
| | 01:52 |
this picture that had been retouched,
using the spot removal tool.
| | 01:57 |
Well here let's take a look at how we can
use this tool, in order to remove a lot
| | 02:00 |
of the distractions, some of the surfers
we see in the water, or some of the items
| | 02:04 |
we see here in the foreground.
Well in order to do this, we'll go ahead
| | 02:09 |
and press the B key to select the Spot
Removal Tool.
| | 02:12 |
Next I'm going to zoom in on this
photograph a little bit, and I'm going to
| | 02:15 |
zoom in by pressing Command Plus on a
Mac, or Control Plus on Windows.
| | 02:20 |
Now one of the ways that we can use this
tool, is we can make our brush smaller
| | 02:24 |
and we can just click and drag over a
small blemish, Photoshop will then auto
| | 02:27 |
sample an area, we can always move this
as we've seen before so that we have
| | 02:30 |
similar texture.
Other times what you might need to do, is
| | 02:36 |
just click and drag a little bit, and
again you can just go through your image
| | 02:39 |
relatively quickly to make these changes.
If you need to go back to an area you've
| | 02:43 |
retouched previously, you can just click
on the little icon there and then make
| | 02:46 |
the needed change again, so that the
texture just looks good.
| | 02:51 |
In this way we can make our way through
our photograph really quickly, just
| | 02:54 |
clicking and dragging or clicking on the
items that we want to remove.
| | 02:58 |
Now when it comes to sampling an area,
for example, let's say that what we want
| | 03:02 |
to do is remove a small little blemish,
let me see if I can find one around here,
| | 03:05 |
I'm going to go to the foreground, and in
the foreground, I have some trash here in
| | 03:08 |
the bushes.
So I'll make my brush a little bit bigger
| | 03:14 |
and I'm going to go ahead and click on
that.
| | 03:16 |
Now when I click on that, Photoshop is
trying to select an area in order to
| | 03:20 |
retouch this, it didn't automatically
find the best spot.
| | 03:24 |
Well we can press the forward slash key,
in order for Photoshop to choose a new spot.
| | 03:29 |
So here I'll press forward slash, and you
can see that it's just selecting or
| | 03:32 |
sampling different areas in order to try
to correct that area.
| | 03:36 |
Of course if it doesn't work, you can
always just click and drag and then
| | 03:39 |
choose your own area as well.
Now sometimes you'll want to use Heal
| | 03:43 |
that will blend things together better.
Other times you may want to use Clone.
| | 03:47 |
What clone will do, is it will add a
little bit more of a defined edge to what
| | 03:50 |
we're doing.
We can also click and drag over larger
| | 03:53 |
areas like this area here and in doing
that, we can have Photoshop try to select
| | 03:57 |
an area to clean that up, or we can go
back to healing as we had before, so that
| | 04:00 |
it blends that together a bit more.
Now if ever you're retouching an area,
| | 04:07 |
and part it doesn't look good, well you
can retouch on top of the area you retouch.
| | 04:13 |
In this way, many times it can help you
accomplish great results.
| | 04:17 |
Alright well let's move to this area over
here where there are couple of surfers
| | 04:20 |
about to start to go out into the water.
Well often if we try to do this with a
| | 04:25 |
bigger brush, in this case I'm just
going to paint over these areas, it
| | 04:28 |
doesn't always work well.
So here I'm going to do that, Photoshop's
| | 04:33 |
going to do its best to sample an area.
In this case it actually did work pretty well.
| | 04:38 |
If it doesn't work well, I got lucky,
what you may need to do is to delete that
| | 04:42 |
spot and then use a smaller brush.
In other words, you can just click on one
| | 04:47 |
of these little nodes or pins and then
press the delete key in order to remove that.
| | 04:52 |
Next, use a smaller brush, and often,
when you have a smaller brush when you're
| | 04:56 |
in areas where you have a lot of detail,
well that can help you achieve better results.
| | 05:02 |
Again in this situation, I got lucky, but
sometimes what you'll find is that having
| | 05:05 |
a smaller brush can make all the
difference in the world.
| | 05:09 |
Here I'll just bring this texture back
down this way.
| | 05:12 |
Alright just a few more things to do with
this image, I'm going to press the space
| | 05:15 |
bar key and then click and drag with the
Hand Tool.
| | 05:18 |
Notice there's a little telephone wire.
