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Shadows/Highlights in depth

From: Photoshop CS5 One-on-One: Advanced

Video: Shadows/Highlights in depth

All right, I am still working inside that same Dead calm.jpg image, the only thing that I have done incidentally is jump the image to a new layer and apply the Shadows/Highlights command which is available under the Image Adjust submenu. All right, so I have applied a Shadows amount value of 10% and a Highlights amount value of 50%, but we need more control obviously. Turn on the Show More Options check box in order to reveal lots more options inside of this dialog box. So this is one of those classic struggles by the way between a product manager at Adobe and an engineer at Adobe.

Shadows/Highlights in depth

All right, I am still working inside that same Dead calm.jpg image, the only thing that I have done incidentally is jump the image to a new layer and apply the Shadows/Highlights command which is available under the Image Adjust submenu. All right, so I have applied a Shadows amount value of 10% and a Highlights amount value of 50%, but we need more control obviously. Turn on the Show More Options check box in order to reveal lots more options inside of this dialog box. So this is one of those classic struggles by the way between a product manager at Adobe and an engineer at Adobe.

The engineer wants to give you every single option imaginable, and the product manager says, no, that's going to overwhelm everybody, let's go ahead and just show them these options, then the compromise is this Show More Options check box. So you can decide which way you want to go. Well, where this particular command is concerned, the engineer had it right. You want to see everything, even though it's overwhelming, you want access to these options, and I will show you how to approach them. The first thing you want to do is get the heck rid of this Color Correction setting.

I don't know who thought this was a good idea, but elevating the saturation of the colors to 20% by default is a very bad idea. So go ahead and take that value down to 0 and you get rid of the guy's sunburn. Now of course what we have is some theoretically less saturated colors than we did before at the very outset. So we'll turn Off the Preview check box so we can see what this image looked like originally. Turn it back On, it looks like we are really pounding down the colors in the image because we are reducing the brightness of the Highlights to 50%, we are going so far with our correction.

However, this turns out to be a good thing over the long haul. The next thing you want to do is check out these additional sliders that you have for Shadows and Highlights. Notice that they're same three sliders repeated in both locations. So we have them out which we have already adjusted. In that amount value you just adjust to taste, just decide what looks good inside of your image, and you can always come back if you get done adjusting the other settings and tweak the amount values as well. The next option is Tonal Width, and you may recall these very same options, Amount, Tonal Width and Radius.

When we were working inside the Advanced Settings in the Smart Sharpen dialog box, however, here they have a lot more practical application. So Tonal Width determines what are Shadows. So in other words you could increase the shadow range to include everything inside the image to some degree or other. So basically black is going to be an absolute shadow, white is going to be somewhat considered, it's going to taper off across the entire range. If the shadows are the big issue inside the image; where our image is concerned shadows aren't a big issue, I am just going to leave it set to 50%.

If Highlights are a super-big issue for us why then I could increase the range of Highlights, and notice when I do, because I have such a big Amount value going that I am effecting more of that image. So I am darkening basically even the midtones inside of the image to some extent or other. Now what I am going to tell you is when in doubt, leave the Tonal Width value set to 70% a piece, if you want to adjust them, go ahead and try it out, see what you come up with. In the case of this image, I am going to leave them each set to 50%.

So that we are not trying to basically do double-duty, where any specific luminance level is concerned. In other words, if we were take that Tonal Width too high to 100% for example, there are some luminance levels here that not only are we brightening a little bit using this 10% Shadows option, but we are also darkening them using this 50% Highlights option, and that seems to me a little bit of overkill. So I'll go ahead and set that to 50%. Radius is harder to understand, however, it's exceedingly important and this is where this command proves itself to be a filter.

Remember, when we were working with Unsharp Mask and Smart Sharpen and things like Median and Gaussian Blur and all those commands they all have Radius values because they are basically scrubbing through the pixels inside the image and comparing those neighboring pixels to each other in order to come up with a result. Well, that's what's happening inside Shadows/Highlights as well, we are comparing neighboring pixels in order to elevate the shadows and downplay the highlights. So what you want to do is you want to try to get rid of those halos to whatever extent possible because it's that Radius value there that's responsible for that halo that we are seeing bouncing off the horizon line and you don't want halos, if you can avoid them, because it just makes the scene look really weird.

