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The advanced options

From: Photoshop CS4 One-on-One: Advanced

Video: The advanced options

In this exercise I'm going to introduce you to the advanced settings inside this Smart Sharpen dialog box. And then we'll see how to save out our settings in the next exercise, and pretty much if you are going to start wandering down advanced settings route, you definitely want to save out your settings, because otherwise you can truly mess things up inside this Smart Sharpen dialog box. Just a little bit of an FYI from me to you. Now I'm working inside of an image called No tresspassing.jpg. I'm going to move No trespassing over just a hair bit so that we can take in the histogram palette. So I'm going to start by collapsing these palettes around the right hand side, and then bringing up the Histogram palette right there, and I have got to move my image over a little bit again. And the reason I'm showing you the histograms is because I want you to see what's going on inside of this image on the channel by channel basis. Notice that we are clipping here in the Blue Channel and we are okay over here on the right hand side. We don't have any clipping going on in white, and we have a little bit of clipping going on in the blacks and the Green Channel, but not the whites, and we are pretty safe in the Red Channel.

The advanced options

In this exercise I'm going to introduce you to the advanced settings inside this Smart Sharpen dialog box. And then we'll see how to save out our settings in the next exercise, and pretty much if you are going to start wandering down advanced settings route, you definitely want to save out your settings, because otherwise you can truly mess things up inside this Smart Sharpen dialog box. Just a little bit of an FYI from me to you. Now I'm working inside of an image called No tresspassing.jpg. I'm going to move No trespassing over just a hair bit so that we can take in the histogram palette. So I'm going to start by collapsing these palettes around the right hand side, and then bringing up the Histogram palette right there, and I have got to move my image over a little bit again. And the reason I'm showing you the histograms is because I want you to see what's going on inside of this image on the channel by channel basis. Notice that we are clipping here in the Blue Channel and we are okay over here on the right hand side. We don't have any clipping going on in white, and we have a little bit of clipping going on in the blacks and the Green Channel, but not the whites, and we are pretty safe in the Red Channel.

But the thing is once you start applying a heaping helping of sharpening inside of an image, and particularly with the Smart Sharpen function, you are going to clip blacks and whites, because you are sending the darkest colors to black, and you are sending the lightest colors to white on an edge basis, so they are appearing all throughout the image. They are not in big clumps the way they might be with the Levels command. But you still might not want that. You might not want to clip your highlights and shadows, and inside of a cruddy little image like this one, it's very helpful to have that kind of control. So I'm going to press Ctrl+Alt+F or Command +Option+F to bring up the Smart Sharpen dialog box once again and notice all the clipping that's occurring. Look at that huge line over their on the black side of the Red Channel, and over here on the white side of the Red histogram as well. And we have got the same thing going for green and for blue. So just a ton of clipping happening all over the place.

All right, I'm going to drag over the No Trespassing sign so that we can see just what a rich job it's doing here inside the blacks. It's just making a mess of things, and notice how it's clipping the heck out of the top of the sign, and it's setting that fly on fire, pretty much I think. So we need to calm things down. We need to temper it. I'm going to start it by making it less calm. I'm going to raise that Amount value to 400%, so we can really see what's going on. Making absolute mess of this image, and raise the Radius value to 3 pixels. Remove, we do want to set the Lens Blur, but we sure as heck don't want More Accurate. In fact, if anything I wish we had a less accurate checkbox right here to you know get rid of bird poop, get rid of flys. Just don't sharpen those kinds of disgusting little items there. But More Accurate in general we definitely went off.

But that didn't resolve our problems like those weird sharpening artifacts here inside this black region of the sign, and of course our overly hot highlights are still a problem. So what you do is you come over here to this advanced option. Now, everything that I have shown you so far, I'm a big fan of how it's put together. I love the Amount value, I love the Radius value, I lover Remove. In a couple of exercises we will see Remove set to Motion Blur, so you can get a sense of how that works. And I love More Accurate. Even though you just have to watch it. Sometimes it's great, sometimes it's not.

