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Photoshop CS4 One-on-One: Advanced
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Target colors and clipping


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Photoshop CS4 One-on-One: Advanced

with Deke McClelland
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  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    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 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    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 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    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 18s
    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 56s
    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 23s
    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 2s
    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 19s
    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 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    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
      58s
    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
      56s
    2. Establishing default formatting attributes
      4m 5s
    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
      53s
    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 51s
    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 42s
  12. 57s
    1. Until next time
      57s

Video: Target colors and clipping

We are still working inside Max at computer.jpg but this time we are going to be applying the Levels command as an adjustment layer and we are still going to stick with the Auto features but we are going to mitigate their behavior using the clipping functions, which is going to go a long way, not all the way, but a long way towards correcting this image the way I want it corrected anyway. And then because we are working with an adjustment layer we can come back and change our mind and make some modifications and get everything exactly right. So as I say I'm working inside Max at computer, already told you that. So here we go over to the Adjustments palette, and so make sure you are seeing your Layers palette as well, and Adjustments palette. Then I want you to click on this little guy, the second guy in Level. So notice the order here, it goes right in this contrast, we saw that way back in Chapter 05, it's a good command, it's not good enough for this image because it just doesn't give us the degree of control we need. I'll go ahead and show you, I could expand the contrast here and I could brighten the image up. But it's not a good correction, right? So let's go ahead and get rid of this layer just by pressing the Backspace key or the Delete key on the Mac, how easy is that here inside Photoshop CS4. I love that keyboard shortcut. Once again Photoshop is telling you what to do here, it's saying, okay, try and brighten this contrast first, if it that doesn't work for your luminance changes, your luminance modifications then try Levels, and if that doesn't work then try Curves. And then Photoshop loses its mind and says then try Exposure. Actually never try Exposure is my recommendation to you.

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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
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Target colors and clipping

We are still working inside Max at computer.jpg but this time we are going to be applying the Levels command as an adjustment layer and we are still going to stick with the Auto features but we are going to mitigate their behavior using the clipping functions, which is going to go a long way, not all the way, but a long way towards correcting this image the way I want it corrected anyway. And then because we are working with an adjustment layer we can come back and change our mind and make some modifications and get everything exactly right. So as I say I'm working inside Max at computer, already told you that. So here we go over to the Adjustments palette, and so make sure you are seeing your Layers palette as well, and Adjustments palette. Then I want you to click on this little guy, the second guy in Level. So notice the order here, it goes right in this contrast, we saw that way back in Chapter 05, it's a good command, it's not good enough for this image because it just doesn't give us the degree of control we need. I'll go ahead and show you, I could expand the contrast here and I could brighten the image up. But it's not a good correction, right? So let's go ahead and get rid of this layer just by pressing the Backspace key or the Delete key on the Mac, how easy is that here inside Photoshop CS4. I love that keyboard shortcut. Once again Photoshop is telling you what to do here, it's saying, okay, try and brighten this contrast first, if it that doesn't work for your luminance changes, your luminance modifications then try Levels, and if that doesn't work then try Curves. And then Photoshop loses its mind and says then try Exposure. Actually never try Exposure is my recommendation to you.

So let's go back to the same command, these guys right here, Brightness/Contrast, Levels, and Curves. And I'm going to try out Levels but of course. So go ahead and click on that puppy right there in order to bring up the Levels functions inside the Adjustments palette. You may recall that I have set things up so we don't have an extra layer mask down here that gets added automatically and if you forget how that's done, let me just show you right here. From the Adjustments palette you go to the little menu icon there, you click on it and you turn off and it's missing right now. I always forget about this, you have to go back. I have to click on this little green arrow here to go back to my adjustment list and then click on this menu icon and then turn off this command which is otherwise not available to me, which I would classify as irritating.

But anyway, there it is, Add Mask by Default. You want that off is my recommendation to you because if you don't need layer masks then its better that you don't see them inside the Layers palette otherwise it just clutter things up. But there is another function that I want you to turn on and that's this guy Expanded View, you want to see the expanded view of the Adjustments palette if you have enough room on screen. And I do, because I'm working in this wide-screen now, lovely! So it doesn't really add any benefit to looking at the adjustment list here. But if I now click on the blue right pointing arrowhead then I go back to my Levels Adjustment because Levels is active down here, Levels 1. And I'll see my Levels dialog box essentially here inside of a palette in all of its all blender and the width of the histogram is 256 pixels which is what I need to represent the 256 different luminance levels per channel that are available to me in a standard 8 bit per channel RGB image which is what this is.

Now then I go over here to Auto and click on it in order to apply Auto Tone. Now you are seeing that tip right there, right? I'll go ahead and apply Auto Tone there by clicking on Auto. But notice that tip because we are missing that Options button while you use Alt for Options here on the PC or Option for Options on the Mac, which makes a heck of a lot of sense I think. So I'm going to go ahead and Alt+Click or Option+ Click on that Auto button in here, are my auto correction features, very, very useful bunch by the way.