It's basically what it comes down to, if all of a sudden you've got the sort of flares coming off of a person's eyes or off their cheeks or something along those lines. So what I recommend you do is you raise the Radius value basically as far as you can and still get decent results out of it, because as you raise that Radius value you are going to displace those halos. They going to get bigger, less noticeable, however you may also lose the effect inside of small details because your Radius value is too big essentially to fit inside of those details.

Well, our Shadows modification is pretty subtle, so we can go with a high Radius value, that's what I'd suggest. I am going to take it up to a 100. We do want to raise the Highlights value as well and you just want to try some different Highlights values and see what you come up with. Notice if I take the value too high, really not getting much of an effect out of it anymore, I'll turn Off the Preview check box, there is the before, there is the after. So it's a more subtle effect than it was. If we take this Radius value down, we can get into some of these smaller details, however, we are also creating kind of a weird, fake reality scene here.

If that's what you want, if you want that kind of height and reality effect, but it's not going to look super-believable then that's fine. It's going to give the image a kind of magic quality I guess, but if you want something more naturalistic you want to take this Radius value up. I am going to split the difference here. It starts of as 30, by the way, which I think is too low. I am going to take it up to 50 pixels. So not quite as high as a 100 but you know a fraction of the way there at any rate. Then dropdown to Midtone Contrast. Now if you want the scene to sort of have a flat look to it then you can leave the Midtone Contrast value alone.

Notice by the way, I want you to see here, thanks to the fact that I adjusted that Radius value, even knocking it from 30-50. We are not getting nearly as noticeable of the horizon halo. So this halo back here is still there and it's still evident if you look forward. However, I think it's a lot less obvious. Anyway, I am going to take my Midtone value up, and what I recommend you do is you press Shift+Up Arrow, just to take it up in 10% increments and take it to taste until you feel comfortable with the effect that you are getting.

At 60% I think we are getting a really striking effect out of this filter. I think the scene looks great, actually you could take it down if you want to, if you want to flatten the scene, I think that's of course craziness, I don't know why you would do that, that looks ugly and it almost always does. But again up to you, I am going to take it up to 60, as I said. You also have control over how much of the image is getting clipped. I would leave these values alone, just let Photoshop do its thing because you don't want to clip your shadows and highlights anymore than you have to.

So as you can see here by default you are only clipping a-hundredth of a percent of the shadows and a-hundredth of a percent of the highlights as well. So very negligible. Anyway, these are the values I suggest where this image is concerned, I will go ahead and click OK in order to accept that modification and just so you can see what we have managed to do here. This is the before version of the image, just brightest heck by comparison, quite washed out and this is the much more sculptural intense effect as a result of a careful application of the Shadows/Highlights command.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Advanced
Photoshop CS5 One-on-One: Advanced