What I'm about to show you-- we start going down into, gosh, I'm not really a fan of how this is designed territory. And I wish to heck they would fix it, but Adobe has a terrible, terrible habit of never going back and revisiting filters ever, and so once the filter is made, that's pretty much the way it stays for the rest of time, essentially. So anyway, we'll probably have to put up with this one the way it is, but it is useful. I have shown it to you, but I'm going to complain every ones in a while, to some you should know upfront. All right, so I'm going to turn on Advanced and now you get two extra tabs right here. So I'm going to switch over to highlight, we'll switch the highlights first, because the highlights are the worst defenders in terms of having blown highlights for example.

First of all you should know you are not going to see anything. If you change these two values Total Width or Radius, you are not going to see the effects of those until you increase the Fade Amount. So I'm going to take that Fade Amount up to 100, and I want you to watch this area right here. Did you notice how it changed? So this was a Fade value of 0, some very hot highlights, and also you can watch the histograms over here, and if I take that value up to 100%, we completely fade out those highlights now, so that we don't have any blown highlights at all. No highlight clipping occurring whatsoever. We do have much more shadow clipping going on now, but we'll resolve that in a minute. Now we have Total Width, remember the Total Width value inside the shadows highlight dialog box? Exactly the same. How much of the image is devoted to highlights, how much of the image is devoted to shadows and so on.

And I'm going to say 75% of the luminance level should be treated as highlights. Should fall into the range of colors that are getting mitigated here. And that's of course being treated to as slow and subtle drop off. So the lightest highlights like white, and the ones very near to it. So the hottest highlights like white, and those highlights that are very near to white, they will be faded the most, and then the colors that are closer to the midtones will be faded less and so on. So it's not an on off preposition the way it is with the threshold options inside the Unsharp Mask dialog box. It is gradual and beautiful and wonderful.

This next option essentially doesn't really function is when it comes down to. It's again another Radius pass just like we saw inside the Shadows Highlights dialog box, and if you have to get inside small details, and you want to keep this value very low. But inside this image, I dare you to see anything happening. I'll move the image down a little bit, so that we can see the top of this sign way better. If I crank it all the way up to 100 pixels, there's very little in a way of change happening inside the image, the visual change. You will see some stuff happening to the histogram here. But what I'm going to recommend is that we keep this value higher than your core radius value, the one that you are using for sharpening the image. So I'm going to take it to 10 pixels. Again, it's not going to make much of a difference. I don't think I saw anything happening in the way of a change to the histograms here. Just a little bit of tapering off from 10 to 100.

But anyway, that will distribute whatever effect we are applying in terms of fading this. Actually I don't want to fade it to 100, I want to take this back, and I'm going to take it down to 35%, which still keeps most of the colors from clipping. We have just a little tendency of clipping over here in red, but this is pretty much the way that histogram is looking before over here on the highlights side. So it's not too different than it was before we brought up the dialog box. All right, these values 35, 75, and 10. Just for the sake of simplicity I'm going to reapply them to the shadows, and I want you to watch what happens inside these sort of swarming details here inside the blackness of the sign. If I raise the Fade value just to 35% that goes away. Good-bye. Also no clipping occurring anymore. Let's just go ahead for safety sake, take Total Width up to 75%, that looks better and I'm talking about the histograms here, and we'll take the Radius value up to 10. Let's see what kind of difference that makes for the histograms. None, there is no difference at all there, just tiny slight difference.

All right, anyway it's hard to get this to really contribute to the action, but overall we do have some contributions. Now at this point you might go, why were you complaining about this Deke? I mean these seem to work just as well as many other settings inside of Photoshop. They are little strange. But well, here is the deal. If I turn on Basic right now, you would think, that I just reset those options back to their basic functionality. No, they are staying the way I just set them, and they will stay that way for all time now, even if you never selected Advanced again. If you click the OK button, you will save over your defaults settings right here, and that's how you can really mess things up.

You go to Advanced and now it's like, oh yeah, those advanced weird settings that I applied are still there. No wonder the filter is not working right any more. So that's why I think it's really patently bad design. But also, why you need to save out your settings, if you're going to go down this Advanced territory, so that you can distinguish your default from whatever else you decide to do here. And then you are going to have to turn around and reset your Default settings. As I'll show you, this really gets strange in my humble o, and I'll show you everything about it. All the strange things, all the goodness, everything it has to offer in the very next exercise.

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This video is part of

Image for Photoshop CS4 One-on-One: Advanced
Photoshop CS4 One-on-One: Advanced

218 video lessons · 23902 viewers

Deke McClelland
Author

 
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  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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