So let's go to Find Dark & Light Colors, which is what I want. And the Snap Neutral Midtones I don't think really does much for this specific image, doesn't really appear to be doing anything at this point. But I'll go ahead and turn it off for now. We will see what happens. Now notice down here that we have Target Colors & Clipping. Now the Target Colors allow you to define what the color of a shadow is and what the color of a highlight is. So what's the color of black essentially, what's the color of white, and what's the color of medium gray. So that means you can essentially colorize if you want to, your shadows, your highlights, your midtones or you can compensate for your printing environment. But just to give you a sense of what this looks like if you are trying to achieve an effect, you would click on Shadows let's say. And you would set it to a bright red, for example. If that's the effect you want and then the darkest color inside the image becomes that red. Get the idea.

So again it's useful for effects, we could take that money for example, the George Washington money, the dollar bill and we could have made the blacks inside the money like red or some other color if we wanted to. But typically where this comes in handy is the folks will dial-in a specific CMYK value that's been given to them by their commercial printer, that is the darkest color that they can render. And I'm going to cancel out of here, and then for Highlights they would give you a value like they'd say, you know the lightest color we can really hold on our press is 3% Cyan, and 2% Magenta, and 3% Yellow, and 3% Black or something along those lines. Some arbitrary values that they know work, and then you would say, okay, and even though that looks a little bit dark. So we are darkening up the highlights, darkening up the whites, that's the lightest color that's going to survive on this specific press.

Anyway, cancel out of there, that's not what I want to do for this image. What I want to do because I'm just trying to apply an RGB perceptual modification here maybe I'm sending it to my inkjet- printer or just emailing it or posting in on the website, what have you, I want to work with these clip values. Now the clip values allow you to clip more of these highlights than we are currently clipping them. By clipping I mean just shave them off, just get rid of those highlights and send them to white and just get rid of some of the shadows and send them to black. Right now we are just clipping away 0.1% of the luminance levels inside this image, so it's being very cautious about how many luminance levels of clips.

Now if I didn't have this spike of white, it would dig deeper into this area here and would start clipping the colors it finds. But it's finding colors of the very, very apex of this histogram, and so it's not changing anything really much at all. If we raise this value and I want you to watch the histogram, watch the image, watch the value as well if you have three eyes that move dependently of each other. I'm going to click inside this value to make it active then I'm going to press Shift+Up Arrow and that's going to take that value up by 0.1%. So it's a very small modification but if I were to just press the Up Arrow to raise it by a hundredth of a percent which isn't enough to get anything done. So that's why I'm going to press Shift+Up Arrow a few times in a row and watch what's happening to the image and the histogram keep going back and forth between the two if you will. Notice the image is of course brightening up and I'm shaving off the edge of the histogram to a more reasonable level. I'm actually getting some work done now by clipping 1.6% of colors, which is a lot by the way.

I am going to take that down a little bit. I'm going to press Shift+Down Arrow for 1.5%, which is good enough for this image. Actually it does a brilliant job and then I could click inside the Shadow value right there and I could press Shift+Up Arrow to take it up, a click as well. And this is the effect I get of course. Now I can experiment with different algorithms right here, different Auto functions so I could try Enhance Per Channel Contrast. So that's no good, I could try Enhance Monochromatic Contrast. No, too yellow. I could go back to Find Dark & Light Colors, that's better. And then I could Snap the Neutral Midtones and see if that makes any difference, it still doesn't. And if you wanted to then you could adjust the color balance of your midtsones, instead of going for gray, instead of trying to clip those colors or snap those colors I should say, too gray to snap them to some other color.

For example, if I wanted to cool down this image, I could click on Midtones and I could select a cool color, which would be something in the blue range of course. And then I would go ahead and raise its saturation like so, and I'm not getting anything done, and the reason is if Photoshop were able to find some neutral midtones that we are snapping at this point, it would go ahead and snap them off to blue. But it's really not finding anything to work with. So that's why I'm not getting anything done, I'll just go ahead and turn it off. And this is good though. I dare say I like it. I'll go ahead and click OK in order to accept that effect.

Now it's going to ask me, hey, do you want to save what you just did as your new target colors? And no, I don't, I was just goofing off. So we'll say, no, I just want to apply these changes to this image and this image only. And just to give you a sense of what we were able to accomplish, this is the original version of the image. If I turn off this adjustment layer and this is the modified version of the image. Now I say it's modified because I would not go so far as to characterize it as corrected yet. It's still not what I want it to be but that's okay because I have applied this adjustment that's far as an adjustment layer, fully modifiable, I can edit it anytime I like so long as I save this image in the native PSD format which I'm going to do. And then I'm going to present it to you in the very next exercise. So stay tuned, we are going to make this image look perfect.

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