247 video lessons · 32837 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 2s
    1. Welcome
      2m 1s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 6s
  2. 1h 5m
    1. What you can do with Photoshop
      1m 46s
    2. The mission-critical eyes
      2m 44s
    3. Copy Merged and Paste in Place
      6m 52s
    4. Sharpening details to match
      4m 34s
    5. Masking eyes
      9m 22s
    6. Working with clipping-mask layers
      9m 5s
    7. Shading with layer effects
      8m 10s
    8. Color and highlight effects
      4m 2s
    9. Refining layer masks
      5m 43s
    10. Fabricating the highlights in the pupils
      7m 33s
    11. Using a merged copy to sharpen
      5m 34s
  3. 2h 14m
    1. Highlights, shadows, and midtones
      1m 16s
    2. Introducing the Auto commands
      7m 23s
    3. Adjusting Cache Level settings
      6m 8s
    4. Reading a channel-by-channel histogram
      6m 21s
    5. How the Auto commands work
      5m 22s
    6. Auto Tone, Auto Contrast, and Auto Color
      7m 7s
    7. Blending the Auto results
      4m 4s
    8. Introducing the Levels command
      6m 15s
    9. Using Levels as an adjustment layer
      3m 12s
    10. Applying custom Levels adjustments
      6m 8s
    11. Understanding the gamma value
      7m 39s
    12. The futility of Output Levels
      2m 56s
    13. Selections and adjustment layers
      5m 48s
    14. Opening up the shadows
      3m 40s
    15. Previewing clipped pixels
      4m 51s
    16. The black, white, and gray eyedroppers
      5m 7s
    17. Gray card tips and tricks
      6m 5s
    18. Making channel-by-channel adjustments
      7m 29s
    19. Introducing the Curves command
      7m 44s
    20. Curves dialog box tricks
      7m 16s
    21. Curves adjustment layer tricks
      5m 45s
    22. Correcting an image with Curves
      5m 32s
    23. Filling in the highlights
      5m 42s
    24. Neutralizing casts and smoothing transitions
      5m 37s
  4. 1h 46m
    1. The art of enhancing edges
      1m 26s
    2. How sharpening works
      6m 2s
    3. The single-shot sharpeners
      6m 7s
    4. Introducing Unsharp Mask
      6m 19s
    5. Radius and Threshold
      6m 24s
    6. Sharpening colors vs. luminosity
      5m 56s
    7. Gauging the ideal settings
      8m 59s
    8. Unsharp Mask vs. Smart Sharpen
      7m 1s
    9. Using the Remove settings
      9m 30s
    10. The More Accurate checkbox
      6m 8s
    11. Saving your Smart Filter settings
      5m 31s
    12. The Advanced sharpening settings
      7m 52s
    13. Accounting for camera shake
      6m 18s
    14. Sharpening with the Emboss filter
      6m 43s
    15. Sharpening with High Pass
      9m 23s
    16. The new and improved Sharpen tool
      6m 22s
  5. 1h 34m
    1. Edge's evil twin: noise
      1m 12s
    2. Color vs. luminance noise
      7m 21s
    3. Reducing color noise
      7m 45s
    4. Reducing luminance noise
      4m 59s
    5. Relegating an effect to the shadows
      6m 27s
    6. Switching between layer and mask
      6m 59s
    7. The Dust & Scratches filter
      4m 56s
    8. Adjusting shadow saturation
      5m 52s
    9. Combining High Pass with Lens Blur
      6m 57s
    10. Masking a layer of Lens Blur
      7m 34s
    11. Painting away High Pass sharpening
      8m 22s
    12. Building up a noise pattern
      6m 40s
    13. Converting noise to texture
      4m 24s
    14. Bleeding colors into paper
      6m 16s
    15. Matching different noise levels
      8m 31s
  6. 1h 32m
    1. We are the stuff of light
      1m 24s
    2. Applying automatic lens correction
      5m 53s
    3. Introducing Shadows/Highlights
      3m 44s
    4. Shadows/Highlights in depth
      7m 59s
    5. Creating a "bounce" with Gaussian Blur
      4m 43s
    6. Sharpening on top of blur
      7m 3s
    7. Sharpening the merged composition
      6m 16s
    8. Grouping and masking layers
      5m 40s
    9. Adjusting the density of a mask
      7m 14s
    10. Creating a Shadows/Highlights shortcut
      5m 47s
    11. Restoring detail with Shadows/Highlights
      6m 23s
    12. Changing the Shadows/Highlights defaults
      6m 21s
    13. Smoothing skin details with Gaussian Blur
      3m 56s
    14. Smoothing with High Pass
