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The interface and performance settings

From: Photoshop CS6 One-on-One: Advanced

Video: The interface and performance settings

In this movie, I'll introduce you to a handful of interface and performance settings that I find to be very useful. To demonstrate the first of them I'll go ahead and drag this image up and to the left so that you can see that we have this slight drop shadow under the image, out here in the spaceport. To better see it, I'll light up the interface by pressing Shift+F2 a couple times and now you can see that drop shadow more clearly. Now in my opinion, there's really no purpose behind the drop shadow behind the image and you can get rid of it by pressing Ctrl+K or Command+K on the Mac and then pressing Ctrl+2 or Cmd+2 to advance to the Interface items.

The interface and performance settings

In this movie, I'll introduce you to a handful of interface and performance settings that I find to be very useful. To demonstrate the first of them I'll go ahead and drag this image up and to the left so that you can see that we have this slight drop shadow under the image, out here in the spaceport. To better see it, I'll light up the interface by pressing Shift+F2 a couple times and now you can see that drop shadow more clearly. Now in my opinion, there's really no purpose behind the drop shadow behind the image and you can get rid of it by pressing Ctrl+K or Command+K on the Mac and then pressing Ctrl+2 or Cmd+2 to advance to the Interface items.

And notice that the Border is set to Drop Shadow and both the Standard Screen mode and the Full Screen with menu mode. I personally go ahead and turn it off for Full Screen with menus and leave it on for the Standard Screen mode and that way I can easily tell which mode I am working with at any given moment in time. So now if I click OK, we'll still see the drop shadow because we're working in the Standard mode. But if I press the F key to advance to the Full Screen mode, the drop shadow disappears. All right, I am going to go ahead and press Shift+F1 a couple of times to restore the dark interface.

And I'll press Ctrl+K or Cmd+K again to bring up Preferences and this time I'm going to switch forward to Performance which you can also get by pressing Ctrl+4 or Cmd+4. Notice our Scratch Disks down here. The idea is, pretty much no matter what, whether you've got a ton of RAM installed on your machine or just a gig say, at some point, Photoshop is going to top out and it's going to have to cache some of the data that's associated with the open images whether it's layers, Smart Objects, History or what have you. It's going to have to store that information on the hard drive.

And that's what's meant by Scratch Disks here. Now notice by default only the system-level disc is selected. If your computer includes multiple disks what you want to do is turn on your biggest disk, in my case that would be my D drive and then go ahead and select that disk and nudge it up the stack, like so. So now Photoshop is going to hit the D drive first and then the C drive and that's going to make for a speedier experience. Now in order for this option to take effect by the way, you're going to have to restart Photoshop. All right, now I'll go ahead and advance to Cursors, and you can see that we have these Precise Cursor options, both for the Painting Cursors and for the Other Cursors.

Another way to see those Precise Cursors which usually involve a crosshair is to just turn on the Caps Lock key anytime you're working in Photoshop and then you turn Caps Lock off to switch back to a normal brush tip or the standard cursor. So I don't recommend you change these options up here, I do however recommend that you turn on Show Crosshair in Brush Tip, so that you can see the center of your brush as you work. Next, I am going to switchover to Units and Rulers and I'll show you by default Rulers are set to inches here in the states. I very much disapprove of that by the way and I'll show you why.

I am going to go ahead and click the OK button in order to accept the changes I've made so far. Let's say that I want to turn this horse into a Facebook cover, just by way of example. I know that a Facebook cover measures 851 pixels wide by 315 pixels tall. However, if I go up to the Image menu and choose the Canvas Size command, let's say, in order to crop the image to exactly that size, by default I am going to see Inches instead which doesn't do me any good whatsoever. In fact, Inches only come in handy, and this goes for millimeters as well.

The only time that comes in handy is when you're printing an image. And you always see inches or millimeters in the Image Size dialog box, and in the Print dialog box, which are the two primary times you want to see those units of measure. Otherwise we'd really want to switchover to Pixels and then of course, I would go ahead and dial in those pixel values I was just telling you and that would crop the image to that size. Now if I click OK at this point, Photoshop is going to warn me that potentially something might get clipped inside my image, that only goes for the background, it doesn't affect the layers, so in fact I'm just hiding the pixels, I am not cropping them for good.

So I'll just go ahead and click on the Proceed button and then I could press let's say Ctrl+Alt+A or Cmd+Opt+A on the Mac to select all of the layers and I could Ctrl+Drag or Cmd+Drag them to a different location to establish the position of my horse inside of the new cover dimensions. Now I'll just go ahead and zoom in so I can see the image at a 100%. Now this whole experience would be made a lot easier if I were working with pixels, which is the unit of measure I prefer inside Photoshop. And there is a couple of different ways to switch over to pixels.

One is to go back to the Preferences dialog box, another is just to bring up the Rulers by pressing Cmd+R or Ctrl+R and then right-click on a ruler and choose the desired unit of measure, and notice you can switch back and forth as much as you like here. Or just so you know everything that's available to you, you can go up to the Window menu and choose the Info command, and that will bring up the Info panel and you'll see right here next to the X and Y values, you'll see this crosshair with a little tiny arrow below it. If you click on the crosshair, then you'll get the pop-up menu of units and then you can go ahead and switch to Pixels.

And now notice that changes the ruler, it's also going to change the default unit of measure inside the Canvas Size dialog box and elsewhere. All right, having made all my changes to the preference settings, the next thing you want to do to make sure those settings are saved is, on a PC go to the File menu, and choose the Exit command, on a Mac you would go to the Photoshop menu and choose the Quit command. Or of course you can press Ctrl+Q or Cmd+Q on a Mac. And that takes care of the key preference settings here inside Photoshop.

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This video is part of

Image for Photoshop CS6 One-on-One: Advanced
Photoshop CS6 One-on-One: Advanced

124 video lessons · 19458 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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