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Radius and tonal width

From: Photoshop CS4 One-on-One: Advanced

Video: Radius and tonal width

All right gang, let's review. We have this image right here called Tropical pathway.jpg. The Background layer is active. We go up to the Image menu, we choose Adjustments, we choose Shadows/ Highlights. Just a couple of sliders is what we see, so I'm going to turn off Show More Options for a moment. We'll just see these two, Shadows Amount, Highlights Amount. Just horrible defaults settings here, creating this dreadful effect that we're seeing on screen. So I would go ahead and take this Shadows value down to 30%, better, and elevate the Highlights value to 30% as well, to drop the highlights a bit. It looks okay, but as I say has Shadows/ Highlights written all over at this point.

Radius and tonal width

All right gang, let's review. We have this image right here called Tropical pathway.jpg. The Background layer is active. We go up to the Image menu, we choose Adjustments, we choose Shadows/ Highlights. Just a couple of sliders is what we see, so I'm going to turn off Show More Options for a moment. We'll just see these two, Shadows Amount, Highlights Amount. Just horrible defaults settings here, creating this dreadful effect that we're seeing on screen. So I would go ahead and take this Shadows value down to 30%, better, and elevate the Highlights value to 30% as well, to drop the highlights a bit. It looks okay, but as I say has Shadows/ Highlights written all over at this point.

I don't like that. I can mitigate the affect of the effect by turning on Show More Option. The reason this is just screaming Shadows/Highlights, I'm going to go ahead and zoom in on this a little bit, is because if you look closely you can see these weird edges sort of showing up around the steps and around other details inside the image. Let me see if I can point out a few. Notice this shaded portion of the railing right here, and notice this darkness right there, how there is this abrupt darkness at the beginning, and then it tapers off and becomes less dark, that is a function of Shadows/Highlights.

Detecting this edge and sort of scrubbing into the edge, a little bit, but not going all that far into it. All right. So we can disperse the effect a little bit, so that we don't have these weird edges showing up. It's another one of things where you can take a look at the image and go, yeah, this is it, this is exactly where it's happening, or you can just take any entire image at a time and go, something is wrong here. That's the impression it creates over time is just like, ha, this doesn't look write. All right. So turn on the Show More Options checkbox. Now you've got Tonal Width and you've got Radius for each of these options, for Shadows and Highlights. So Amount is just how much lightness you're adding to the Shadows and how much darkness you're adding to the Highlights. Tonal Width is what is Shadows and what is Highlights.

So in other words, at 50%, we're treating 50% of the image as Shadows, and then of course down here for Highlights, we're treating the other 50% of the image, that's 50% lightest colors in the image as Highlights. They actually drop off of course. They drop off gradually over that 50% range. But if you wanted to incorporate more colors into the Shadows, then you would increase Tonal Width. If you want to incorporate fewer Luminance Levels into the Shadows, then you would reduce the Tonal Width here. I'm going to take it down to 40%. That might require a little bit of an increase in the Amount value, which I think it does. So I'm going to take the Amount value for Shadows up to 40%, and I'm going to leave 30, 50 for Highlights, because that looks pretty darn good. You can play around with them if you want to.

Now, Radius is a little harder to understand, but Radius, it's that thing I was telling you about, that extra bit of darkness at the edge right there. It's because Shadows/Highlights is an edge detection filter, and this Radius value, which we'll see a lot when we look at Filter, such as Unsharp Mask and Gaussian Blur and those guys, Radius is all about evaluating and emphasizing or de-emphasizing the edges. So it's doing this sort of scrubby thing that's 30 pixels big, along this edge right here.

If you've got some tight details, like if you're applying this to a portrait shot, and you've got an iris or something that you're trying to brighten, then you want to bring this Radius value down. Otherwise, unless you've got some tight little detail that you're really trying to nail; and usually it's going to be an eye, usually it's going to be that kind of detail that you really want to narrow in on, but if you're looking at a landscape shot like this, you probably don't have that kind of detail that you're trying to isolate. So increase the Radius value. I would say you can take it as high as like 100.