Here I'll make my brush nice and small
| | 05:23 |
and I'm just going to click over this and
we can remove all sorts of things as we
| | 05:26 |
start to think about how we can use this
tool.
| | 05:30 |
Sometimes they're lines, sometimes
they're larger blemishes you name it, you
| | 05:33 |
can start to remove it here with this
tool.
| | 05:36 |
So this is one of the tools you want to
start to experiment with, as you look it
| | 05:39 |
how you can retouch your photographs with
the Camera Raw spot removal tool.
| | 05:44 |
| | Collapse this transcript |
| Making linear retouching adjustments| 00:00 |
Alright, well, now that we have a good
understanding of how we can work with
| | 00:03 |
some of the improvements that we'll
encounter in the Spot Removal tool, what
| | 00:06 |
I want to do here, is dig a little bit
deeper.
| | 00:10 |
And, in particular, I want to highlight a
couple of shortcuts, which will help you
| | 00:13 |
to retouch or remove areas of your
photograph when they are in straight lines.
| | 00:19 |
For example, with this picture here.
This is a photograph that I captured of a
| | 00:22 |
local lake.
You may notice that the image looks nice
| | 00:25 |
except there are some spots up here in
the sky, and then there is this straight line.
| | 00:31 |
We'll how can remove that quickly.
Well, let me show you.
| | 00:33 |
Here we'll select the Spot Removal tool
by pressing the V key or by clicking on
| | 00:37 |
the icon here.
Next, just to visualize what we're
| | 00:41 |
going to see, let's press the Y key or
click on this Option, in order to turn on
| | 00:45 |
Visualize Spots.
Now here we do see there are some spots
| | 00:49 |
in the background.
To remove those, we already know how to
| | 00:51 |
do that.
We simply click or click an drag, in
| | 00:53 |
order to get rid of those small
distractions.
| | 00:56 |
What about a situation like this, where
we have a straight line that we want to retouch.
| | 01:02 |
Well, let's turn off Visualize Spots, you
don't need to use that, but sometimes
| | 01:05 |
it's helpful to see the small blemishes
like with this image, gosh, there are
| | 01:08 |
alot, there was some dust on my lens, so
I needed to clean those up.
| | 01:13 |
But, this was just something that was in
the image.
| | 01:16 |
And often you'll have situations like
this, like a power line or something
| | 01:19 |
which is distracting.
Here's a quick and easy way to fix that.
| | 01:24 |
What you can do is click at the start of
the problem.
| | 01:27 |
In this case I'll just click right there.
Next, re-position your cursor.
| | 01:31 |
Press the Shift key and then click again.
As you can see, what it did was it
| | 01:36 |
connected the dots, it connected my two
areas that I was working on.
| | 01:41 |
Now if we press the V key in order to
hide the overlay or click on this icon
| | 01:45 |
here, you can see how it completely and
seamlessly removed that line.
| | 01:51 |
Here I'll go ahead an click on our
preview.
| | 01:53 |
Here's before, and then now here's after.
So, when it comes to retouching or
| | 01:57 |
removing something which is in a straight
line, well this can really help out.
| | 02:02 |
There's also another technique that I
want to highlight here which sometimes
| | 02:04 |
can be helpful.
And that is, if ever you're retouching,
| | 02:08 |
what you can do, is you can always hold
down the Shift key and then click and drag.
| | 02:13 |
And that will allow you to create a
straight line.
| | 02:15 |
So not only can you connect two dots, you
can also just create straight lines.
| | 02:20 |
Here I'm going to remove all of the
retouching that I've done to illustrate
| | 02:23 |
this even more.
So, I'll click Clear All.
| | 02:26 |
Next, I'm going to hold down the Shift
key, and now I'm just going to click and drag.
| | 02:29 |
Notice that it's limiting this to a
horizontal straight line.
| | 02:33 |
I'll undo that, hold down the Shift key
and click and drag, now I'm clicking and
| | 02:36 |
dragging top to bottom and here I have a
straight line.
| | 02:40 |
So, again if you need a really straight
line which is virtical or horizontal,
| | 02:43 |
hold down the Shift key, click and drag.
Or if you need to connect two dots click
| | 02:47 |
once, hold down the Shift key and then
click again, and what it will do is
| | 02:50 |
connect those.
And it will create a straight line
| | 02:54 |
between those two points.
Well, now that we have seen this with one
| | 02:57 |
photograph, let me show you one more.
So I'm going to go ahead and open up
| | 03:00 |
another photo in Camera Raw.
And now that I have another photograph
| | 03:04 |
open in Camera Raw, I want to take a look
at how we could clean this image up.
| | 03:09 |
You notice that the backdrop of this
studio fashion photograph isn't really
| | 03:12 |
very good.
