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Using the Image Processor

From: Photoshop CS4 Essential Training

Video: Using the Image Processor

One of my favorite features in Photoshop is the Image Processor. I use it all the time when I want to do some common things to multiple images. And by common things, I mean resizing multiple images, or changing their file formats, or adding copyright information. You can even use the Image Processor to run some actions on multiple files, as an alternative to batch processing. You can invoke the Image Processor either from Photoshop or from Bridge. Let me show you what happens when you try to run the Image Processor from Photoshop. I am going to go to the File menu and down to Scripts and over to Image Processor.

Using the Image Processor

One of my favorite features in Photoshop is the Image Processor. I use it all the time when I want to do some common things to multiple images. And by common things, I mean resizing multiple images, or changing their file formats, or adding copyright information. You can even use the Image Processor to run some actions on multiple files, as an alternative to batch processing. You can invoke the Image Processor either from Photoshop or from Bridge. Let me show you what happens when you try to run the Image Processor from Photoshop. I am going to go to the File menu and down to Scripts and over to Image Processor.

The very first step here asks you to choose the images that you want to process. If you haven't already put those images into a separate folder then you would have open all the images in Photoshop and select Use open images. So if you have a lot of images to process and you haven't put them in a folder, it's a lot more efficient, to just start from Bridge. Let me show you how that goes by canceling out of this dialog box and clicking the Bridge icon in the Application Bar in Photoshop to jump over to Bridge. Here, in Bridge I am looking inside the Chapter 14 Exercise Files folder.

And I have my panels tucked away to the sides, which I did by pressing Tab. I would like to run the Image Processor on these four storm images down here. So I am going to click on the first one, storm1, hold the Shift key and click on the last, storm4, to select all four of them. I don't have to worry about whether they're in the same folder and they don't have to be already open in Photoshop. Then I'll go to the Tools menu at the top of the screen, go down to Photoshop and choose Image Processor and that takes me back to Photoshop and opens the Image Processor dialog box again.

Only this time it looks a little different. Let me move it over a little bit and you can see here that the first step now says that it's going to process the files that I selected in Bridge. So I don't have to do anything in step one. The other checkbox in step one isn't relevant, because opening the first image to apply settings only comes into play when you're running the Image Processor on RAW files and you want to use the Camera Raw settings that you've already applied to one image on a number of other images. One thing I like about the Image Processor is that it pretty much tells you what to do. So when you go to step two, it tells you that here you're supposed to select the location in which to save the processed images.

I can choose to either save them in the same location, or I can select a different folder in which to save the processed images. It's okay to save them in the same location, because there's no danger of overwriting the originals. The Image Processor always makes subfolders to put its results in. But in this case, I will choose Select Folder and I'll then click on the Select Folder button. And I'll navigate to the Desktop and I'll click New Folder. I'll call this image processed. And I'll click Create and then I'll click Choose.

In step three, I can choose one or more formats in which to save this image. I am going to be starting out with PSD files. So if I check Save as JPEG, then the Image Processor will convert a copy of my file into the JPEG format. And if I leave Save as PSD checked, I'll get another copy as a PSD. And I could also get yet a third copy of every image on which I run the Image Processor, saved as a TIFF. So let's say that I'm starting a new business and I want to put my photos on my business website and I also want to have copies to put in a printed brochure.

In that case, I would want to save them as JPEGs for the website and maybe save TIFFs for the printed brochure. So I'll uncheck Save as PSD, I already have my originals as PSDs. The settings here will only apply to the JPEG copy. I can choose the quality at which I want to save the JPEG. And the higher the quality up to a maximum of 12, the larger the file would be, but the better the file would look. If I want to save file size for the web, I might leave Quality at 10, or maybe go down as far as eight, because the lower the quality, the smaller the total file size will be.

I don't want to go down too low though or I'll degrade the appearance of the image. When I'm creating images for the web, I usually do leave the Convert Profile to sRGB box checked. The reason to check this box is that this is going to change the color space of the file to make it most closely match the color space of a typical PC monitor, and most of the viewers of the Web are on PCs. If you want to learn more about color profiles, you can go back and listen to the movie on Color Settings. Then I want to make the images smaller so that they'll fit on a webpage.

So I am going to check Resize to Fit. This field is not asking me to choose specific sizes for the final images, because say I wanted to run it on images of different sizes in different proportions. Specifying particular sizes wouldn't work. Instead what you can specify here is a maximum size for both the width and height. So what I usually do here is figure out the longest dimension to which I'd like to resize all files, regardless of whether they are vertical or horizontal. And then I type that same number of pixels into both of these fields, and that makes things come out right when I run the Image Processor on a batch of images that includes both verticals and horizontals.

