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Photoshop CC One-on-One: Intermediate
Illustration by John Hersey

The Shadows/Highlights options


From:

Photoshop CC One-on-One: Intermediate

with Deke McClelland

Video: The Shadows/Highlights options

In this movie, I'll introduce you to the shadow's highlight options. Which are designed to mitigate the clippings of your halo's. And also show you how they compare to that opacity trick, that I showed you a couple movies ago. I'm looking at an image from the Fotolia image library about which you can learn more and get special deals at fotolia.com/deke. The first thing I'm going to do is convert this image to an independent layer by double clicking in the background. And I'll just go ahead and call this layer Twins and click Okay. And then, I'll right click inside the Image window and choose, convert to smart object, so we can apply smart sharpen as a smart filter.
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  1. 2m 4s
    1. Welcome to One-on-One
      2m 4s
  2. 29m 46s
    1. The best of Photoshop automation
      35s
    2. Introducing the Patch tool
      3m 43s
    3. Using Content-Aware Patch
      5m 42s
    4. Retouching with Content-Aware Patch
      2m 5s
    5. Using the Content-Aware Move tool
      3m 9s
    6. Using Content-Aware Extend
      2m 4s
    7. The Content-Aware Scale command
      6m 35s
    8. Scaling in multiple passes
      2m 22s
    9. Protecting skin tones
      3m 31s
  3. 32m 55s
    1. Editing the histogram
      1m 50s
    2. The new automatic Levels adjustment
      4m 33s
    3. Customizing a Levels adjustment
      4m 53s
    4. Understanding the Gamma value
      2m 7s
    5. Opening up the shadows
      2m 48s
    6. Previewing clipped pixels
      3m 40s
    7. Retouching with Output Levels
      4m 25s
    8. Making channel-by-channel adjustments
      2m 19s
    9. Faking a gray card in post
      2m 51s
    10. Assigning shortcuts to adjustment layers
      3m 29s
  4. 57m 43s
    1. How sharpening works
      1m 38s
    2. Introducing the Smart Sharpen filter
      6m 56s
    3. Understanding the Radius value
      5m 20s
    4. Gauging the best sharpening settings
      5m 45s
    5. Addressing color artifacts and clipping
      5m 49s
    6. The Remove and Reduce Noise options
      4m 22s
    7. The Shadows/Highlights options
      7m 36s
    8. Correcting for camera shake
      6m 47s
    9. Sharpening with the Emboss filter
      5m 45s
    10. Sharpening with the High Pass filter
      4m 44s
    11. Painting in sharpness
      3m 1s
  5. 1h 9m
    1. Vector-based type
      1m 35s
    2. Creating and editing point text
      5m 58s
    3. Font and type style tricks
      7m 10s
    4. Type size and color tricks
      6m 42s
    5. Kerning and tracking characters
      8m 7s
    6. Creating and editing area text
      3m 50s
    7. Selecting and formatting paragraphs
      6m 36s
    8. Setting text inside a custom path
      5m 32s
    9. Creating text along a path
      6m 12s
    10. Adjusting baseline shift
      4m 45s
    11. Creating and stylizing a logo
      6m 49s
    12. Masking text into image elements
      6m 14s
  6. 57m 13s
    1. The other vector-based layer
      1m 39s
    2. Dotted borders and corner roundness
      8m 14s
    3. Drawing and aligning custom shapes
      3m 55s
    4. Creating your own repeatable custom shape
      5m 43s
    5. Selecting paths and isolating layers
      4m 11s
    6. Combining simple shapes to make complex ones
      5m 59s
    7. Cropping, adjusting, and merging shapes
      5m 50s
    8. Creating a soft, synthetic sparkle
      6m 22s
    9. Saving a resolution-independent PDF file
      6m 42s
    10. Turning a small image into a huge one
      8m 38s
  7. 1h 14m
    1. Depth, contour, and texture
      1m 28s
    2. Imparting depth with a layer effect
      9m 9s
    3. The power of the drop shadow
      7m 37s
    4. Modifying a layer and its effects
      6m 21s
    5. Saving custom default settings
      4m 12s
    6. Creating a custom contour
      8m 5s
    7. Introducing Bevel and Emboss
      8m 8s
    8. Multiple effects and multiple layers
      7m 45s
    9. Global Light and rasterizing effects
      8m 5s
    10. Gloss and surface contour
      6m 4s
    11. Adding texture to Bevel and Emboss
      7m 21s
  8. 34m 48s
    1. Styles store settings
      1m 38s
    2. Creating and applying a paragraph style
      3m 41s
    3. Redefining a style and styling a word
      5m 38s
    4. Creating and styling a placeholder style
      5m 43s
    5. Applying and creating layer styles
      5m 45s
    6. Loading and customizing layer styles
      5m 42s
    7. Merging and saving layer styles
      6m 41s
  9. 56m 48s
    1. Meet the transformations
      1m 55s
    2. Transformations and Smart Objects
      5m 46s
    3. Adjusting the interpolation setting
      5m 10s
    4. Rotating a layer with Free Transform
      5m 22s
    5. Scale, duplicate, and repeat
      4m 30s
    6. Creating a synthetic star field
      5m 20s
    7. Warping a logo with Arc and Flag
      5m 34s
    8. Distort, perspective, and skew
      4m 15s
    9. Using transformations to draw and correct
      7m 0s
    10. Bolstering text with layer effects
      5m 43s
    11. Adding highlights with Lens Flare
      6m 13s
  10. 43m 36s
    1. Removing the weight that the camera adds
      1m 7s
    2. The Warp and Reconstruct tools
      6m 44s
    3. Brush size, hardness, and opacity
      4m 29s
    4. The Pucker, Bloat, Push, and Twirl tools
      7m 12s
    5. Saving and reapplying Liquify settings
      4m 9s
    6. Lifting and slimming details
      9m 42s
    7. Warping legs, arms, and fabric
      5m 33s
    8. Improving a model's posture
      4m 40s
  11. 58m 46s
    1. Shoot in color, convert to black and white
      1m 55s
    2. Three ways to grayscale
      5m 36s
    3. Mixing a custom black-and-white image
      7m 31s
    4. Simulating an infrared photograph
      6m 39s
    5. Creating a sienna-infused sepia tone
      5m 38s
    6. Creating a hyper-saturated image
      5m 26s
    7. Introducing the Black & White command
      3m 16s
    8. Customizing the Black & White settings
      4m 50s
    9. Black & White meets the Channel Mixer
      7m 29s
    10. Infusing an image with tint and color
      5m 9s
    11. Grayscale and Split Tone in Camera Raw
      5m 17s
  12. 41m 34s
    1. The many ways to print
      1m 41s
    2. Using the test document
      3m 18s
    3. Print, position, and size
      5m 57s
    4. Description and printing marks
      3m 3s
    5. Establishing a bleed
      3m 44s
    6. Getting reliable color
      5m 54s
    7. Special printing options
      5m 1s
    8. Previewing an image at print size
      4m 16s
    9. Creating contact sheets
      4m 49s
    10. Creating a multipage PDF
      3m 51s
  13. 31m 9s
    1. Making Internet imagery
      1m 6s
    2. Introducing Save for Web
      4m 39s
    3. Creating the perfect JPEG image
      5m 14s
    4. Creating a high-contrast GIF image
      6m 23s
    5. The two varieties of PNG
      3m 57s
    6. Downsampling for the web
      5m 59s
    7. Adding copyright and contact info
      3m 51s
  14. 1m 3s
    1. Until next time
      1m 3s

