Photoshop CS4 One-on-One: Advanced

Saturation, sharpen, and crop


Photoshop CS4 One-on-One: Advanced

with Deke McClelland

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Video: Saturation, sharpen, and crop

All right gang, it's time to complete this composition here, make it look its absolute best because it's right on the verge, but it's not quite there. The name of this image by the way is called Solid fill layer.psd and it's up to speed with everything we have done so far. Now at this point, I really wish the saturation levels associated with this orange were higher and I can't really make them higher. I can switch this orange layer from the Hue mode to the Color mode, but that's just obscene, why not just modify the Saturation value here that's associated with this dynamic fill layer and I can do that just by double-clicking on that dynamic fill layer icon right there.
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  1. 22m 25s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 9s
    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 5s
  2. 2h 44m
    1. Highlights, shadows, and midtones
    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 35s
    10. Previewing clipping
      7m 18s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 35s
    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 19s
    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 57s
    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 24s
    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 3s
    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 20s
    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 34s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 44s
    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
    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
    2. Establishing default formatting attributes
      4m 6s
    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
    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 52s
    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 43s
  12. 57s
    1. Until next time

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Watch the Online Video Course Photoshop CS4 One-on-One: Advanced
20h 57m Intermediate May 01, 2009

Viewers: in countries Watching now:

Photoshop is one of the world’s most powerful image editors, and it can be daunting to try to use skillfully. Photoshop CS4 One-on-One: Advanced, the second part of the popular and comprehensive series, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.

Recommended prerequisite: Photoshop CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

Topics include:
  • Using blend modes, adjustment layers, and layer styles
  • Organizing a layered composition so it is fluid and editable
  • Creating and editing type in Photoshop
  • Using blur effectively
  • Using adjustment layers to add color
  • Combining layers into a clipping mask
  • Working with Camera Raw
Design Photography
Deke McClelland

Saturation, sharpen, and crop

All right gang, it's time to complete this composition here, make it look its absolute best because it's right on the verge, but it's not quite there. The name of this image by the way is called Solid fill layer.psd and it's up to speed with everything we have done so far. Now at this point, I really wish the saturation levels associated with this orange were higher and I can't really make them higher. I can switch this orange layer from the Hue mode to the Color mode, but that's just obscene, why not just modify the Saturation value here that's associated with this dynamic fill layer and I can do that just by double-clicking on that dynamic fill layer icon right there.

It brings up the Color Picker dialog box, and then I could experiment with the saturation by just knocking it down like so until I come out with something that I like. But I hate this. It's too uniform, it's not working out for me at all. So I'm going to go ahead and return it to 80 because that's better that has worked out for hue anyway. Let's go ahead and cancel that and switch it over to Hue. We are doing hue, it doesn't matter what that saturation value is. So what, notice that by the way. I'll double-click once again on that Adjustment Layer icon. Here I'm inside the Color Picker dialog box and if I reduce the Saturation value, it just doesn't matter, but if I change the Hue value, it does matter.

So if I want to come out with some rosier coral, I could do that after the fact, after I have done all the brushwork, and I could change it to any color I want, purple coral, nice. But I don't want that, so I cancel it out. I'm happy with the color as it is. Well, that is to say, I'm happy with this layer as it is. I'm not happy with the Saturation levels associated with this orange and what I want to do is bring them out that much more, I want to make them really strong. So here is how we are going to do it, we are going to do it using a Hue/Saturation layer because if we try a Vibrance layer, which you might figure is the best way to go because most folks will tell you, oh, Vibrance is better than Saturation. You have got Saturation inside Hue/Saturation dialog box, you have got Vibrance and Saturation associated with the Vibrance function right there.

But notice, if you click on Vibrance, they are in the Adjustments palette and if you drag up this Vibrance value, yeah, you are going to increase the saturation levels that are associated with this orange coral, but everybody else is going to go through the roof as well including these blue areas of his fins and his sleeves and so on which were already as saturated as they need to be, and now they are over the top. So we don't want that and if I change this value to 0 here, we also don't want this different sort of Saturation value that's associated with Vibrance, it's different than it is, it's calculated in different fashion than it is inside the Hue/Saturation dialog box, but it's not color sensitive, the way Hue/Saturation is which it were, but it isn't because well, between you and me, I don't think much of Vibrance inside Photoshop CS4.

I feel like they could have done a much better job of implementing this feature, and instead they just shoehorned it in here and gave us two slider bars and that's it. Well, anyway, so instead of me just convincing here, let's go here and press the Escape key to get out of the Adjustments palette there and then I'll press Backspace or Delete to get rid of that layer, instead what we want is Hue/Saturation. So I'll go ahead and Alt+Click or Option+Click on the little Hue/Saturation dude right there, and I'm going to call this Up with red because I want more red inside of this image as you will see, even though it's orange, red is the color that we are going to affect. So I'll go ahead and click OK.

