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Using the Graduated Filter tool

From: Photoshop CS5 One-on-One: Advanced

Video: Using the Graduated Filter tool

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.

Using the Graduated Filter tool

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.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Advanced
Photoshop CS5 One-on-One: Advanced

247 video lessons · 32800 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 2s
    1. Welcome
      2m 1s
    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 6s
  2. 1h 5m
    1. What you can do with Photoshop
      1m 46s
    2. The mission-critical eyes
      2m 44s
    3. Copy Merged and Paste in Place
      6m 52s
    4. Sharpening details to match
      4m 34s
    5. Masking eyes
      9m 22s
    6. Working with clipping-mask layers
      9m 5s
    7. Shading with layer effects
      8m 10s
    8. Color and highlight effects
      4m 2s
    9. Refining layer masks
      5m 43s
    10. Fabricating the highlights in the pupils
      7m 33s
    11. Using a merged copy to sharpen
      5m 34s
  3. 2h 14m
    1. Highlights, shadows, and midtones
      1m 16s
    2. Introducing the Auto commands
      7m 23s
    3. Adjusting Cache Level settings
      6m 8s
    4. Reading a channel-by-channel histogram
      6m 21s
    5. How the Auto commands work
      5m 22s
    6. Auto Tone, Auto Contrast, and Auto Color
      7m 7s
    7. Blending the Auto results
      4m 4s
    8. Introducing the Levels command
      6m 15s
    9. Using Levels as an adjustment layer
      3m 12s
    10. Applying custom Levels adjustments
      6m 8s
    11. Understanding the gamma value
      7m 39s
    12. The futility of Output Levels
      2m 56s
    13. Selections and adjustment layers
      5m 48s
    14. Opening up the shadows
      3m 40s
    15. Previewing clipped pixels
      4m 51s
    16. The black, white, and gray eyedroppers
      5m 7s
    17. Gray card tips and tricks
      6m 5s
    18. Making channel-by-channel adjustments
      7m 29s
    19. Introducing the Curves command
      7m 44s
    20. Curves dialog box tricks
      7m 16s
    21. Curves adjustment layer tricks
      5m 45s
    22. Correcting an image with Curves
      5m 32s
    23. Filling in the highlights
      5m 42s
    24. Neutralizing casts and smoothing transitions
      5m 37s
  4. 1h 46m
    1. The art of enhancing edges
      1m 26s
    2. How sharpening works
      6m 2s
    3. The single-shot sharpeners
      6m 7s
    4. Introducing Unsharp Mask
      6m 19s
    5. Radius and Threshold
      6m 24s
    6. Sharpening colors vs. luminosity
      5m 56s
    7. Gauging the ideal settings
      8m 59s
    8. Unsharp Mask vs. Smart Sharpen
      7m 1s
    9. Using the Remove settings
      9m 30s
    10. The More Accurate checkbox
      6m 8s
    11. Saving your Smart Filter settings
      5m 31s
    12. The Advanced sharpening settings
      7m 52s
    13. Accounting for camera shake
      6m 18s
    14. Sharpening with the Emboss filter
      6m 43s
    15. Sharpening with High Pass
      9m 23s
    16. The new and improved Sharpen tool
      6m 22s
  5. 1h 34m
    1. Edge's evil twin: noise
      1m 12s
    2. Color vs. luminance noise
      7m 21s
    3. Reducing color noise
      7m 45s
    4. Reducing luminance noise
      4m 59s
    5. Relegating an effect to the shadows
      6m 27s
    6. Switching between layer and mask
      6m 59s
    7. The Dust & Scratches filter
      4m 56s
    8. Adjusting shadow saturation
      5m 52s
    9. Combining High Pass with Lens Blur
      6m 57s
    10. Masking a layer of Lens Blur
      7m 34s
    11. Painting away High Pass sharpening
      8m 22s
    12. Building up a noise pattern
      6m 40s
    13. Converting noise to texture
      4m 24s
    14. Bleeding colors into paper
      6m 16s
    15. Matching different noise levels
      8m 31s
  6. 1h 32m
    1. We are the stuff of light
      1m 24s
    2. Applying automatic lens correction
      5m 53s
    3. Introducing Shadows/Highlights
      3m 44s
    4. Shadows/Highlights in depth
      7m 59s
    5. Creating a "bounce" with Gaussian Blur
      4m 43s
    6. Sharpening on top of blur
      7m 3s
    7. Sharpening the merged composition
      6m 16s
    8. Grouping and masking layers
      5m 40s
    9. Adjusting the density of a mask
      7m 14s