So let's say that I want the largest dimension for my website to be 400 pixels. I'll put that in the Width field and in the Height field. Going down to the TIFF area, I can decide whether or not I want the file to be compressed when it's made into a TIFF. I am going to leave that unchecked in this case, and then I could resize my TIFFs to fit as well. Again I'm just choosing the maximum width and the maximum height here. Let's say I am making a small brochure, maybe I'd put 1200 pixels in each of these boxes.

These are not magic numbers though. They are just numbers that I am choosing for this exercise. Next I'm going down to the Preferences area. Here I have got some interesting choices. I am going to leave Include ICC profile checked here, and what that will do is if one of the original images on which I'm running the Image Processor does have a color profile tag, the final version will have that tag as well. Because I'm going to be sending these TIFFs off to a printer, I would want to include the ICC profile. But if I were only making copies for the Web then I might uncheck this because most web browsers can't read ICC profiles anyway and they do make JPEGs a little bit bigger.

But for the purpose of this example lesson I'll go ahead and leave that checked. I also can add Copyright Info here. That will add copyright information into the metadata of each of the files on which I run the Image Processor. This is a great way of protecting your images under the hood. To add the copyright symbol, I am going to press Option+G on a Mac or a type Alt+0169 on a PC, and then I'll type my name and the date. By the way, if you're working along with me on these Exercise Files, please do put my name in the copyright info, not yours, because I am the photographer.

Then I am going to go to the Run Action field and I am going to check that, because I can have the Image Processor run an action from one of my action sets on all of these images. Photoshop comes with some default actions. I am going to use one of those. So first I'll go to the action set field here and I'll make sure that Default Actions is selected, and then I'll go to the next field and choose which default action to run. I am going to sepia tone all these images. So I'll choose Sepia Toning and what layer means is that you have to have the layer selected in your original files that you want to be affected by this action.

All of my files just have a single layer, so I can choose Sepia Toning. And now it's time to run all of these commands on the four images that I had selected in Bridge. To do that, I just click the Run button, and Photoshop goes ahead and does its thing. So that was a lot to do in just a couple of seconds. Certainly a lot faster than I could have done separately on each image. I am going to go out to my desktop so that I can see the results. There's my image processed folder. If I look inside, I'll see a folder for JPEGs and a folder for TIFFs.

I'll look inside the JPEG folder and there are the four JPEGs that the Image Processor made and inside the TIFF folder, the four TIFF copies. I am going to open one of those JPEGs just to see what it looks like. On a Mac I'm going to hold down the Ctrl key and I'm going to click on one of these JPEGs and choose Open With and choose Adobe Photoshop CS4. On a PC you can right- click and do the same thing. And that opens my storm JPEG into Photoshop. To check on whether the Image Processor did everything I asked it to, I'll go to the information field at the bottom of the document window.

I happen to have this set to show the color profile. Yours may be showing something different, but what this is telling me is that the Image Processor did convert this image to the sRGB color space and attached the profile. Then if I hold down the Option key on a Mac or the Alt key on a PC and I click on this document information area, I can see the width and height of the image. You remember that I told the Image Processor that the maximum number of pixels in either dimension should be 400. So it made this horizontal image 400 pixels wide and to be proportional the height is only 300.

If I was looking at a vertical image, I would see that the height was 400 and the width was a smaller number. And of course, you can see the sepia toning here. Finally, if I look in the document tab I'll see this small c, which indicates copyright information has been added to the metadata. If I want to see that, I can go to the File menu and go down to File Info. In the File Info dialog box, I'll see that under the hood, my copyright notice has been added to this photo. And the same is true of all of the other photos on which I ran the Image Processor.

I am going to cancel out of there. So you can imagine how useful the Image Processor will be to you. I use it all the time just to resize images. It's easy to use and I think it will save you a lot of time.