It's a little bit messy and we can see
| | 03:15 |
the top of it.
We can now quickly remove that with the
| | 03:18 |
Spot Removal Tool.
Click on this tool.
| | 03:20 |
Then I'm going to make my brush bigger by
pressing the right bracket key.
| | 03:24 |
Here I'll click once, and my top
left-hand corner, click again in the top
| | 03:27 |
right-hand corner, and it removes that
issue.
| | 03:31 |
I'll do the same thing along this edge of
the photograph.
| | 03:34 |
Make my brush a little bit bigger here.
Click once and then hold down the Shift
| | 03:38 |
key and then click again.
And what it will do is it will clean up
| | 03:41 |
this side of the image.
Now, if we press the V key to turn off
| | 03:44 |
the view of the overlay, we can look at
our preview, here's before.
| | 03:48 |
Now, here's after.
We've really cleaned up that background well.
| | 03:52 |
If there are other areas you still need
to work on, well, you can always go ahead
| | 03:55 |
and just paint over those areas as well.
In this case there are some other small
| | 03:59 |
blemishes in the background that we might
want to get rid of.
| | 04:02 |
So here I'm just moving around the image
and quickly making those changes.
| | 04:06 |
When you have blemishes or issues that
you need to retouch, which are linear or
| | 04:10 |
in a relatively straight line, you can
use these techniques in order to quickly
| | 04:14 |
make those corrections.
(BLANK_AUDIO)
| | 04:17 |
| | Collapse this transcript |
|
|
5. General ImprovementsCombining elements from multiple tabbed documents| 00:00 |
Here, I want to highlight a helpful new
feature in Photoshop, which will allow
| | 00:04 |
you to easily and quickly combine
multiple elements from different
| | 00:07 |
documents, together.
Let me show you what I mean.
| | 00:11 |
You know, there are a number of different
reasons why we might want to combine
| | 00:15 |
documents together, like in this example,
I have one document open, it's a
| | 00:18 |
background.tiff, and then, I have
another, which is portrait.tiff.
| | 00:24 |
What I want to do, is I want to bring the
photograph from this document to the
| | 00:27 |
other one because I want to change the
background.
| | 00:30 |
Well in order to do that, it's actually
really easy.
| | 00:33 |
All that you need to do is to select the
layer.
| | 00:35 |
Next, choose the move tool in the tools
panel then, click into your documents
| | 00:39 |
window, here, and click and drag whatever
you want to move, in this case the image.
| | 00:45 |
Click and drag this item to the tab,
then, once you see the image where you
| | 00:48 |
want to bring it, just let go and viola,
there you have it.
| | 00:53 |
In this case I'm just going to click and
drag to reposition this image into the
| | 00:56 |
location where I want it.
Now, with this particular photograph I've
| | 01:01 |
already created a mask in order to remove
the background here.
| | 01:04 |
And you can see that in the layers panel,
currently the mask view is disabled, but
| | 01:08 |
we can show the mask by holding on to the
shift key and clicking on that.
| | 01:14 |
When you shift click on a mask, it will
show or hide that mask.
| | 01:18 |
In this case you can see why I wanted to
bring this photograph into this image, so
| | 01:21 |
that it can have a new context or a new
background.
| | 01:25 |
Well lets say you want to bring more than
one layer over to a new document.
| | 01:29 |
How can you do that?
Well, let's navigate back to the tab
| | 01:32 |
which is titled, Portrait.tif.
Once you're in this document, you'll
| | 01:36 |
notice that I have two different text
layers.
| | 01:39 |
Well, if you want to bring more than one
layer, what you can do is click into a
| | 01:42 |
layer that you want to use then hold down
Command on a Mac, Control on Windows and
| | 01:46 |
then click into other layers as well.
You can click into as many as you want here.
| | 01:53 |
Next, what we want to do is select the
move tool and then click on the item that
| | 01:56 |
we want to drag into a new document, drag
it over to that tab and then let go, and
| | 02:00 |
voila, you now have those items over in
your new document.
| | 02:06 |
As you can see, this new feature really
is helpful because it allows us to
| | 02:09 |
combine together multiple elements from
different documents.
| | 02:13 |
| | Collapse this transcript |
| Improving masks with Minimum| 00:00 |
You want to highlight a new feature in
Photoshop which is especially helpful
| | 00:03 |
when it comes to fine tuning masks.
In the previous movie we took a look at
| | 00:08 |
how we could combine elements from
multiple documents together and here we
| | 00:12 |
have the result.