    10. Creating a Shadows/Highlights shortcut
      5m 47s
    11. Restoring detail with Shadows/Highlights
      6m 23s
    12. Changing the Shadows/Highlights defaults
      6m 21s
    13. Smoothing skin details with Gaussian Blur
      3m 56s
    14. Smoothing with High Pass
      5m 44s
    15. Lowering contrast with Gaussian Blur
      7m 4s
    16. Inverting a sharpening effect
      7m 5s
  7. 2h 32m
    1. Color becomes monochrome
      1m 31s
    2. Converting an image to grayscale
      6m 49s
    3. Extracting luminance information
      7m 37s
    4. Introducing the Channel Mixer
      10m 23s
    5. Aggressive channel mixing
      9m 42s
    6. Proofing CMYK colors
      7m 49s
    7. Color settings and intent
      7m 6s
    8. Practical Channel Mixer variations
      4m 30s
    9. Saving variations as layer comps
      7m 57s
    10. The default grayscale recipe
      8m 55s
    11. Creating a custom black-and-white mix
      6m 59s
    12. Shadows/Highlights in black and white
      4m 58s
    13. Introducing the Black & White command
      5m 55s
    14. Adjusting Black & White settings
      9m 39s
    15. Mixing a Black & White portrait
      6m 32s
    16. Black & White vs. Channel Mixer
      9m 21s
    17. Adding tint and color
      8m 0s
    18. Introducing the Gradient Map
      7m 10s
    19. Loading custom gradients
      4m 32s
    20. Editing gradient color stops
      9m 58s
    21. Colorizing with blend modes and Opacity
      7m 13s
  8. 2h 10m
    1. Two great commands working great together
      1m 18s
    2. Introducing the Color Range command
      5m 13s
    3. Setting key colors and Fuzziness
      5m 38s
    4. Predefined vs. sampled colors
      3m 57s
    5. The Localized Color Clusters option
      5m 41s
    6. Defining a selection with care
      4m 44s
    7. Introducing the Quick Mask mode
      5m 20s
    8. Testing edges with the Magic Wand
      5m 14s
    9. Hand-brushing a selection
      5m 39s
    10. Saving and loading an alpha channel
      4m 35s
    11. Converting a selection to a layer mask
      2m 46s
    12. Switching between an image and a layer mask
      6m 58s
    13. Protecting elements with a layer mask
      8m 5s
    14. Duplicating and editing a layer mask
      7m 34s
    15. Introducing the Refine Edge command
      4m 46s
    16. Accessing the various Refine Edge options
      5m 35s
    17. Refine Edge's preview options
      6m 21s
    18. The Adjust Edge values
      4m 11s
    19. Edge Detection and Smart Radius
      6m 5s
    20. Using the Refine Radius tool
      8m 8s
    21. Using the Decontaminate Colors option
      7m 30s
    22. Old-school masking adjustments
      7m 7s
    23. Four micro mask adjustments
      8m 33s
  9. 3h 13m
    1. Photoshop's vector exceptions
      1m 11s
    2. Making text in Photoshop
      6m 18s
    3. Creating and editing a text layer
      6m 56s
    4. Font and type style
      7m 35s
    5. Type size and color
      7m 52s
    6. Combining layer effects and type
      10m 57s
    7. Drawing a custom shape layer
      8m 34s
    8. Side bearing, kerning, and tracking
      10m 36s
    9. Point text vs. area text
      8m 26s
    10. Selecting and formatting a paragraph
      5m 19s
    11. Copying and pasting unformatted text
      7m 45s
    12. Creating text inside a custom path
      6m 26s
    13. Creating text along a path
      8m 13s
    14. Adjusting baseline shift
      6m 16s
    15. Drawing a fading arrowhead
      7m 29s
    16. Fading a shadow with a layer
      5m 32s
    17. Logo creation and Fill Opacity
      7m 44s
    18. Stretching a background element
      6m 9s
    19. Drawing with shape outlines
      6m 18s
    20. Combining vector-based shapes
      6m 42s
    21. Masking vector-based shape layers
      6m 7s
    22. Correcting spacing problems
      7m 44s
    23. Drawing the ultimate specular sparkle
      8m 45s
    24. Preparing text for commercial output
      5m 9s
    25. Saving a high-resolution PDF file
      7m 11s
    26. Inspecting the final PDF document
      7m 8s
    27. Saving large poster art
      9m 32s
  10. 2h 36m
    1. What filters ought to be
      1m 25s
    2. Layer effects vs. filters
      6m 14s
    3. Carving with an Inner Shadow effect
      7m 45s
    4. Selling an effect with Drop Shadow
      7m 17s
    5. Creating blurry shadow type