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Photoshop CC One-on-One: Intermediate
9h 51m Intermediate Aug 19, 2013

Viewers: in countries Watching now:

Photoshop CC One-on-One is back, and this installment teaches you how to build on your basic knowledge and achieve next-level effects with this premiere image-editing program. Industry pro Deke McClelland shows you how to seamlessly move and patch areas of a photo with the Content-Aware toolset; stretch the brightness of a scene with automatic and custom Levels adjustments; create intricate designs with text and shapes; and morph an image with layer effects and transformations. Deke also shares his techniques for sharpening details, whether addressing noise and highlight/shadow clipping or camera shake, and converting a full-color image to black and white. The final chapters show you how to best print and save images for the web, making sure all your hard work pays off in the final output.

Topics include:
  • Performing automatic retouch, scaling, and more with the Content-Aware tools
  • Editing the histogram
  • Customizing a Levels adjustment
  • Making channel-by-channel Levels adjustments
  • Sharpening with the Smart Sharpen, Emboss, and High Pass filters
  • Working with vector-based type
  • Kerning and tracking characters
  • Creating text on a path
  • Drawing and customizing shapes
  • Creating depth, contour, and texture with layer effects
  • Liquifying an image
  • Simulating an infrared photo
  • Adjusting print position, size, and color
  • Creating the perfect JPEG image
  • Downsampling for the web
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

The Shadows/Highlights options

In this movie, I'll introduce you to the shadow's highlight options. Which are designed to mitigate the clippings of your halo's. And also show you how they compare to that opacity trick, that I showed you a couple movies ago. I'm looking at an image from the Fotolia image library about which you can learn more and get special deals at fotolia.com/deke. The first thing I'm going to do is convert this image to an independent layer by double clicking in the background. And I'll just go ahead and call this layer Twins and click Okay. And then, I'll right click inside the Image window and choose, convert to smart object, so we can apply smart sharpen as a smart filter.

And I'll go ahead and duplicate this layer as well, by pressing Ctrl+J or Cmd+J on the Mac. That way, we can compare these two effects. I'll turn off the Top layers, select the Bottom one. Then go up to the Filter menu and by virtue of the fact that Smart Sharpen was the last filter you applied, you can just choose it from the top of the list here. Or you can press Ctrl+F or Cmd+F on a Mac and that'll go ahead and bring up that Smart Sharpen dialog box. I'm going to scroll over to about this point. So I can keep an eye on this guy's eye, because that is one of the best ways to gauge sharpening, inside of a portrait shot, and now I'm going to dial in a different amount value of 300%.

