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Photoshop is the world’s most powerful image editor, and it’s arguably the most complex, as well. Fortunately, nobody knows the program like award-winning book and video author Deke McClelland. Join Deke as he explores such indispensable Photoshop features as resolution, cropping, color correction, retouching, and layers. Gain expertise with real-world projects that make sense. Exercise files accompany the course.
Download Deke's free dekeKeys and color settings from the Exercise Files tab.
All right, I've gone ahead and zoomed- in on this image, my apologies for that, but we need to get face-to-face with me so that we can deal with the many features that await us with impunity. I've gone ahead and saved the results of the previous exercises, the flipped photograph.jpg and over the course of the next few exercises, I'm going to be showing you how to work with these guys right here the toning tools which by default have a keyboard shortcut of O, notice that. I've gone ahead and switched one of them though, the Sponge tool for N, in that way you can cycle back and forth between the Dodge tool and the Burn tool which you will do when you're using them quite a bit just by pressing the O key.
So here's how they work. The Dodge tool brightens details as you paint over them. The Burn tool darkens details and the Sponge tool compensates for the two of them and the reason is the Dodge tool tends to add saturation as a rule, it doesn't always do that, but as a rule it adds saturation as you paint. And the Burn tool tends to deplete saturation and so the purpose of the Sponge tool is to by default remove saturation that's added by the Dodge tool, but you can also set it to add saturation that gets removed by the Burn tool and we'll see how all of these features work, but before we start working with them, I want you to meet this guy right here.
He's the History Brush. Don't worry about the Art History Brush tool. It's a goofy tool. I doubt you'll ever use it. It just garbles up your image. The History Brush tool on the other hand is very, very useful. What it allows you to do is unpaint. So after you get done dodging or burning, if you want to touch up an area that you messed up then can erase it back to its original appearance using the History Brush. But in our case if I were to just start painting with the History Brush here then I'll go ahead and increase the size of my brush by pressing the right bracket key.
If I start painting, I'm going to get something that I might not have expected which is the flipped version of my image because I didn't close this file and then open it. I just went ahead and saved of the changes while keeping the file open and so if I go to the History panel and that's what the History Brush is always sourcing is the information inside the History panel. It will see that the source for the History Brush that is what the History Brush is painting back into replace is the original Man in mirror.jpg file, the flipped version of the image.
So it's painting from this state right there because Photoshop automatically creates a snapshot when you open the image. So what we need to do before we begin painting like crazy with the Dodge tool because as soon as you start painting with the Dodge tool, you're going to fill up the History panel with one Dodge tool operation after another and then you're not going to be able to get back to first flipped state right here, this Flip Canvas Horizontal state, because it'll be forced off the list after 20 operations by default. So what I recommend we do as opposed to increasing the number of operations in the Preferences dialog box, but if you do that then you're just going to end up causing Photoshop to remember more in memory which isn't necessarily very productive.
Instead, I recommend you get in the habit of managing your history and we're going to do that by clicking on this Snapshot icon. So get back to the Flip Canvas Horizontal state if you're working along with me and then drop down to the little camera icon and Alt+Click on it or Option+Click on it on the Mac and call it flipped original or something like that so that we can come back to it anytime we want, click OK and then I want you to click this little box in front of it to set that as the source. And then if I decide to paint inside of the image, I'm painting back to this state as opposed to the flipped state and we're good to go.
All right, now we've got our eraser protection, right ready and waiting for us. We're now ready to begin dodging the image starting in the next exercise.
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