      5m 30s
    6. Saving custom default settings
      6m 22s
    7. Creating a custom contour
      7m 3s
    8. Introducing Bevel and Emboss
      7m 35s
    9. Adjusting Angle and Altitude
      7m 8s
    10. Exploiting global light
      8m 11s
    11. Gloss and edge contour
      5m 8s
    12. Applying and creating layer styles
      6m 45s
    13. Loading, saving, and merging styles
      6m 17s
    14. Creating a textured bevel effect
      6m 56s
    15. Using shadows as highlights
      7m 39s
    16. Combining filters and effects
      6m 58s
    17. Working with random effects
      6m 55s
    18. Smoothing with Gaussian Blur and Levels
      6m 13s
    19. Masking blacks from whites
      4m 37s
    20. Applying liquid styles
      4m 36s
    21. Simulating liquid reflections
      8m 12s
    22. Finessing and cropping a liquid effect
      7m 25s
    23. Initiating a displacement map
      6m 17s
    24. Applying a displacement map
      7m 37s
  11. 1h 12m
    1. Two words: Free Transform
      34s
    2. Scale, rotate, and constrain
      6m 30s
    3. Using the transformation origin
      7m 42s
    4. Applying a slant (aka skew)
      3m 37s
    5. The four-point "perspective" distortion
      7m 51s
    6. Two ways to make gradient text
      5m 59s
    7. Building complexity from a simple shape
      4m 42s
    8. Duplicating a series of transformations
      6m 3s
    9. Rasterizing a layer with its effects
      6m 41s
    10. Applying a custom warp
      7m 24s
    11. Blending and softening a warped layer
      4m 39s
    12. Creating spherical highlights
      6m 30s
    13. Using a center-source inner glow
      3m 51s
  12. 2h 42m
    1. Distorting reality
      1m 33s
    2. Extracting a foreground element
      6m 45s
    3. Introducing the Puppet Warp command
      7m 20s
    4. Setting and manipulating pins
      7m 48s
    5. Rotating pins and switching warp modes
      6m 41s
    6. Expanding and contracting the mesh
      6m 11s
    7. Changing the Density setting
      8m 0s
    8. Adjusting the pin depth
      5m 18s
    9. Winding an image into a pretzel
      6m 2s
    10. Applying Puppet Warp to type
      6m 30s
    11. Warping single characters
      6m 25s
    12. Editing puppet-warped text
      8m 24s
    13. Extending an image with Free Transform
      8m 46s
    14. Extracting from a white background
      10m 5s
    15. Tracing a shape with Puppet Warp
      9m 1s
    16. Introducing the Liquify command
      5m 4s
    17. Warp, Twirl, Pucker, and Bloat
      8m 53s
    18. Saving and loading a mesh
      5m 59s
    19. Push, Mirror, and Turbulence
      11m 49s
    20. Lifting and slimming details
      8m 22s
    21. Warping fabric, arms, and legs
      7m 1s
    22. Masking and finessing the results
      10m 8s
  13. 3h 3m
    1. Welcome to the digital darkroom
      1m 44s
    2. Introducing Camera Raw
      7m 40s
    3. Adjusting white balance
      7m 0s
    4. Selecting and synchronizing images
      6m 9s
    5. Making automatic adjustments and saving changes
      7m 19s
    6. Creating and managing snapshots
      8m 23s
    7. Adjusting the Exposure value
      6m 24s
    8. Working with clipping warnings
      5m 5s
    9. Adjusting Brightness and Contrast
      7m 35s
    10. Vibrance, Saturation, and Clarity
      9m 25s
    11. Recovery and Fill Light
      6m 57s
    12. Using the Graduated Filter tool
      7m 2s
    13. Painting edits with the Adjustment Brush
      9m 44s
    14. Straighten, crop, and geometric distortions
      7m 49s
    15. Applying manual lens corrections
      7m 19s
    16. Vignette and chromatic aberrations
      6m 21s
    17. Introducing the Tone Curves
      6m 9s
    18. Parametric curves and targeted adjustments
      6m 26s
    19. Correcting a low-noise photograph
      7m 35s
    20. Sharpening and high-noise photos
      8m 25s
    21. Selective Hue/Saturation adjustments
      5m 34s
    22. Selective Luminance adjustments
      5m 39s
    23. Adding grain and vignetting effects
      5m 23s
    24. Mixing a subjective black-and-white image
      7m 53s
    25. Colorizing with the Split Toning options
      4m 29s
    26. Opening a raw image as a Smart Object
      5m 39s
    27. Camera Raw wrap-up
      8m 38s
  14. 55s
    1. Until next time
      55s

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