Viewers: in countries Watching now:
Photoshop Smart Objects explores the creation and use of Smart Objects, one of the most technically demanding tools in Photoshop. Deke McClelland walks through the four primary purposes of Smart Objects, and focuses on one of their most practical advantages, non-destructive transformations. This feature allows any object to be manipulated in any way, while still maintaining its original pixel information. Finally, Deke shows how to crop compositions without affecting a single pixel, even in masks. Exercise files accompany this course.
Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.
I saved my changes as Non-filter man. psd, found inside the 06_filter_masks folder and you can see that the Shadows /Highlights non-filter is applied with its default settings to the Smart Object so that it appears at the top of the filter stack. Now I am going to go ahead and zoom in for a moment here, so that we can see even after expanding the heck out of the shadow detail inside this image, way too much, I've gone way too far with this effect. But even so I am not bringing out the color noise, because the application of this Median filter right there. So I were to turn off Median for a moment, you could see quite a bit of color noise there in the jaw for example and extending into the chin.
So this is with color noise and without Median. This is with Median and without color noise. Notice throughout this whole thing I still have Color Halftone just sitting there. You know what? That's just kind of confusing. So I'm going to right-click on Color Halftone and I am going to choose Disable Smart Filter, because we don't need that there anymore. Now I'll go ahead and zoom out a little bit. The truth is that we do not need nearly this much shadow expansion inside of this image. So by default the Shadows/Highlights filter is something of a mallet, really.
It just goes in there and bludgeons the shadow detail like crazy, expands it, so it is much brighter and doesn't do anything for the highlights. I don't really care for the effect by default, but you can modify Shadows/Highlights to get some really great results. So that's what we're going to do. For starters, I wants you to double- click on the little slider icon right there to bring up the Blending Options dialog box and let's go ahead and change the mode from Normal to Luminosity, because again, by default Shadows/Highlights goes ahead and increases the saturation of the image in a way that I very much do not care for.
So I'm suggesting we choose Luminosity to get rid of any color modifications. That's going to restore the original color scheme inside the image. It's going to look quite drab now, but that's because we've over-brightened the shadows and in over-brightening the shadows what you end up doing is you flatten out some of the luminance information inside the image, which ends up lowering the saturation. It basically defeats the saturation inside the photograph. Anyway, click OK in order to accept the blend mode change. Then what I'd like you to do is double-click on Shadows/Highlights.
Now notice I want you to see something before I do this. If I were to drag High Pass and put it on top of Shadows/Highlights, they are both edge enhancement features, so it really doesn't matter which order you apply them in. So this what the image looks like with High Pass on top. I'll go ahead and press Ctrl+Z, Command+ Z on the Mac and this is what the effect looks like with Shadows/Highlights on top. So there is a difference. This is High Pass on top and this is Shadows/Highlights on top. There is a difference. It's just not what I would call a qualitative difference and it's pretty difficult to see.
So my point is before working on Shadows/Highlights, better to have Shadows/Highlights on top. If we're working on high pass, better to have High Pass on top like so. Because, let's say I am working on Shadows/ Highlights, I want to make some change to it. If I double-click in that filter name, I am going to get that irritating message that says you're just going to be able to see Shadows/Highlights and Median. You're not going to be able to see High Pass, because it's above the filter you're editing. And sure enough, click OK, High Pass gets turned off while I make my modifications. Better-- I'll go ahead and cancel out-- to put Shadows/Highlights on top or at least put the filter that you're working on top, if it doesn't make much of a difference what the filter order is.
Now if I was working on Median, it would make a big difference if it was on top. So I need to leave it down below in order to make my modifications. All right, so anyway, I am working on Shadows/Highlights. I am going to put it on top. Double-click on it in order to bring up the Shadows/Highlights dialog box and I am going to reduce the Amount value to 20%, something much more reasonable than what I had before and I am going to go ahead increase the Amount value to 10% like so. Then I'll click OK in order to accept that modification.
Now just to give you a sense of what the difference is, this is before with the over expanded shadows. This is after with what I consider to be the much better shadow and highlight information. So just go ahead and bring that up again. By increasing the Highlights value I'm darkening the highlights as you can see, and this is happening on an edge basis. So it's very much the same thing we were seeing with High Pass. That is where Photoshop is going in and adding light halos in the light edge and dark halos in the dark edge, except switch the equation around.
It's actually adding dark halos on the light edge and it's adding light halos on the dark edge and what that's ending up doing is reducing the contrast around the edges. So it's producing pretty much the opposite effect of High Pass at this point. Because I was happy that is with Highlights Amount value of 10%. Click OK in that case, and then to see what contribution the new settings make to the image in general, I'll turn off Shadows/Highlights, so this is how the image looked when we opened it in the previous exercise.
Then I'll press Ctrl+Z, Command+Z on the Mac to see the changes I've made with Shadows/Highlights. So even though they are theoretically opposite effects, Shadows/Highlights and High Pass, they worked very nicely together for correcting the luminance levels inside of this image.
There are currently no FAQs about Photoshop Smart Objects.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.