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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.
In this movie we'll explore the three most basic ways to create a gray-scale image in photo shop. And as you'll see, they end up producing different results. But they all involve the use of this command, under the image menu, you go to mode, and then gray-scale. Because for purposes of photo shop and digital imaging in general for that matter. Black and white, and grayscale are synonymous. Because the idea is, you have black and one end of the spectrum, white at the other, and then you've got all these shades of gray in between. So I'm going to start things off by creating a couple of duplicates of this image.
Go up to the Image menu, and choose the Duplicate command. And I'll call this first one, Luminance only. It'll actually be our last image. You'll see why in a moment, and then I'll create a duplicate of it, by once again choosing the Duplicate command from the Image menu. And I'll call this one, Blue to gray. Alright, then I'm going to switch back to my original image, and I'll go up to the Window menu, choose a range, and then choose 3- up Vertical, so that we can see all three images at the same time. And I'll go ahead and zoom in on this left hand image, and scroll it over as well, so that we can see the younger woman's face.
Face. And then I'll go to the Window menu, choose Arrange, and choose Match All, so that we can see that same portion of the image inside the other windows. And notice, by the way, that my windwos have rearranged, so that my original image is first, blue to gray is second, and luminence only is last. All right now I'm going to swtich over to the channels panel. So that you can see that every one of these images is an RGB image. So, it contains the RGB composite here at the top, along with the three independent channels, red, green, and blue.
So now notice if I go up to the Image menu, choose Mode and choose Gray scale, I'll get this message telling me do I want to discard the color information because I am going to lose the ability to create color inside this document. If not, or if you want to control the conversion, you want to use this command called black and white, and we'll see how that command works in a future movie. I'm just going to go ahead and say discard for now, and notice that we get this gray scale blend, and we also end up with just one channel inside the channels panel, called gray. So we no longer have the option To create color inside this image.
The good news is that this image is much smaller now, instead of having three channels we have just one. So if we were to save this file to disk at this point it would be about a third as large. Alright, now I'll show you a different way to work. I'll switch over the blue to gray image and notice here that each one of the channels is an independent gray scale image. So if I click on the red channel, I'm going to see yet a new gray scale version of this image. It's going to be quite light because it's a portrait shot. And regardless of whether we're looking at pale people or dark skinned people, they are going to appear lightest in the red channel.
Next, we have the green channel. And you'll notice that it bears the closest resemblance to the gray scale composite. So we've got, pretty much the same degree of detail going on, the green channel version does happen to be lighter in this case. Her hair is significantly lighter as well, but in terms of the general luminance composition, they are remarkably similar. And then, if we switch over to the blue channel, we have the most varied view of this image. Once again, that's because we're looking at a portrait shot. So we're going to see the most variation in the skin tones.
For example in the case of this woman, her freckles are really standing out. Well, I happen to like this version of the image best because it's the most distinctive. So I'll go ahead and keep this channel by going up to the Image menu, choosing Mode and choosing Gray Scale. This time, Photoshop says, hey, do you want to discard the other channels. I'm not going to mix'em together. We're just going to throw the red, and green channels away, and if I click OK, sure enough, we're left with a single channel image, and that channel is called gray. For my final demonstration, I'm going to extract just the luminance information from this image, and you do that by switching to a different color mode.
So you go up to the Image menu, choose Mode, and switch from RGB color, in our case, to LAB color. And what that does is, it extracts the luminance information as you can see here, indicated by lightness, from A and B. And A and B don't stand for anything, but what they indicate is, in the case of B, if I were to go ahead and turn on that channel as well. You can see we've got what's known as the temperature information. That is, everything, from yellows to the blues. Whereas I were to turn off B/g, and turn on A/g, then we're seeing what's known as the tint information.
Folks commonly say, that we're seeing everything between magenta and green. But that's not strictly true. It's more like we're seeing everything between pink and turquoise. Anyway, I'm going to turn both A and B off here. And to just keep that luminance information, I'll make sure that lightness is selected here in the channels panel. And then I'll once again go up to the image menu, choose mode, and choose greyscale. And again, Photoshop will ask me if I want to discard the other channels. Once you become familiar with this process you can turn on the Don't Show Again checkbox, but in my case I'm just going to click OK.
And we now have the straightforward luminance information. Alright, I'm going to tab away the panels just so that we can see more of the image at a time. And so once again we've got three different ways to mix three different grayscale versions of an image. You can either mix a grey scale composite as over here in the left, you can keep just a single color channel as in the middle, or you can keep just the luminant info and nothing else as we see in the right hand side. The other option is to mix your own custom greyscale image using either the channel mixer or black and white.
And we'll see how those functions in future movies.
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