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Photoshop CS5 One-on-One: Mastery

Smart High Pass in the Lab mode


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Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: Smart High Pass in the Lab mode

I've saved the results of the previous exercises as Static High Pass comp.psd. Now that we've reviewed how High Pass Sharpening works, I want to show you how to achieve the exact same effect using Smart Filters, but that requires us to jump through a couple of hoops, because we have to somehow account for the slight amount of color that's associated with High Pass. So I'm going to switch back to Smart squirrels.psd which you may recall is the result of the first exercise in the chapter. We're going to take off from here because it already has our squirrels converted to a Smart Object, we've already got the Filter Mask as well to work from.
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  1. 40m 45s
    1. Welcome
      2m 45s
    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 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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Photoshop CS5 One-on-One: Mastery
20h 1m Advanced Sep 30, 2010

Viewers: in countries Watching now:

In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.

Topics include:
  • Using masks and blend modes in radically new ways
  • Mastering the Pen tool and Paths panel
  • Transforming and maximizing Smart Objects
  • Employing Smart Filters to create complex effects
  • Exploring the capabilities of Bristle brushes and the Mixer Brush
  • Merging multiple images into seamless panoramas
  • Exploring the full range of luminance with HDR Pro
  • Recording actions and batching-processing images
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Smart High Pass in the Lab mode

I've saved the results of the previous exercises as Static High Pass comp.psd. Now that we've reviewed how High Pass Sharpening works, I want to show you how to achieve the exact same effect using Smart Filters, but that requires us to jump through a couple of hoops, because we have to somehow account for the slight amount of color that's associated with High Pass. So I'm going to switch back to Smart squirrels.psd which you may recall is the result of the first exercise in the chapter. We're going to take off from here because it already has our squirrels converted to a Smart Object, we've already got the Filter Mask as well to work from.

So that'll save us a couple of steps. Now, I'm going to make a duplicate of the squirrels layer by pressing Ctrl+Alt+J or Command+Option+J on the Mac and I'm going to call this layer unsharpened base, because it is going to serve as our base image. I'll click OK, I'll move it underneath squirrels like so because squirrels will have the sharpening information associated with it. I'll go down here to the Smart Filters item underneath unsharpened base, and I'll right-click on it, and then I'll choose Clear Smart Filters to get rid of all that Smart Filter information. So we now have two true clones as you may recall from the previous chapter.

Both of the Smart Objects are pointing to the same original image. So if we were to later modify that original image by double-clicking on the Smart Object and bringing up a new window, making your modifications, then both unsharpened base and squirrels would react to those changes which is a good thing, because that means our filtering effect remains live no matter what we do. All right! Let's switch back to the squirrels layer now, turn off Smart Sharpen because we don't need two sharpening effects going on at the same time. Then I'll go up to the Filter menu, I'll choose Other, and I'll choose High Pass once again.

By the way, you can just go ahead and choose that very first command at the top of the Filter menu or press Ctrl+F, Command+F on the Mac. And even though we just went ahead and chose the command or press Ctrl+F or Command+F, we get the dialog box again. Normally, when we're working with Static filters, Ctrl+F or Command+F just goes ahead and applies the Filter using the previous settings. However, because we're working with the Smart Object, it forces the display of a dialog box no matter what. Now this happens to be the same effect we applied before that is the same Radius value, that's what we want. So I'll click OK in order to apply that effect.

Now I'll zoom-in so that you can see that we do have a color High Pass effect applied, so we can see a little bit of color in the eyes, some color anomaly is there inside the fur as well. Nothing I can do about that right here. You cannot apply an Adjustment layer to a Smart Filter, nor can you otherwise modify a Smart Filter to make a grayscale for example unless that's part of the Filter. So unless there were some grayscale check box inside the High Pass dialog box which there isn't unfortunately, there's nothing we can do at this point.

So I would go ahead and double-click on the little slider icon right there in order to bring up the Blending Options. Again, there is no Blending Option that combines luminosity along with the Contrast modes. So the Contrast modes are more important in this case because if we were to apply a luminosity, sure we'd get rid of the color anomalies, but we'd get rid of a lot of luminance information inside of those original squirrels and this does not look like a sharpening effect, I do not think. What we need in order to pull this off is one of the Contrast blend modes here, either Overlay for a light effect, Hard Light for a more significant effect, or Linear Light for the biggest effect that we can achieve.

