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I've saved the results of the previous exercise as Retroactive noise reduction.psd and in this exercise we're going to take a look at one of the best Smart Filters there is in my opinion and that's Shadows/Highlights. Now, if you recall our discussion of Shadows/Highlights back in Chapter 17, you might say, wait a sec, Shadows/Highlights is not a command that's available from the Filter menu. So how in the world can you apply it as a Smart Filter? Well, let me tour you through what exactly is available to use the Smart Filter and what isn't.
I've got cathedral, this cathedral layer selected here in the Layers panel and it is a Smart Object, and you can see if I go up to the Filter menu that neither Liquify nor Vanishing Point is available as a Smart Filter. So, both of those are ultimately destructive Filters inside Photoshop. However, everybody else is. So, every command from the Artistic submenu down to the Other submenu can be applied to a Smart Object as long as we're working in the RGB mode. Some of these Filters are not available in LAB or CMYK, which goes for Filter Gallery which houses many other commands that are available in the lower submenus.
That feature is only applicable to grayscale and RGB, and then we also have Lens Correction that you can apply as a Smart Filter. If we go over to the Edit menu, you may recall that Puppet Warp is applicable as a Smart Filter inside of Photoshop CS5, and then finally, if I go the Image menu and choose Adjustments, these three commands show up as available. So, Shadows/Highlight's completely a Filter inside of Photoshop. It's just a Filter that's put in the wrong menu; Variations, if you're working here on the PC, on the Mac, you're not going to see it most likely, and then HDR Toning is a lie.
We'll see it in a later chapter. However, if you choose this command, all it wants to do is flatten your image. So it's not really available as a Smart Filter; in any case say No. Now, here is what we're going to do. We're going to work our way through that very same project that I showed you back in the first part of Chapter 17 and that's this guy right here; it's called Static Shad-High comp.psd and this is the final composition that we created at the outset once again of Chapter 17, expressed using static layers and we're going to tour through that very same example using Smart Filters because actually Smart Filters offer all kinds of advantages.
But there is also a challenge. So, I'm going to briefly walk you through this composition, because I don't expect you to remember how it's put together. I'll Alt+click or Option+click on the Background layer, so that we can see the original image from photographer Felix Mizioznikov of the Fotolia image library, and the image has great composition blah, blah; however it's quite washed out. So I went ahead and created another layer, I jumped this image and applied the Shadows/Highlights command in order to get this effect right here, so we have much more volumetric detail.
And then, I added this Filter set which is a group of two different filtered versions of this image; one subject to Gaussian Blur right there, I'll turn off the High Pass layer for a moment. So there is the Gaussian Blur version and the Gaussian Blur layer is set to Overlay, I notice that, and then I applied High Pass in order to sharpen the image and I set the High Pass to Linear Light. Here's the complication, all three of these commands: Shadows/Highlight, Gaussian Blur, and High Pass, they're all applicable as Smart Filters, so there's no problem there and we would apply them in exactly that order; Shadows/Highlights first, Gaussian Blur next, High Pass last.
However, notice that we've got this layer mask that's assigned to the group and the layer mask is affecting the Filters that are inside of this group that is Gaussian Blur and High Pass, but it's not affecting Shadows/Highlights. Now, if we want to re-create this effect using Smart Filters, then we need to be able to apply Shadows/Highlights with no Filter Mask and both Gaussian Blur and High Pass with Filter Masks, and that presents a little bit of a challenge because when you pile a bunch of Smart Filters onto a Smart Object, they're all affected by a single Filter Mask. So, what we're going to have to do is we're going to have to nest our Smart Objects.
One Smart Object will be affected by Shadows/Highlights with no Filter Mask. So we'll go ahead and put these guys into a Smart Object; then we'll apply Gaussian Blur and High Pass and assign a Filter Mask to them. So let's go ahead and get started here; let's set things up in the first place and I'm going to work a little differently than before. I could just go ahead and grab this Background layer right there and I could press the Alt key or the Option key on the Mac and drag it onto the little page icon and that would give me the Duplicate layer command, so that we can re-create the effect.
I'll put this layer into a New image like so, then click OK and then convert that to a Smart Object, but I just want to show you yet another different way to work. Let's go ahead and make a new image. So, I'll go up to the File menu and choose the New command, Ctrl+N, Command+N on the Mac, and inside of the New dialog box, you're probably going to see something like Default Photoshop Size or one of these of the Presets. However, you can choose one of the images that's open. For example, I'll go ahead and choose Static Shad-High comp, because that's this guy right there and that way I'm seeing the exact Width, Height and Resolution setting so I can match them, and then I'll click OK in order to create my new document.
Then I'm going to go over to the Mini Bridge either by clicking on this little Mini Bridge icon in the panel column or I'll go up to the Applications Bar and click on Mini Bridge and I'll navigate my way to the 30_smart_filters folder like so and then I'll grab this guy Dead calm.jpg, that's the original flat version of the image as you may recall. And I'll drag that guy into the new image window like so and then just drop it into place. I don't have to do a Shift+drop or anything like that, just dropping it is fine. Then I'll close the Mini Bridge and notice I have the opportunity of scaling the graphic as I place it.
I'm not going to take advantage of that; I'm just going to go ahead and let it land because it's already the right size. So, I'll press the Enter key or the Return key on the Mac and by default that gives us a Smart Object as you can see. So we've got this Dead calm Smart Object sitting here and we can tell it's a Smart Object, because we have our little embed icon right there in the lower-right corner, and then we've got an empty Background layer. We don't need that Background layer, so click on it and press the Backspace key on the PC or the Delete key on the Mac and we are now ready to go. This guy is now ready to receive Smart Filters as he will begin doing in the very next exercise.
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