Show transcript

This video is part of

Image for Photoshop CS4 Essential Training
Photoshop CS4 Essential Training

103 video lessons · 67376 viewers

Jan Kabili
Author

 
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  1. 2m 31s
    1. Welcome
      1m 27s
    2. Using the example files
      1m 4s
  2. 25m 14s
    1. Touring the interface
      4m 25s
    2. Working with tabbed documents
      5m 15s
    3. Using tools efficiently
      3m 51s
    4. Arranging panels
      3m 53s
    5. Customizing keyboard shortcuts
      2m 50s
    6. Saving a custom workspace
      3m 0s
    7. Changing screen modes
      2m 0s
  3. 19m 3s
    1. Touring the Bridge interface
      6m 31s
    2. Opening images from Bridge
      1m 20s
    3. Reviewing images
      4m 42s
    4. Finding images
      6m 30s
  4. 44m 53s
    1. Setting preferences
      4m 23s
    2. Choosing color settings
      8m 11s
    3. Zooming and panning
      5m 27s
    4. Resizing and image resolution
      3m 17s
    5. Adding to the canvas
      2m 2s
    6. Rotating the canvas
      1m 44s
    7. Choosing color
      4m 49s
    8. Sizing a brush tip
      3m 4s
    9. Undoing and the History panel
      5m 0s
    10. Saving and file formats
      3m 29s
    11. Creating a file from scratch
      3m 27s
  5. 37m 58s
    1. Making geometric selections
      6m 14s
    2. Modifying selections
      4m 43s
    3. Combining selections
      3m 16s
    4. Using the Quick Selection tool
      5m 34s
    5. Refining selection edges
      4m 12s
    6. Using Quick Mask mode
      2m 18s
    7. Selecting with the improved Color Range command
      4m 32s
    8. Selecting with the Magnetic Lasso tool
      2m 28s
    9. Using the Background Eraser tool
      3m 7s
    10. Saving selections
      1m 34s
  6. 39m 56s
    1. Understanding layers
      5m 43s
    2. Creating layers
      5m 12s
    3. Working in the Layers panel
      2m 19s
    4. Locking layers
      4m 17s
    5. Working with multiple layers
      4m 6s
    6. Merging and flattening layers
      3m 55s
    7. Adding a shape layer
      4m 43s
    8. Basic layer masking
      4m 23s
    9. Using layer blend modes and opacity
      5m 18s
  7. 23m 19s
    1. Cropping
      3m 26s
    2. Straightening
      3m 17s
    3. Transforming
      4m 42s
    4. Working with Smart Objects
      6m 48s
    5. Using Content-Aware Scaling
      5m 6s
  8. 1h 10m
    1. Reading histograms
      4m 21s
    2. Using adjustment layers and the Adjustment panel
      6m 4s
    3. Adjusting tones with Levels
      7m 49s
    4. Limiting adjustments with layer masks
      5m 40s
    5. Using masks in the new Masks panel
      6m 9s
    6. Limiting adjustments by clipping
      3m 6s
    7. Adjusting with Shadow/Highlight
      5m 7s
    8. Adjusting with Curves
      7m 37s
    9. Adjusting with Hue/Saturation
      3m 42s
    10. Adjusting with Vibrance
      2m 16s
    11. Removing a color cast
      4m 26s
    12. Using the Black & White adjustment layer
      2m 39s
    13. Using the Dodge Burn and Sponge tools
      4m 11s
    14. Reducing noise
      2m 39s
    15. Sharpening
      4m 42s
  9. 38m 0s
    1. Using the Spot Healing Brush tool
      5m 17s
    2. Using the Healing Brush tool
      5m 51s
    3. Using the Patch tool
      4m 52s
    4. Using the Clone Stamp tool
      4m 8s
    5. Enhancing eyes
      9m 29s
    6. Changing facial structure
      5m 0s
    7. Softening skin
      3m 23s
  10. 44m 38s
    1. What's a raw image?
      4m 25s
    2. Touring the Camera Raw interface
      7m 35s
    3. Working in the Basic panel
      7m 54s
    4. Working in the Tone Curve panel
      2m 21s
    5. Working in the HSL/Grayscale and Split Toning panels
      3m 46s
    6. Looking at the other Camera Raw panels
      3m 45s
    7. Using the Adjustment Brush tool
      4m 2s
    8. Using the Graduated Filter tool
      3m 56s
    9. Working with multiple files
      6m 54s
  11. 21m 6s
    1. Using the Brushes panel
      8m 30s
    2. Filling with color
      3m 49s
    3. Replacing color
      4m 14s
    4. Using gradients
      4m 33s
  12. 16m 55s
    1. Working with point type
      9m 59s
    2. Working with paragraph type
      3m 17s
    3. Warping text
      3m 39s
  13. 25m 23s
    1. Adding a layer style
      4m 6s
    2. Customizing a layer style
      3m 35s
    3. Copying a layer style
      3m 5s
    4. Creating a new style
      3m 32s
    5. Using Smart Filters
      5m 22s
    6. Working in the Filter Gallery
      5m 43s
  14. 13m 14s
    1. Auto-blending focus
      4m 47s
    2. Creating Photomerge panoramas
      4m 2s
    3. Combining group photos
      4m 25s
  15. 23m 27s
    1. Creating an action
      7m 16s
    2. Batch processing with an action
      6m 36s
    3. Using the Image Processor
      9m 35s
  16. 29m 20s
    1. Printing
      11m 32s
    2. Making a contact sheet from Bridge
      6m 12s
    3. Creating a web gallery from Bridge
      7m 17s
    4. Preparing photos for the web
      4m 19s
  17. 30s
    1. Goodbye
      30s

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