I'll go ahead and take it up to 100 in fact. You want to make it big enough so that you're not seeing those edges anymore. There is a little bit of darkness still here. Anything that's left is going to be natural darkness that was actually part of the scene. So I'm going to take the Highlights Radius value up to 100 as well. If you pay close attention to what's going on inside the image, you're going to see the effects get dispersed. You can sort of safely ignore these last options. Well, at your peril actually, we should talk about them, but the thing is the defaults are okey-dokey. I would prefer that Color Correction by default was set to 0 and Midtone Contrast of 0 is good. But what that means is that we're not elevating -- Color Correction by the way is just Saturation, it's just another one of Photoshop's many words for Saturation. If you decrease the Color Correction value, you're going to decrease the Saturation of the overall image, and if you increase the Color Correction value, you're going to increase the Saturation of the overall image.

Now, this particular image, most images don't want any modification to Color Correction, in my opinion, most images want that left alone. This image, it's a tropical scene man, we want some heavy vegetation saturation. So I'm going to take this up to 60 and then Tab. Now, Midtone Contrast is going to emphasize the Midtones, which normally get kind of lost in the shuffle where this command is concerned. If you want less contrast, if you want to sort of send the Midtones away, then you would reduce this Midtone Contrast value right there, but that ends up creating sort of a leached effect that doesn't look very good.

Most images I think want a Midtone Contrast value of 0, but if you're feeling like you're losing a little bit of contrast there in those middle colors, those midtones, then go ahead and raise that value. You can take it really high, as high as 100. I'm going to take it up to 10, like so. Then Black Clip and White Clip, this is all about, if you also want to apply a levels adjustment on top of things. So you're trying to make your blacks darker and your whites lighter. So in other words, you don't quite have blacks or whites inside the image, then you would start clipping colors. You could raise this value like to 2%. Notice I'm going to clip away a lot of blacks now, which is exactly the opposite of what I want to do.

So I'm going to send that back to 0.01%, just leave it set to its defaults. I wouldn't monkey around with these too much, because they're just kind of weird. If you need to regain your blacks and whites, then you should use the Levels command to do it and you should use Levels before you come into the Shadows/Highlights command in the first place. All right. These are the settings I'm going to apply to this image. Click OK. Let's go ahead and zoom out a little bit, so that we can take in the entire scene, like so. Just to give you a sense of what we were able to accomplish, this is before, this is the original image. This is after, brighter, more vivid. We've got some more detail down here in the shadow areas, and a little less heat associated with these highlights on these railings.

Just to give you a sense of how that compares to the Curves Adjustment, I'll go ahead and press Ctrl+Z, Command+Z again; this is the original image now. Turn on low contrast. So that's what the Curves version of it looks like. Now certainly, I could have done better than that, but you know why, when Shadows/Highlights is so easy to use. So I'll turn off that layer and then press Ctrl+Z or Command+Z on the Mac to regain my Shadows/Highlights function. You can do that, isn't that amazing? This is the corrected version of the image. We have now discussed in great detail Levels and Curves and Shadows/Highlights here inside Photoshop. Tell you what, every once in a while I'll do this. I'll ask a question of the Peanut Gallery here.

Here is my question, would you like to see a Photoshop CS4 Color Adjustment series, that would just be devoted to the myriad Color Adjustment functions and we would take a look at not only all the adjustment layers that are available to us, all the Color Adjustment commands, but also a little bit of Lab, thrown in for good measure probably, and some Camera Raw correction as well, and I try to sort it all out. So I prioritize which things you really want to use and which stuff you can ignore, and that would be the series. That's what I'm thinking. It would be late 2009, mid to late 2009, but just let us know what you think.

I send you on your way to Chapter 14, in which we discuss Filters; those very filters that I was telling you are coming up, and we're going to learn how to sharpen details. Stay tuned.

Show transcript

This video is part of

Image for Photoshop CS4 One-on-One: Advanced
Photoshop CS4 One-on-One: Advanced

218 video lessons · 23837 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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