      5m 44s
    15. Lowering contrast with Gaussian Blur
      7m 4s
    16. Inverting a sharpening effect
      7m 5s
  7. 2h 32m
    1. Color becomes monochrome
      1m 31s
    2. Converting an image to grayscale
      6m 49s
    3. Extracting luminance information
      7m 37s
    4. Introducing the Channel Mixer
      10m 23s
    5. Aggressive channel mixing
      9m 42s
    6. Proofing CMYK colors
      7m 49s
    7. Color settings and intent
      7m 6s
    8. Practical Channel Mixer variations
      4m 30s
    9. Saving variations as layer comps
      7m 57s
    10. The default grayscale recipe
      8m 55s
    11. Creating a custom black-and-white mix
      6m 59s
    12. Shadows/Highlights in black and white
      4m 58s
    13. Introducing the Black & White command
      5m 55s
    14. Adjusting Black & White settings
      9m 39s
    15. Mixing a Black & White portrait
      6m 32s
    16. Black & White vs. Channel Mixer
      9m 21s
    17. Adding tint and color
      8m 0s
    18. Introducing the Gradient Map
      7m 10s
    19. Loading custom gradients
      4m 32s
    20. Editing gradient color stops
      9m 58s
    21. Colorizing with blend modes and Opacity
      7m 13s
  8. 2h 10m
    1. Two great commands working great together
      1m 18s
    2. Introducing the Color Range command
      5m 13s
    3. Setting key colors and Fuzziness
      5m 38s
    4. Predefined vs. sampled colors
      3m 57s
    5. The Localized Color Clusters option
      5m 41s
    6. Defining a selection with care
      4m 44s
    7. Introducing the Quick Mask mode
      5m 20s
    8. Testing edges with the Magic Wand
      5m 14s
    9. Hand-brushing a selection
      5m 39s
    10. Saving and loading an alpha channel
      4m 35s
    11. Converting a selection to a layer mask
      2m 46s
    12. Switching between an image and a layer mask
      6m 58s
    13. Protecting elements with a layer mask
      8m 5s
    14. Duplicating and editing a layer mask
      7m 34s
    15. Introducing the Refine Edge command
      4m 46s
    16. Accessing the various Refine Edge options
      5m 35s
    17. Refine Edge's preview options
      6m 21s
    18. The Adjust Edge values
      4m 11s
    19. Edge Detection and Smart Radius
      6m 5s
    20. Using the Refine Radius tool
      8m 8s
    21. Using the Decontaminate Colors option
      7m 30s
    22. Old-school masking adjustments
      7m 7s
    23. Four micro mask adjustments
      8m 33s
  9. 3h 13m
    1. Photoshop's vector exceptions
      1m 11s
    2. Making text in Photoshop
      6m 18s
    3. Creating and editing a text layer
      6m 56s
    4. Font and type style
      7m 35s
    5. Type size and color
      7m 52s
    6. Combining layer effects and type
      10m 57s
    7. Drawing a custom shape layer
      8m 34s
    8. Side bearing, kerning, and tracking
      10m 36s
    9. Point text vs. area text
      8m 26s
    10. Selecting and formatting a paragraph
      5m 19s
    11. Copying and pasting unformatted text
      7m 45s
    12. Creating text inside a custom path
      6m 26s
    13. Creating text along a path
      8m 13s
    14. Adjusting baseline shift
      6m 16s
    15. Drawing a fading arrowhead
      7m 29s
    16. Fading a shadow with a layer
      5m 32s
    17. Logo creation and Fill Opacity
      7m 44s
    18. Stretching a background element
      6m 9s
    19. Drawing with shape outlines
      6m 18s
    20. Combining vector-based shapes
      6m 42s
    21. Masking vector-based shape layers
      6m 7s
    22. Correcting spacing problems
      7m 44s
    23. Drawing the ultimate specular sparkle
      8m 45s
    24. Preparing text for commercial output
      5m 9s
    25. Saving a high-resolution PDF file
      7m 11s
    26. Inspecting the final PDF document
      7m 8s
    27. Saving large poster art
      9m 32s
  10. 2h 36m
    1. What filters ought to be
      1m 25s
    2. Layer effects vs. filters
      6m 14s
    3. Carving with an Inner Shadow effect
      7m 45s
    4. Selling an effect with Drop Shadow
      7m 17s
    5. Creating blurry shadow type
      5m 30s
    6. Saving custom default settings
      6m 22s
    7. Creating a custom contour
      7m 3s
    8. Introducing Bevel and Emboss