So I'll go ahead and choose Linear Light and we get our color anomalies. So if I zoom-in once again on the squirrel's fur, you can see that we've got all these weird greens and purples going on and so on. So somehow we need to get rid of those, click OK. Well, here is what we do. Again, this is a big hoop to have to jump through in my opinion. So you can decide to write off this technique and just figure it's too much work, it's not the kind of thing you're going to do on a regular basis, or you might decide, yeah, I could accommodate that.

I could write down the steps, I could action it in the future and so on. Anyway, I'm going to go ahead and zoom out a click here, so I can show you what we need to do. You go to the Image menu, you choose mode, and you choose Lab Color, because here's why. Let me escape out for just a second. I'll double-click on the squirrels layer right there in an empty portion to bring up the Blending Options. Remember how we can turn off these Channels check boxes, so we can just affect one Channel and not the others. Well, in our case, that means we could just sharpen let's say the Green Channel by turning off Red and Blue, and then we get even worse anomalies, but that way we are sharpening the closest thing to the detail information inside of an RGB image.

If we switch to LAB, then we can just sharpen the luminance information. We'll see L, A, and B. We can turn off A and B, just sharpen L, and that means that we're avoiding the color. So I'll cancel out of here. Let me show you how that works. You go up to the Image menu, you choose mode, and then you choose Lab Color, and you are now going to be met by two alert messages. And first, you're going to be asked, hey! Do you want to rasterize all your smart objects? You want all this work after all? Do you just want to throw it all away? No, Don't Rasterize.

Then even though you've told Photoshop many times that you do not want to merge your layers when switching color modes, it still asks you if you'd like to do that? Would you like to go and merge the layers? No. You don't want to merge either even though Merge is the suggested button. Go ahead and click Don't Merge, and then you will still have all of your image information intact. You're not losing anything. And you still have your wacky colors going on as well. Now, let's get rid of the wacky colors by double-clicking in empty area of this layer or if you loaded dekeKeys, of course you can press Ctrl+Shift+O, Command+Shift+O on the Mac.

Then there are our Channel check boxes; turn off B, turn off A, and you're left with just L. Check out what's going on in the background there. We've gotten rid of those weird green colors inside of the animal's fur. You click OK and you're done. We have the exact same effect now. If I go ahead and zoom-out and re-center my display here and then switch over to Static High Pass comp.psd, you can see that these two different approaches are achieving the same effect. The advantage of the Smart Filter approach, I need to impress upon you, is that you do have that Filter Mask as opposed to working with the layer mask.

I suppose that's better. But what's definitely better is you have the option to go ahead and modify your settings. So I could double-click on High Pass, and change my Radius setting if I wanted to. I don't, but if I did, I could, cancel out of there and you could also change your Blend mode settings if for example you wanted to reduce the Opacity value or switch from Linear Light to Hard Light or Overlay or something along those lines. Here is the disadvantage you should know about. Besides it's more convoluted and you have to jump through those hoops, I'm going to go ahead and press Ctrl+Alt+O or Command+Option+O on the Mac to switch back to the Bridge.

I want you to see that we have a larger file. So Static High Pass comp which is the one that we created in the previous exercise using an independent layer that had High Pass applied to it, as well as the desaturating Adjustment layer. However, it's not editable, so you can't edit that Radius value after the fact. That file comes at 34.50 Megs. Whereas, the file we just created just now using Smart Filters I had saved in advance as Dynamic High Pass in Lab, that one takes up 49 Megs. So it's considerably bigger.

That's an additional 15 megabytes almost. But you should keep in mind this whole time that the original Rodents in love.jpg file that was flat and had nothing going on, was just 3.36 Megs. So it's about a 10th the size of our Static High Pass comp effect. So the second we start adding layers to that image, it starts getting quite big. But I just want you to see that there is often more overhead in terms of file size associated with Smart Objects and Smart Filters than with static effects. That said, if you're looking for a recommendation from me, I would go the Smart Filter route and that is indeed what I do on a regular basis.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Mastery.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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