Then get yourself the Target Adjustment tool, go ahead and click on it to make it active and then find a nice orange bit of coral right there and drag on it to the right like so until you increase the Saturation value over on the right-hand side of the screen, upper right, until it turns to about +50, anything near that's going to be fine, and that ends up producing this effect here which is really nice. Now this is a very noisy image, you should know that. There are noises popping all over the place. So what, that is the way the image was captured. It is a noisy image, we have delivered that, but we don't want to sacrifice saturation because of that we want this to be a beautiful richly saturated noisy image.

All right so done, you can go ahead and close that palette right there, collapse it. Next, I'm going to go ahead and sharpen this image, so I'm going to click on the Background layer. You got to click on Background if you want to sharpen it because you need to sharpen the pixels. You can't sharpen an adjustment layer or a dynamic fill layer, that's not going to work for you. So go to that Background layer. Then I want you to go up to the Filter menu, choose Sharpen, and choose Smart Sharpen, Shift+F6 if you loaded Deke keys, and we are using Smart Sharpen as opposed to high pass because this is not a portrait shot, it does just have one person in it, but it's ultimately a high frequency shot with a lot of stuff going on and it's the coral that we really want to make nice and sharp.

So we don't want to affect Motion Blur, even though there is Motion Blur associated with this image. There is a little camera shake and he is moving and the shutter was open for longer than the light could accommodate. But you know what, who cares, we are going to move over to Lens Blur. That's what we really need for this image and actually oops! I have got Settings going. I want to switch from Camera shake to Random settings which are going to get us closer to the mark, not this much so. I don't want this much sharpening. I am going to take the Radius value down to 3 pixels and then it's up to you, I'm going to leave the Amount value at 400%, I mean that's over the top. I'm definitely over sharpening this image, but I want it to be tacked up and I want you to see just how much better this image is going to be after we are done.

So I'm going to leave it set to this ridiculously high setting here, 400%, Radius value of 3 pixels, Remove set to Lens Blur, I'm tempted to turn it on, but I'm not going to and then click OK. So leave More Accurate turned off. It ends up kind of settling down, did you see that the effects settled down there on screen from its original preview to the way it looks now. Sometimes it does that, and the settled down view is a little more accurate. All right, next, what I want you to do is let's go ahead and fade that effect because otherwise, we are calling attention to any chromatic aberrations in this image that is weird color stuff that's going on and there is weird color stuff galore in this image I suspect.

So let's go ahead and just for the sake of due diligence, press Ctrl+Shift+F, Command+Shift+F on the Mac to bring up the Fade command, or you can choose the Fade command from the Edit menu and let's change the mode to Luminosity. Just to make sure, we are only sharpening the luminous information inside this image. It doesn't look like it changed all that much, but still it's a good habit to get into and then I'm going to take that Opacity value up to 85%, I do want to back up the effect just a little bit but not too much, click OK. And then let's go ahead and crop him. I'm going to zoom out so that I can take in all of the image in a little bit of this gray pace board area, get the Crop tool and drag inside the image like so and I'm going to go ahead and rotate this boundary a little bit as well because I want him to be really the central focus of the shot even though I'm very interested in the coral as well.

But you notice, there is kind of this foggy area over here on the right side of the image, that is due to some sort of water getting into the lens or something was happening by this point of time. So it have a little bit of humidity in there showing up and might as well crop away what we can of that. Now if you don't want to get rid of any of your layer mask right there, if you want to keep it intact, then you would turn-on Hide and you would -- I would just mark over, I love that about the Crop tool. I have already complained about Vibrance. So I guess I should just leave crop alone.

Here we go, this looks good, and now I'm going to press the Enter key or the Return key on the Mac in order to apply that modification and here we go people, this is the true test of whether this image is any good. I'm going to send it to the Full Screen mode like so, and I'm going to zoom in a few clicks on it. There it is, the final version of the image. Yes, it's noisy, yes it's crunchy, yes, it's not the best underwater photograph ever captured. I'll acknowledge that in a heartbeat. But it once upon a time looked like this my dear friends. Oh my goodness! We had nothing practically but we managed to do a pretty fast job of it and turn it into -- this is just a masterpiece by comparison. Look at that, it's so good even though I had to bring Vibrance in the Crop tool a little bit.

I am so pleased with what Photoshop allows us to do and this is the kind of stuff we get when we obey a few rules like applying adjustment layers in a proper order from big changes to little changes and when we violate other rules like switching back and forth between different color models here inside Photoshop.

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