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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.
Camera Raw 5 offers two new tools for selectively modifying the Exposure and to an extent the White Balance of portions of an image. We're going to see those tools right now, inside 30 minutes later.dng. Here are the new tools. One of them is Graduated Filter and the other is Adjustment Brush. We're going to use the Graduated Filter tool in order to darken up Megan's blouse a little bit, and then we're going to use the Adjustment Brush, which has a few additional options, to brighten her eyes and some of the shadow detail in her hair, so to dodge the image, don't you know? All right. So go ahead and grab the Graduated Filter tool, which you can get by pressing the G key if you like. Then what I want you to do... Notice I've already got some values entered right here. -0.45 Exposure, -5 Brightness, +30 Contrast. You won't see those settings, but mine have just gotten kind of stuck in here, as I've been goofing off in the background, so you'll have to enter those manually if you want to.
Let's go ahead and drag from this button on Megan's blouse upward like so, to about the base of her neck there. Notice this little green circle, that indicates where the Color Adjustment starts, and so this region will be adjusted. This red circle here indicates where the Color Adjustment is going to stop. Then this is the sloping transition in between. So we have a soft graduated effect in between these two extremes. You can move these around. You can drag the circles if you want to, at different locations. If you want to move everything all at once, you drag this middle prop right here, in between the two, the connecting dotted line.
All right. Then you enter whatever settings you want to apply. You keep an eye on things here inside the image window. You can adjust the White Balance differently in one portion of an image with respect to another. You do that by Clicking inside of what you'll see to be an x, because there isn't anything there first. You Click in there and then you can either warm up or cool down the image using these little Presets, or you can select your own color, you can adjust the Saturation. What I did was I Clicked in this blue preset, which is 50% Saturation, and then I took it down to 25.
You can adjust the Hue as well if you want to. I'm happy with what I'm seeing here. I'll Click OK. That's it for the Graduated Filter Effect right there. I do want you to see that you have the option of turning this interface folder on and off. So I can either hide it by Clicking on this checkbox to turn it off, or I can press the V key; V turns it off and then V turns it back on. Let's go ahead and press V again to turn it off for a moment. I can also press the P key in order to see a before view of the image and P again for an after view. Something I'll tell you -- a couple of things. First of all, there is no Vibrance control, notice that. We've got Saturation and Clarity. We also have the basic three here; we've got Exposure, Brightness. We don't have Blacks, but we do have Contrast. We have a Sharpness control. You are only going to see the results of that at 100% of View Size or better.
Something else I want to tell you about Sharpness, it's really designed for one purpose only, and that's to compensate for the natural softness that occurs during the de-mosaicing process, which is a function of imbuing this otherwise gray scale image with color. It's little bit technical, obviously. I do not recommend on a regular basis that you sharpen one portion of an image differently than another portion of an image. If you want to do that kind of stuff, take the image into Photoshop and use Photoshop's Sharpening Controls.
Now, let's turn our attention to the Adjustment Brush, and when I say now let's turn our attention, I mean in the next exercise.
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