So I'm going to take it down a little bit. This image doesn't really contain noise. So I'm going to take the reduced noise value down to 0%. A radius value of three pixels is going to work out nicely, and I've got remove set. To lens work. Now I'll twirl open shadows highlights and I'll go ahead and zoom in too a little bit so that I can see the image at 200% and it's possible that we have a little bit of clipping going on inside of this image. And the whole purpose of these options is to reduce that clipping.

And so what you do is you increase the fade amount, for the shadows for example, in order to fade the dark edges. And notice if I take that value all the way up to 100% That we're getting rid of a lot of sharpness inside the image. So, just for the sake of comparison, keep an eye on the eye. I'll take the fade amount value back down to zero and you can see that we regain a lot of sharpness as a result. So, you probably when working with shadows you. To not to take this value too high. I rarely crank it above 25%.

Depending on the image, you can typically go with a higher fade amount value for the highlights. And once again, keep an eye on the image. I'm going to take this value up to 100. And you can see the highlights, drop down ever so slightly. For the sake of comparison, I'll take the value back down to zero, and you can see that we're lighting up some highlights along this edge of the eyelash right there, and then if I take it higher we end up mitigating those highlights quite a bit. Any way I'm going to take the value to 50%. Next we've got tonal width, and radius.

Tonal width controls what are highlights, and what are shadows. So if I crank the total width of the shadows all the way up to 100%, I'm going to include more colors in my equation. Whereas, if I take it down to 0% I'm going to leave out a lot of the shadows. Typically, you want to leave that value set to 50%, but you can take it up if you want to in order to take more wind out of the sharpening effect. And then, radius makes almost no difference at all. Keep the very steady eye on the image here and I'll crank the radius value from one to 100 pixels and we are not seeing anything and the reason for that is because this radius works inside of our existing radius.

So we only have three pixels of sharpening the work within the first place, that means that changing the radius value for the shadows and highlights Isn't going to make any sort of useful contribution. But combined with a high-radius value, for example, I'll go ahead and take the radius all the way to 64 pixels, so that we're cranking the heck out of it. And now, notice, if I take the highlights radius value up to its maximum. We're going to reveal just a little bit of brightness did you see it happen so notice that the interior of the eye is pretty bright at this point if I take the radius value down its going to dim down just ever so slightly.

So what I'm really saying is you can safely ignore these radius values if you want to. Anyway, I'm going to take this radius value down to three pixels. That is the main radius value, the one that actually makes a meaningful contribution, and you can see otherwise I've got the shadows fade set to 25% and the highlights fade set to 50%. Now I'll click OK. Now, let's see how that combines to the much simpler solution of reducing the opacity value. I'll go ahead and click on the Top Twins layer and turn it on as well. And I'll press Control+F or Command+F on a Mac to once again bring up the smart sharpen dialogue.

I'll zoom in to 200% so we can better see what we're doing here. At least where this eye is concerned. And I'm going to crank the amount value up to 500% this time around because we need to have a higher amount value. Because after all, we're going to back off the opacity. And then I'll take these values here, both of the Fade amount values down to 0%. And I will twirl this guy close. And here's one of the dangerous things about these options. They can remain intact, they can remain in force from one image to the next. Even if you hide the options.

So that means that you've got options that work that you don't even know about. Which is why I personally steer clear of these items. But I want you to able to make your own determination. Now, I'll click okay in order to accept this effect. And now, I'm going to double click on the little slider icon in order to bring up my blending options. And even though we're not really seeing a lot of color artifacting inside of this image. (INAUDIBLE) . It is there. There is some at work. You can see that we've got some green, some purples in addition to the blues around his eye.

And I can get rid of those by changing the blend mode to luminosity, so once again you should always do that when working with a Smart Sharpen filter. And now reduce the opacity to, let's say, to something like 50% this time around. Even though the math doesn't quite work out. We're going to get a more or less equivalent effect. And now I'll click okay in order to except that change. And also go ahead and change the blend mode of the bottom effect. By double clicking on it's slider. And then selecting the final mode in the list. Which is Luminosity. And then click OK.

All right, let's go and zoom in so that we can test which way works better. Right now, we're seeing the effect of combining an amount value of 500% with an opacity value of 50%. So I"ll go ahead and enter that for the layer name there. And now, if I turn this layer off, this is the image. Subject to an amount value of 300% along with some shadow highlight modifications. And they're not much different as you can see, so here's the easier approach of reducing the opacity value and here's the much tougher approach.

Of working with the shadows and highlights values. And so, what we're getting with shadows highlights is less sharpening out of the effect, as you can see here. So it's a much less tactile effect. Especially when we're zoomed in like this, than we're getting with a higher amount value combined with a low opacity value. But quantitatively, I would not say these two effects are different enough in order to put up with the difficulty of those shadows highlights values. So again, if you're trying to avoid clipping where your halos are concerned, I prefer that opacity trick.

But you can also avail yourself of the shadows highlights values, which we're seeing right now by the way. That are included along with the Smart Sharpen filter.

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