Photoshop CS4 One-on-One: Mastery

An altogether nondestructive Lab correction


Photoshop CS4 One-on-One: Mastery

with Deke McClelland

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Video: An altogether nondestructive Lab correction

All right, we've managed to stitch together ten separate photographs using Photoshop CS4's absolutely awesome Photomerge command to create a seamless panorama. I've gone ahead and saved my progress so far as SmartRGB panorama.psd, found inside the 28_auto_align folder. And in case you're wondering why it's called that smart, because we have a Smart Object with a Smart Filter assigned. RGB, because it is in the RGB mode, and we're going to change that right now. So what I would like you to do is press Shift+Tab, so that you bring up your right side palettes right here.
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  1. 21m 20s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    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
      5m 53s
  2. 2h 31m
    1. Introduction to masking
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 24m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 34s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 35s
    8. Importing an image into a 3D scene
      5m 46s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 8s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 55s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 55s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 33s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 42s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 52s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 39s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 43s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 51s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 52s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

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Watch the Online Video Course Photoshop CS4 One-on-One: Mastery
13h 7m Advanced May 29, 2009

Viewers: in countries Watching now:

Photoshop mastery can be elusive, but in Photoshop CS4 One-on-One: Mastery, best-selling author and video trainer Deke McClelland teaches the most powerful, unconventional, and flexible features of the program. In this third and final installment of the popular and comprehensive series, Deke delves into the strongest features that Photoshop has to offer, including scalable vector graphics, Smart Objects, and Photomerge. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS4 One-on-One: Fundamentals and Photoshop CS4 One-on-One: Advanced, both part of the Online Training Library®.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

Topics include:
  • Defining the essentials of masking
  • Resizing images with content-aware scaling
  • Adjusting perspective with Vanishing Point
  • Applying Smart Filters to create complex effects
  • Using the Auto-Align tool to build composite images
Design Photography
Deke McClelland

An altogether nondestructive Lab correction

All right, we've managed to stitch together ten separate photographs using Photoshop CS4's absolutely awesome Photomerge command to create a seamless panorama. I've gone ahead and saved my progress so far as SmartRGB panorama.psd, found inside the 28_auto_align folder. And in case you're wondering why it's called that smart, because we have a Smart Object with a Smart Filter assigned. RGB, because it is in the RGB mode, and we're going to change that right now. So what I would like you to do is press Shift+Tab, so that you bring up your right side palettes right here.

And I want you to see that we've got a Smart Object. That Smart Object contains ten different layers, and then we have a Smart Filter assigned as well. And you know what, I'm going to right click on that Filter Mask and choose Delete Filter Mask, just to get rid of the clutter. And you know what else we should do? Double click on the Blending icon right there, in order to bring up the Blending Options dialog box and let's change the mode from Normal to Luminosity, so that we're not bringing out any aberrant colors or we're bringing out as few aberrant colors as possible inside of our beautiful photograph here. And then I'll click OK.

All right, so now if we zoom out, the colors are just drabb and then these shadows have all this blue in them. I don't like that, I want neutral shadows, so what do we do? Well, we're going to have the best tools at our disposal. If we go ahead and switch over to Lab mode, we're going to have a lot more flexibility. So I'm going to go up here to the Image command, choose Mode, and choose Lab Color. Now because we're working with a layered document that contains a Smart Object, Photoshop is going to produce an alert message, get a little grumpy on us. It's going to say changing modes can affect the appearance of Smart Objects.

Well, yeah, sometimes. Some filters applied to Smart Objects may not be available after mode change. Well, yeah, if we applied to gallery effect filter or something like that, but we didn't. We applied Smart Sharpen, which works great. All the really good filters work great in the Lab mode. And we'd only have appearance problems if we had been using a really wacky blend mode, but we just used Luminosity, so that's fine. So should we rasterize? Heck, no, don't be doing that, don't rasterize. So click on the Don't Rasterize button and it will take a moment or two in order to perform the on the fly conversion to Lab. And you may hear people every once in a while talk about how the conversion of an image from RGB to Lab is a destructive modification. I'm here to tell you, it's hardly destructive and it ain't the least bit destructive the way we applied it, because our original image, by the way, even though our lager composition is Lab, if we were to double click the Alcatraz icon, then you'll see that it's still RGB.

So the original layers are still in RGB. In other words, we haven't permanently changed a single color inside of our composition. That is the definition of non-destructive, people. So anyway, those people are just haters. Don't listen to them. All right, so we got the Alcatraz layer selected. I'm going to go ahead and apply a Levels adjustment, so come over here to the Adjustments palette and Alt-click or Option-click on that Levels icon. And let's go ahead and call this snazzy color, because we're going to make the colors nice and snazzy, and click OK.

