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Photoshop CS5 One-on-One: Advanced, the second part of the popular and comprehensive series, updated for CS5, 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 CS5 One-on-One: Fundamentals.
All right. That takes care of the Basic panel. Before we move on to the other panels that we will be looking at inside of this chapter, I'd like to turn our combined attention here to the local Adjustment tools. So basically up here in the toolbar we have a handful of tools. We have seen the White Balance tool. A few others that we'll be seeing over the course of time. But starting with this guy right there, Spot Removal, and ending with Graduated Filter, these tools allow you to essentially paint inside of your image while working in Camera Raw. So, for example, the Spot Removal tool is a Healing tool and you don't really brush with it the way you do the Healing Brush inside of Photoshop.
Instead what you do is you isolate an area, and this tool by the way is designed to account for camera dust. So if you've got dust on your lens or inside the lens element then you can locate that little snivel inside the image, and you can heal over it. So you start things off by basically dragging like so to create a circle, and that red circle indicates the area that you're going to heal, and then the green circle indicates the area you're going to clone. So we're cloning this green area onto the red area, and we are applying, right now, I'm applying a clone type I could heal instead if I wanted to, which is going to give me more seamless edges.
It's also going to allow me to do this number where I can heal from a totally different part of the image. It will maintain the color and luminance information of the area that we're cloning into. So that's one of your options. I am going to go ahead and clear that out by pressing the Backspace key or the Delete key on a Mac, or you could click the Clear All button down here in the lower-right corner of the window. You've got a Red-eye Removal tool, which allows you to account for red-eye. You click in a pupil and you cross your fingers and hope for the best. Then what we've got are the Adjustment Brush, which allows you to paint in additional basic modifications.
So you can paint in an area of additional exposure and brightness and so on values, and then you can do the same with the Graduated Filter except you're painting a gradient instead of a brushstroke. Now, the thing to note about both of these options is that they're fantastic and they're nondestructive and they apply metadata and the whole number. However they are a little bit tricky to use, a little bit tricky to control, and oftentimes it's easier to do this kind of brushwork inside of Photoshop. Now, you might say well wait, here we are inside of this high bit depth environment developing the image using these tools, so these tools would be better than equivalent tools inside of Photoshop, right? And the answer is hmm, not so much. Because we are working inside of a high bit depth environment, and that's marginally helpful.
However we've already developed the image by this point using the basic controls and the other options that are available to us on the right side of the dialog box here. These local adjustments are being heaped on top. So they're post-development modifications, which means they're pretty darn equivalent to what you can get inside of Photoshop. So if you prefer to work inside Photoshop where your local adjustments are concerned, that's totally fine by me. Anyway, I still have opened Glanum ruins.dng and Spanishtown dinosaurs.dng. I have made some modifications to those images.
In order to switch away from my Spot Removal options, I will go ahead and click on the Zoom tool. Now often times you can press the Return key on the Mac or the Enter key here on a PC in order to escape back to the Zoom tool, so you gain access to all of your panels there. I find, however, that that's not necessarily the most reliable option. Sometimes hitting the Enter or Return key will take you out of Camera Raw back into the Bridge or what have you. So what I prefer to do is just press the Z key, Z as in zoom, to switch back to the Zoom tool and that gets you back to your familiar options. Now then, in the case of this Glanum image here, I want to go ahead and make the foreground color even brighter.
So I am going to zoom-out a little bit, and I am going to add an application of the Graduated Filter. So I am going to grab this Graduated Filter tool. G is the keyboard shortcut, and then I'm just going to drag upward, like so. I am pressing the Shift key as I drag, so that I'm painting in exactly vertical gradient as you see here. Now the green point indicates where the color adjustment starts and the red point indicates where it stops. You can move these points around if you like just by dragging them and I'm going to press the Shift key once again just to make sure I have everything nice and vertical.
You can also drag this line this vertical line in our case upward in order to move the entire Graduated Filter effect, and then you pop over here to these numerical values and you modify them to taste. Now these Minus and Plus buttons, my recommendation is to just steer clear of them. If you're wanting to change the color, for example, and this is sort of a white balance control, this Color option. Don't click on the Plus button in order to add some different color; rather click inside the color swatch. Now, in our case we don't want any color.
I don't want to add any warmth down here at the bottom of the image. You can if you like, but that's not what I'm going for. So I am going to click on the color swatch, and I'm going to switch it to white which basically turns the effect off. Notice that we now have an X for the Color Swatch, so that we're not modifying the white balance to any degree at all. Then click OK. By the way, you're going to see different options here. You'll always see the last options you apply. That is, the last settings that you applied. So yours could be totally different than mine. Here is the settings I'm going to apply. I'm going to increase the Exposure value a little bit here, up to +0.2, and then I am going to tab to the Brightness and set that to +20, and then the next two options, Contrast and Saturation, I am not going to do anything with those guys.
Leave them set to 0, and then Clarity I'm going to increase to 50 where this particular image is concerned, and that's it. Sharpness 0. I don't tend to apply sharpness using the Graduated Filter or any other local adjustment, just because you don't have much control over the process. I will explain what's going on with sharpening inside of Camera Raw again in a later exercise because it is a different beast. That's the effect. If you now want to see what kind of difference this Graduated Filter effect made, turn off the Preview check box and then turn it back on. And notice here that we're just turning on and off the Graduated Filter effect.
We're not turning off all of our other adjustments when I turn off the Preview check box, and that's because Preview is context-sensitive. It knows exactly which options you want to see and which you don't want to see. Now, that begs a question, well what if you want to preview everything that you've done? You want to turn off everything that you've done inside of Camera Raw, take a look at the original image, and then turn everything back on. Why then you switch to one of the alternative panels. So I'm going to press the Z key in order to switch back to my Zoom tool, and notice that Preview is turned off right now. We are quite obviously previewing the effects of our basic modifications.
I will go ahead and turn it back on, and we are now previewing the Graduated Filter because that's the last thing that was active. Fair enough. Anyway, if I want to turn everybody off, then I'll switch over here to presets is the easiest way to work. So switch over to some panel that doesn't have anything to preview, and then go ahead and turn the check box off, and you'll see that original version of the image, turn it back on, and you'll see everything. You will see all your basic adjustments, you will see your Graduated Filter adjustment, and so on. So that's the basics of how you work with something like the Graduated Filter.
In the next exercise we'll take a look at the more involved Adjustment Brush.
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