      7m 35s
    9. Adjusting Angle and Altitude
      7m 8s
    10. Exploiting global light
      8m 11s
    11. Gloss and edge contour
      5m 8s
    12. Applying and creating layer styles
      6m 45s
    13. Loading, saving, and merging styles
      6m 17s
    14. Creating a textured bevel effect
      6m 56s
    15. Using shadows as highlights
      7m 39s
    16. Combining filters and effects
      6m 58s
    17. Working with random effects
      6m 55s
    18. Smoothing with Gaussian Blur and Levels
      6m 13s
    19. Masking blacks from whites
      4m 37s
    20. Applying liquid styles
      4m 36s
    21. Simulating liquid reflections
      8m 12s
    22. Finessing and cropping a liquid effect
      7m 25s
    23. Initiating a displacement map
      6m 17s
    24. Applying a displacement map
      7m 37s
  11. 1h 12m
    1. Two words: Free Transform
      34s
    2. Scale, rotate, and constrain
      6m 30s
    3. Using the transformation origin
      7m 42s
    4. Applying a slant (aka skew)
      3m 37s
    5. The four-point "perspective" distortion
      7m 51s
    6. Two ways to make gradient text
      5m 59s
    7. Building complexity from a simple shape
      4m 42s
    8. Duplicating a series of transformations
      6m 3s
    9. Rasterizing a layer with its effects
      6m 41s
    10. Applying a custom warp
      7m 24s
    11. Blending and softening a warped layer
      4m 39s
    12. Creating spherical highlights
      6m 30s
    13. Using a center-source inner glow
      3m 51s
  12. 2h 42m
    1. Distorting reality
      1m 33s
    2. Extracting a foreground element
      6m 45s
    3. Introducing the Puppet Warp command
      7m 20s
    4. Setting and manipulating pins
      7m 48s
    5. Rotating pins and switching warp modes
      6m 41s
    6. Expanding and contracting the mesh
      6m 11s
    7. Changing the Density setting
      8m 0s
    8. Adjusting the pin depth
      5m 18s
    9. Winding an image into a pretzel
      6m 2s
    10. Applying Puppet Warp to type
      6m 30s
    11. Warping single characters
      6m 25s
    12. Editing puppet-warped text
      8m 24s
    13. Extending an image with Free Transform
      8m 46s
    14. Extracting from a white background
      10m 5s
    15. Tracing a shape with Puppet Warp
      9m 1s
    16. Introducing the Liquify command
      5m 4s
    17. Warp, Twirl, Pucker, and Bloat
      8m 53s
    18. Saving and loading a mesh
      5m 59s
    19. Push, Mirror, and Turbulence
      11m 49s
    20. Lifting and slimming details
      8m 22s
    21. Warping fabric, arms, and legs
      7m 1s
    22. Masking and finessing the results
      10m 8s
  13. 3h 3m
    1. Welcome to the digital darkroom
      1m 44s
    2. Introducing Camera Raw
      7m 40s
    3. Adjusting white balance
      7m 0s
    4. Selecting and synchronizing images
      6m 9s
    5. Making automatic adjustments and saving changes
      7m 19s
    6. Creating and managing snapshots
      8m 23s
    7. Adjusting the Exposure value
      6m 24s
    8. Working with clipping warnings
      5m 5s
    9. Adjusting Brightness and Contrast
      7m 35s
    10. Vibrance, Saturation, and Clarity
      9m 25s
    11. Recovery and Fill Light
      6m 57s
    12. Using the Graduated Filter tool
      7m 2s
    13. Painting edits with the Adjustment Brush
      9m 44s
    14. Straighten, crop, and geometric distortions
      7m 49s
    15. Applying manual lens corrections
      7m 19s
    16. Vignette and chromatic aberrations
      6m 21s
    17. Introducing the Tone Curves
      6m 9s
    18. Parametric curves and targeted adjustments
      6m 26s
    19. Correcting a low-noise photograph
      7m 35s
    20. Sharpening and high-noise photos
      8m 25s
    21. Selective Hue/Saturation adjustments
      5m 34s
    22. Selective Luminance adjustments
      5m 39s
    23. Adding grain and vignetting effects
      5m 23s
    24. Mixing a subjective black-and-white image
      7m 53s
    25. Colorizing with the Split Toning options
      4m 29s
    26. Opening a raw image as a Smart Object
      5m 39s
    27. Camera Raw wrap-up
      8m 38s
  14. 55s
    1. Until next time
      55s

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