I'm going to press Alt+4 or Option+ 4 to switch over to the A channel, which our tint channel, wearing between green and pink. Some people say magenta, but it's not really magenta. And I'll press Shift+Up arrow three times in a row to raise that black point value to 30, so we're infusing the image with green, but it's more of a turquoise really. And then I'm going to click inside of this white point value and press Shift+Down arrow three times, same number, so we're balancing the image with an equal amount of the opposite color, the complementary color, which is pink in this case.

Now let's press Alt+5 or Option+5 on a Mac to switch over to the B channel. The white point value is active, so I'll press Shift+Down arrow three times in a row to infuse the image with yellow and suddenly the entire environment is jaundiced. We don't want that. So Shift +Tab your way over to the black point value. Press Shift+Up arrow three times in a row to balance the image with blue. So I want the grass to look nice and vibrant, even though it's Alcatraz. I think it should have some nice foliage, so I'm going to go ahead and tab over to the Gamma value and I'm going to press the Up arrow key five times to raise that value to 1.05. That's a little yellower than you might want to go, but that's exactly as yellow as I want to go. So up to you whatever other modifications you might want to make.

All right, now I want to hit the shadow details. And the easiest way to hit the Shadows is to go ahead and choose the Color Range command. We could lift shadows, if we wanted to, using a density mask. We've seen how that works. However, I'm here to tell you that Color Range is going to work better for these middling shadows right there, because the ultra dark shadows like these guys down here are in fine shape. It's just the light shadows, dark mid-tones that are in trouble. So let's go up to the Select menu and choose Color Range, or if you loaded Dekekeys, mash your fist and press O, Ctrl+Shift+Alt+O or Command+ Shift+Option+O on the Mac.

And then what I want you to do is click in that shadow in order to select it. And you know why it's doing what's it's doing? It's because I've got an adjustment layer selected, and it wants to go ahead and create an on the fly layer mask for this adjustment layer. That's not what I want. I'll just go ahead and click OK to make sure that is what's actually happening. No, it didn't happen. It just showed us a crazy preview. All right, let's try that again. I'll click off. That was weird. I'm going to go out to the Select menu, choose Color Range, Ctrl+Shift+Alt +O, Command+Shift+Option+O on the Mac. Oh, that's my problem. I'm a goof ball. I've got my selection preview set to White Matte. I want none. Aha I see. All right, Fuzziness is 70 though.

That works out beautifully. And then I did this because I wanted to make sure I had gotten the right shadows, which I had, all right then. I'll click OK, make sure Invert is turned off, Localized Color Clusters needs to be off. Click OK. We get this selection here. Now what I'm going to do is click this left pointing arrow ahead in the bottom right corner of the Adjustment palette and we're going to Alt-click or Option-click on the Levels adjustment once again. And this time I'm going to go ahead and call this one shadow neutralizer or something along those lines. And I'll click OK.

And we now have the shadow neutralizer layer modified by a layer mask. That's good. And the modifications that I want to apply this time. First of all I want to make my shadows darker. So I'm going to press Shift+Up arrow a couple of times, like so. And I'm going to leave the other values alone. I just want to adjust that guy right there, make those shadows nice and deep. And then, let's switch over to A and for A, since we want to reduce the saturation of the shadows, we want to modify the Output Levels, not the Input Levels. So go ahead and click inside Output Levels and take this first one up to 30, and then tab over, take this second one down 30, to 225. And then let's switch over here to B and I'll go ahead and change this Output Levels value, actually I'm going to take it to 235. And notice that there goes ahead and makes the shadows bluer. They were too blue in the first place so we really need to offset by increasing the value, so I'm going to press Shift+Up arrow a total of four times. And that gives us some nice neutral shadows right there. Excellent.

And then you know what? One more thing. I'm going to come back down to snazzy color and I'm going to click inside of the mid-tone for lightness there, and I'm going to press Shift+Down arrow just to deepen the scene a little bit, so I reduce the Gamma value to create deeper colors. And then I'm going to press Shift+F in order to hide those palettes and fill the screen with the image. And here's the final panorama, thanks to a combination of the enhanced Auto Align and Auto Blend features working hand in hand with Smart Objects, Smart Filters, non-destructive transformations, a non-destructive conversion to the Lab mode and the addition of a couple of adjustment layers here inside Photoshop CS4.

Find answers to the most frequently asked questions about Photoshop CS4 One-on-One: Mastery .

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Q: My Polygon tool is locked into a very small size. I can use the Transform tool to increase it's size once drawn, but I must have something set that will not allow me to freely draw it like I can the other shapes. What could be causing this problem?
A: This could be caused by a value associated with the Radius option of the tool. Click the down-pointing arrowhead to the right (a few tool icons over) from the Polygon tool in the options bar at the top of the screen. This brings up pop-up panel. If the Radius option has a number value, select that value and press Delete or Backspace to clear it out. That should fix the problem.
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