Photoshop CS6 One-on-One: Advanced
Illustration by Richard Downs

Working with archival images


Photoshop CS6 One-on-One: Advanced

with Deke McClelland

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Video: Working with archival images

In this movie I will show you how to work with archival images, that is photographs that you've modified using Camera Raw 6 or earlier. And I have two such images here, Lighthouse-1 and Lighthouse-2. I will select them both in Bridge and press Ctrl+R or Cmd+R on a Mac in order to open them in Camera Raw. Now I want to preserve my previous modifications just in case I want to come back to them. And you can do that by creating snapshots. So I will press Ctrl+A or Cmd+A on the Mac to select both images. And then I will switch to the final panel here by clicking on the snapshots icon.
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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 59s
    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 51s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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Watch the Online Video Course 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
Photoshop Camera Raw
Deke McClelland

Working with archival images

In this movie I will show you how to work with archival images, that is photographs that you've modified using Camera Raw 6 or earlier. And I have two such images here, Lighthouse-1 and Lighthouse-2. I will select them both in Bridge and press Ctrl+R or Cmd+R on a Mac in order to open them in Camera Raw. Now I want to preserve my previous modifications just in case I want to come back to them. And you can do that by creating snapshots. So I will press Ctrl+A or Cmd+A on the Mac to select both images. And then I will switch to the final panel here by clicking on the snapshots icon.

And I will dropdown to the little Page icon and click on it, and I'll call these settings ACR6 edits because after all I modified the images in Adobe Camera Raw 6 which shipped along with Photoshop CS5. And then I will click OK in order to that snapshot. Now notice even though the snapshot appears here inside the Snapshots panel where this image is concerned, if I press the Down Arrow key in order to switch to the next image I see no snapshot. And that's because snapshots is that one thing that you can only do to one image at a time even if multiple images are selected.

So once again dropdown to the Page icon, click on it, enter ACR6 edits and then click OK. All right, now let's go ahead and switch back to the Basic panel. And these images are so different, I'm going to have to modify them independently. I only selected both of them so you could see that snapshots thing. So I will just go ahead and click on Lighthouse-1 and select it. And notice this little Exclamation Point (!) in the lower right corner of the screen. That shows me that this image has been modified in the previous version of Camera Raw and therefore I'm seeing completely different sliders.

The old ones in fact, Exposure, Recovery, Fill Light, Blacks, Brightness, and Contrast. In order to switch things up for the Camera Raw 6 controls you need to click on that Exclamation Point, and then we will see Exposure, Contrast, Highlights and so forth. Now what Camera Raw is trying to do is the best job possible of matching the previous effect. So it's gone ahead and automatically dialed in a few values here. But I want to start over again, so I will go ahead and click on default so you can see just how bad this image was in the first place.

And the first thing I am going to do is adjust the Exposure, Whites, and Blacks controls. So I will take that Exposure value up to say 0.5 which gives the image a little extra brightness. And you'll find that sort of modest exposure adjustments tend to work best. And now I figure the Blacks value is fine the way it is. If I Alt+Drag or Opt+Drag on the slider triangle you can see that we already have some clipping at work here, so best just to leave it alone. However, I have plenty of room were the Whites are concerned. So I will go ahead and Alt+Drag or Opt+Drag on the White slider triangle until I start to see some clipping which happens at about +60, you can see a little bit of clipping in the top right portion of the image.

Now I figure we have a little bit too much contrast where this image is concerned, so I will just take the contrast value down to -50 and then I could breathe some life into the shadows because after all we've got some pretty dark shadows underneath the top of this tower. And I do so of course by dragging up on the Shadows value, but that ends up washing out the rest of the image so I am going to leave that thing set to 0. Instead, I will go ahead and press Ctrl+0 or Cmd+0 on the Mac to zoom out. I am going to take that Highlights value all the way down to -100.

And that ends up muting those highlights so that they are not nearly so garish. All right I think the scene needs a little additional color. So I am going to go down to the Saturation value, maybe bump it up to let's say 20. And then I'll Shift+Tab back to the Vibrance value and take it up to 30. So we end up with this very cheerful scene, especially given that it used to look like this, that is to say the image I get when I click on the Default button, if I want to get back my changes, which I desperately do, then I can just press Ctrl+Z or Cmd+Z on the Mac, you have one level of undo inside Camera Raw.

Now if I want to compare this to my ACR6 settings then I'd just go ahead and switch over to snapshots, take a moment to go ahead save a new snapshot. By clicking on the Page icon I will enter ACR7 edits this time, and then I will click OK. So this is what I had before in the previous version of Photoshop. Looks pretty good but I don't think as good as what I'm getting now. Thanks to my Exposure controls here inside Camera Raw 7. We will see a more dramatic difference if we switch over here to Lighthouse-2.

If I go back to Basic panel here and click on Default, you'll see that this image was in terrible shape, this is that classic image that has blown highlights all over the place. So if I press the Alt key and drag on that Exposure triangle, you can see that we have white all over that sky, those are highlights that are really super blown out. So with the Alt key down I will just go ahead and drag this slider triangle over until most of the clipping goes away which happens in the Exposure of about -1.00.

And that ends up bringing back the sky quite nicely, so we have all kinds of detail inside those clouds now that we didn't have just a moment ago. However, it really darkens up that lighthouse. Now I have made a mistake, by the way, I was going to tab down to Contrast right there, but instead its Recovery. And the reason is I didn't update to the new Camera Raw 7 controls. So we will click on the Exclamation Point in the lower right corner of the image and now I'm seeing what things look like with an Exposure of -1, so went ahead and kept that value and everything else zeroed out.

All right, now I will select that Contrast value and take it down to -25. And I want to really brighten up those shadows. So I will drag this slider triangle up until I get the Shadows value of +80 is what I'm looking for. And that brightens up the lighthouse as well as the ground quite nicely. And then I'll take the highlights down further by reducing this Highlights value to -50, and we ended bringing even more detail out in those clouds. And now we don't have any clipping at all. Both the Shadow Clipping warning and the Highlight Clipping warning appear black, meaning not even a single pixel is clipped.

But we have so little contrast at this point and we can fix that using the Blacks and Whites sliders. So I'm going to start with Whites, I will press the Alt key or the Option key on the Mac and drag that triangle until I start to see clipping which occurs right about at +30. And then I'll Alt+Drag or Opt+Drag Blacks and you can take that one all the way down to -100 and get just a little bit of clipping as you are seeing on screen. But I decided to back it off to -80 like so. And then I took that Saturation value up to 50 and I am going to take the Vibrance value up to 50 as well so that we have this very colorful ground and sky as you can see.

All right, so just to see the difference here, if I click on Default we'll see the original version of the image, it's just horrible by comparison. And then if I press Ctrl+Z or Cmd+Z on the Mac we see the much better version here. And by the way you also have this Clarity slider that we haven't seen before, that creates big thick Edge Contrast. So if you drag it all the way down, you get this kind of Thomas Kinkade Effect if you will, bless his heart. And then if you increase that value like crazy you end up creating a kind of haunted lighthouse.

Anyway, I am just going to leave that guy set to 0. Now I will switch back over to Snapshots so we can compare ACR7 to ACR6 and I will dropdown to little Page icon, click on it, enter a name for the snapshot like ACR7 edits, click OK. So here's what we had at the outset of this movie. Better than the original, that's for sure, but our new edits are that much better. All right, now I will just go ahead and click done in order to accept my modifications and update the thumbnails here inside Bridge.

And that's how you work with archival images as well as snapshots in Camera Raw 7.

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