One of the things that we did is we
| | 00:16 |
turned on this mask.
If you hold on the Shift key and click on
| | 00:19 |
the Mask you can enable or disable the
view of the mask.
| | 00:23 |
Here is the image with the Mask disabled.
And then here's the image with the Mask
| | 00:27 |
turned on.
Now this looks pretty good, yet if we
| | 00:30 |
zoom in a little bit, one of the things
that you might notice is that there are
| | 00:33 |
some edges along the arms, and also along
the hair.
| | 00:37 |
Wouldn't it be nice if we could just
bring that mask in a bit?
| | 00:41 |
Well one way that you can do that is with
a filter which is called Minimum and Maximum.
| | 00:45 |
Here I'm going to navigate to my filter
pull down menu and then select other and
| | 00:49 |
then choose Minimum.
This will allow me to take that little
| | 00:53 |
bit of an edge off.
Now, in previous versions of Photoshop
| | 00:57 |
the radius was limited to whole numbers,
you could choose one, two , three, four,
| | 01:01 |
five and so on.
Well now what we can do is we can choose
| | 01:05 |
smaller increments and let me show you
what I mean.
| | 01:08 |
First though I want to describe how this
works in case you aren't familiar with this.
| | 01:13 |
Here as I increase the radius, you can
see how it's cutting into the mask.
| | 01:17 |
It's making that white area smaller.
Now as I move this to the left, it's
| | 01:20 |
going to make that area bigger.
Now one of the reasons why this is nice
| | 01:24 |
is because now we can increase this by
really subtle amounts.
| | 01:28 |
In this case it's just 0.2 pixels.
Here we can see it just subtly removing
| | 01:32 |
that edge.
As I bring that up it may be difficult to
| | 01:35 |
see, so I'll click on the Preview button.
Here's the before, and now here's the after.
| | 01:41 |
Take a look at the edges, along the arm
and also in the hair up here as I click
| | 01:45 |
on the before view, and now the after.
So Minimum an Maximum often helps us to
| | 01:51 |
fine-tune masks in different ways.
And in this case, this new ability to
| | 01:55 |
have this control which is more precise,
is very welcomed.
| | 02:00 |
We also can preserve different things.
We can either preserve squareness, which
| | 02:04 |
adds a little bit more of a, particular
shape to it, or, we can have a bit more
| | 02:07 |
of a soft shape.
With this particular amount, it's
| | 02:11 |
going to be hard to notice.
But as you get to more complicated masks.
| | 02:15 |
This ability to change the
characteristics of how you're working
| | 02:18 |
with that mask, can really help out.
Well in order to apply that filter.
| | 02:22 |
Simply click OK.
And then if we press the Cmd+Z keys on
| | 02:26 |
Mac or Ctrl+Z keys on Windows.
We can see here's our before.
| | 02:30 |
And then here's our after.
I'll zoom in even further so that you can
| | 02:33 |
see that up close.
Here's the before with that little bit of
| | 02:36 |
a white edge and there's after.
It's a subtle improvement but that subtle
| | 02:40 |
improvement can really help when it comes
to fine-tuning Masks.
| | 02:45 |
| | Collapse this transcript |
| Filtering isolation layers| 00:00 |
Here I want to highlight a new feature
that will encounter when it comes to
| | 00:03 |
working with layer.
It's called Isolate.
| | 00:07 |
What Isolate allows us to do is to focus
in on one or multiple layers at a time.
| | 00:12 |
In order to illustrate how this feature
works.
| | 00:15 |
I'm going be working with this layered
document.
| | 00:18 |
This is a portrait of a friend.
What I am going to do is click on the eye
| | 00:21 |
icons in order to turn on all the layers
in this document, and here you can just
| | 00:24 |
see I was having fun combining and
blending different layers together.
| | 00:30 |
As I click on all of these layers you can
see I have quite a bit.
| | 00:34 |
And you can see kind of how the overall
image came together.
| | 00:37 |
Well now that we have all these layers,
one of the things that often happens with
| | 00:41 |
Photoshop is that we just want to focus
in on one layer.
| | 00:45 |
We don't want to see all of the
distractions that we're seeing here.
| | 00:49 |
So one way that we can limit what we see
is with Filtering.
| | 00:53 |
Before I get to that, I'm going to first
double-click the tab to the panels above,
| | 00:56 |
in order to collapse those so that we can
see all the layers here that we have to
| | 00:59 |
work with.
Well, let's say that I want to work on
| | 01:03 |
this violin layer.
I'll click into that layer to select or
| | 01:07 |
target it.
