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Photoshop CS6 One-on-One: Advanced
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Working with JPEG and TIFF images


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Photoshop CS6 One-on-One: Advanced

with Deke McClelland

Video: Working with JPEG and TIFF images

In this movie, we'll talk about editing JPEG files inside Camera Raw and everything I'll tell you works exactly the same with TIFF images. Camera Raw does not allow you to open native PSD files, because it doesn't support layers. All right. So I've selected this file called Brand new gloves.jpg in Bridge and if I want to open it in Camera Raw I can either right-click on it and choose Open in Camera Raw or I can just press Ctrl+R or Cmd+R on the Mac, and then Camera Raw comes up on screen and everything looks pretty much just as it does when we are working on an actual RAW image, but there are a few differences.
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  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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Photoshop CS6 One-on-One: Advanced
11h 8m Advanced Sep 12, 2012

Viewers: in countries Watching now:

The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.

Topics include:
  • Adjusting the color settings in Photoshop
  • Placing and blending Smart Objects in a scene
  • Transforming and warping vector objects
  • Correcting for lens distortion
  • Mitigating halos and enhancing contrast with Shadows/Highlights
  • Adding and editing points on a curve
  • Editing multiple images in Camera Raw
  • Creating a pro-quality sepia tone or quadtone
  • Colorizing with blend modes and opacity
  • Reducing and smoothing over noise
  • Creating depth-of-field effects with blur
  • Selecting with Color Range and Quick Mask
  • Perfecting a mask with Refine Edge
  • Drawing paths with the Pen tool
  • Converting path outlines to vector masks
Subjects:
Design Raw Processing
Software:
Photoshop Camera Raw
Author:
Deke McClelland

Working with JPEG and TIFF images

In this movie, we'll talk about editing JPEG files inside Camera Raw and everything I'll tell you works exactly the same with TIFF images. Camera Raw does not allow you to open native PSD files, because it doesn't support layers. All right. So I've selected this file called Brand new gloves.jpg in Bridge and if I want to open it in Camera Raw I can either right-click on it and choose Open in Camera Raw or I can just press Ctrl+R or Cmd+R on the Mac, and then Camera Raw comes up on screen and everything looks pretty much just as it does when we are working on an actual RAW image, but there are a few differences.

So I'm going to start things off by cropping this image. I want to get rid of a lot of that sky, because it's a pretty crummy shape, and then I'll drag down to the crook of Colleen's arm here. I might keep a little more sky than that. You can also by the way; to invoke a crop, you can press the Enter key or the Return key on the Mac and that will send you back to the Zoom tool. I prefer to press the Z key however, because I don't want to accidentally invoke the Done button. Next I'll go ahead and click on Auto in order to apply some automatic modifications and I'm going to go ahead and take that Exposure value slightly up to -0.65 and I would like slightly more Contrast in this, so I'll take that value to 0.

The Highlights value is pretty close to what I want. I ended up setting it to -40, and then I went ahead and increased the Shadows value all the way to 100 in order to open up those shadows under the bridge, this being the Rialto in Venice. Now you might figure that you could recover some of those clouds in the sky there by reducing the Whites value, and sure enough that's going to go ahead and make those clouds or whatever they are, a light gray, but it doesn't really recover them. We have all kinds of posterization at work as you can see here, and there's not really much we're going to do about that, not inside of Camera Raw anyway.

And the thing to bear in mind is, even though I was telling you that the Whites and Blacks options frequently allow you to recover Highlights and Shadows that you otherwise thought were clipped, that's not really the case with JPEGs and TIFFs, because they are flat files. They don't have extra data that you're not seeing, the way that RAW files do. So what I'm going to do here is press the Alt key or the Opt key on the Mac and drag up on the White slider triangle until we're starting to see clipping and then I'm going to come back here to about +20, works, and then I'll also Alt+Drag the Blacks value until we see clipping in the Image window, which happens around -50, and we end up with this image here.

And if you feel like adding a little bit of saturation, by then go for it. I'm going to take my Vibrance value up to 30; I might take the Saturation up to 15 as well. All right. Now notice up here at the top of the stack, we've got the Temperature value and instead of reading 4000 degrees Kelvin or whatever, it's showing us 0 and that's because it's no longer an absolute value, instead, it's a relative value. So if you want to warm up the image, you add to the value and if you want to cool down the image you subtract from it.

This value is also by the way not a degree value; it's more analogous to a percentage. Anyway, I found that a value of about five ended up giving me the warmth I was looking for. Now the final thing I want to do is take care of the sky, it's in just dreadful shape. So I'm going to switch over to HSL/Grayscale, and I don't want a cyan sky, I can't remember the last time I saw a sky that looks like this. So I'm going to switch to the Targeted Adjustment tool, and because the Hue tab is live, I'm going to modify the Hue and I'm going to do so by dragging to the right up here in this Cyan region, and that's going to change both my Aquas and Blues values to a 100 eventually.

I don't think I really want my Blues values to be that high, so I'm going to take it down to 0 and see what I end up getting, and this looks a lot better to me. So an Aquas value of +100, a Blues value of 0. Let's also modify the Luminance a little bit. So I'll switch to the Luminance tab and I'll drag down from the sky and you can drag down really far if you want to, and that will give you this wonderfully dramatic sky, but it's awfully posterized as well. So I ended up coming up with an Aquas value of about -35 and then I went ahead and took the Blues value back down to 0, and we end up with this final effect.

Now you can either open the image in Photoshop and make some modifications, such as blurring away that sky if you want to, or you can click the Done button and return to Bridge, and that's what I'm going to do. Now notice, as soon as we're back in the Bridge, that we have these little icons here showing us that first I cropped the image, and second I modified the settings inside Camera Raw. That means from now on if I double-click inside this image, it's going to open in Camera Raw, albeit this time hosted by Photoshop.

So the thing to remember is that once a JPEG or TIFF image is associated with Camera Raw data, then it becomes a Camera Raw image. All right. I'm going to escape out for a moment, because I want to show you a couple more things here. I'll go to the File menu and choose Browse in Bridge or press Ctrl+Alt+O or Cmd+Opt+O on the Mac to return to Bridge. And note here inside the Metadata panel that you have your Camera Raw data, which shows you that Camera Raw did not hurt a single pixel inside the image.

But you might say, well surely, it cropped the image at least, actually it didn't. If I press Ctrl+R or Cmd+R on the Mac in order to open the image in Camera Raw and I switch to the Crop tool, all the pixels are still there, which is utterly outstanding by the way, because Photoshop is not capable of doing that with JPEG images. All right. So I'll go ahead and click the Cancel button in order to escape out. Finally, let's say you like Camera Raw so much, you like the way it's organized, that you want to be able to use it to open all future JPEG and TIFF images.

Then go up to the Edit menu here in Bridge and choose Camera Raw Preferences and then notice down here at the very bottom, JPEG and TIFF Handling, they are both set to Automatically open whatever file format with settings, and that's what we just saw a moment ago, that JPEG file has settings now, so it gets opened inside of Camera Raw. You could, if you hate Camera Raw, say Disable JPEG support or if you love it, then you can say Automatically open all supported JPEGs and Automatically open all supported TIFFs.

I'm not going to work that way, I'll just go ahead and click Cancel, because it's pretty darn easy to just select a file and press Ctrl+R or Cmd+R on the Mac. And that's how you open and edit both JPEG and TIFF images inside Camera Raw.

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