Then with the Move tool, I can click and
| | 01:09 |
drag and move this around.
Yet sometimes it's nice to not view all
| | 01:13 |
of the other layers because there are so
many there, and because it's really distracting.
| | 01:19 |
Well what you can do is you can
Ctrl-click or right-click on the
| | 01:22 |
document, of the layer that you want to
target or isolate.
| | 01:27 |
In this case I'll Ctrl-click or
right-click right above the violin layer.
| | 01:30 |
Next, I'm going to choose, Isolate Layer,
what that will allow me to do, is to
| | 01:34 |
filter what I'm viewing here, inside of
my Layers panel.
| | 01:38 |
Now, all of those other layers haven't
disappeared, rather, in just turning on
| | 01:42 |
this Isolation filtering.
In this way, I can just, then, focus on
| | 01:46 |
this particular layer.
And in this case, I want to lower the
| | 01:49 |
opacity of the violin, because I think
that was a bit too strong.
| | 01:54 |
Now what about bringing back the view of
all of those other layers?
| | 01:57 |
Well, there are two techniques that we
can use.
| | 01:59 |
We can either click on this little toggle
switch there, in order to bring all of
| | 02:02 |
those back.
Or you can right-click or Ctrl-click on
| | 02:05 |
the image once again.
And here you can turn off Isolate Layers.
| | 02:10 |
And there's one more thing that I want to
highlight here.
| | 02:13 |
Let's say that we're working on another
layer.
| | 02:14 |
In this case, the fish layer.
Here, I'll right-click or Ctrl-click on
| | 02:18 |
that layer.
And then, I'll select Isolate.
| | 02:21 |
In this case, we can just work with this
layer.
| | 02:23 |
And we're just viewing that here in our
Layers panel.
| | 02:26 |
Well, what happens if we create a new
layer while we're in Isolate mode?
| | 02:31 |
Well, let me do that.
Here, I'm going to click on our New Layer
| | 02:33 |
icon, and I'll just name this new layer,
New.
| | 02:36 |
Well, now, you can see that because I
created this while I was in this Isolate
| | 02:40 |
Filter View, that one, is going to be
visible as well.
| | 02:44 |
Now when I'm ready to exit this.
This time let's go ahead and just flip
| | 02:47 |
this toggle switch, and that will then
bring back all of our layers.
| | 02:50 |
You can see we now have that fish layer
and that new layer above it as well.
| | 02:55 |
So as you can see from this new feature,
it's just a handy way to be able to focus
| | 02:58 |
in on a layer that you're working with.
It allows you to quickly filter what
| | 03:03 |
you're viewing in your Layers panel by
right clicking or control clicking on the
| | 03:07 |
image and by selecting Isolate Layer.
| | 03:10 |
| | Collapse this transcript |
| Improved saving to network file shares| 00:00 |
Here I want to highlight a new feature,
which will be relevant to you if you work
| | 00:04 |
in a network situation.
And what a network is is where you have a
| | 00:08 |
hard drive that is accessible by multiple
computers as you can see here.
| | 00:12 |
And in the previous version of Photoshop,
there was an issue when it came to saving
| | 00:16 |
your files to a network drive.
And when you lost that network
| | 00:19 |
connection, well that issue has been
solved.
| | 00:22 |
Let me explain, lets say that you're
working on this computer over here.
| | 00:26 |
You're working on this photograph of my
daughter Annie and one of her good friends.
| | 00:30 |
And you've saved this file to the network
hard drive.
| | 00:32 |
Well no big deal, all is well.
Yet that is of course until you try to
| | 00:36 |
save that file and then all of a sudden
for some reason, you loose network connection.
| | 00:41 |
Well if you're in the midst of saving
that file and you lose network
| | 00:44 |
connection, well what happens is you also
lose the image.
| | 00:49 |
And this obviously was a pretty big
issue.
| | 00:51 |
Well this issue has been solved and
here's how it's been solved.
| | 00:55 |
Now what happens is while you're saving a
file to a network drive what it actually
| | 00:59 |
does is it creates another version of
that image.
| | 01:03 |
And it doesn't replace the original until
it's completely finished saving that.
| | 01:07 |
Therefore, if you lose that network
connectivity, well, you lose the file
| | 01:11 |
that it was working on, your original
file will be just fine.
| | 01:15 |
In this way it's really solved this
issue, which in turn allows you to work
| | 01:18 |
to network devices with more reliability.
And more confidence that you won't lose
| | 01:24 |
your files.
| | 01:25 |
| | Collapse this transcript |
|
|
