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In this course, Deke McClelland offers a sneak peek at the new features in Photoshop CS6. He reveals the secrets behind the new dark interface, searchable layers, the powerful Blur Gallery, Camera Raw 7, video editing, and the Adaptive Wide Angle filter, which removes distortion from extreme wide-angle photographs and panoramas. Deke also covers the new nondestructive Crop tool, dashed strokes, paragraph and character styles, editable 3D type, and the exciting Content-Aware Move tool, which moves selections and automatically heals the backgrounds.
In this movie I'll introduce you to the Blur Gallery, which allows you to create depth of field effects in post. And I have to say this is a really interesting command. There's a lot more going on than you might first expect. In this composition I've gone ahead and masked this bird out of its previous background and added a new background on an independent layer. Now let's say I want to take that background and blur it. Go up to the Filter menu, choose Blur, and any of these first three commands is going to bring up the Blur Gallery. I'm going to go ahead and choose Field Blur.
Notice you can control the amount of blur, either using this numerical value or using the heads-up display here in the center of the image. So if I drag this control clockwise I'm going to increase the blur; drag it counterclockwise to reduce the blur. I'm going to go ahead and move this point up there. And you might wonder why in the world I did that. After all, the Field Blur is uniform throughout the image, which is true unless you decide to add more pins. So let's say I want these clouds to be pretty darn out of focus, but I want to bring back some of the focus in the tree. I'd click to create a second pin and then I would dial it back like so, which is going to bring that tree into slightly sharper focus.
Also bring some of the grass down here in the lower left corner of the image back into focus as well. All right, in addition to blurs, if I click on one of these points to reselect it there, I could also add a Light Bokeh. And so I could crank this value up to somewhere in the neighborhood of 50%. You can also increase the colorfulness of the Bokeh if you like and you can determine which luminance levels are affected by that Bokeh. In my case and I'm not really interested in that Bokeh for this effect. So I'll go ahead and turn that checkbox off. I also want you to notice that even though we're working on the background image here, we can actually see the entire composition, which is a remarkable thing about the Filter Gallery.
Other filters don't work this way. Also worth noting, see how you can see all the menus at the top of the screen? Most of them are completely dimmed out. However, if you go the Window menu, notice that you can bring up panels if you like. So for example I could choose to bring up the Layers panel. Now I can't switch between layers, however I can see which layers are at work in my image. All right, now I'll go ahead and apply the blur by clicking on the OK button and Photoshop will go ahead and render the blur in the background. All right, now I'm going to switch to a different image. Let's say you're blurring inside of a selection.
I've got this background beach layer selected and notice by the way I'm working on standard pixel layers. The Blur Gallery unfortunately is not compatible with Smart Objects. I'm going to switch over to the Channels panel and notice that I've got this gradient channel that I've created in advance. I'm going to press the Ctrl key or the Command key on the Mac and click on it to load it as a selection outline. Now, I'll return to my RGB image, switch back to the Layers panel as well. Now because Blur Gallery was the last filter I applied, it's going to be up there at the top of the Filter menu. So, I can return to the filter by pressing Ctrl+Alt+F or Command+Option+F on the Mac.
Notice my Layers panel is still there. If you end up accumulating panels and then you decide you want to get rid of them, just click on the words Blur Gallery in the upper right corner of the window and choose Reset Workspace. Now because I've pressed Ctrl+Alt+F or Command+Option+F on the Mac I'm seeing my last applied blur settings. To get rid of all those pins you can click on the Remove Pins button right there. All right, now I'm going to create a new pin, so that I have some sort of blur going on and I'm going to crank that guy up to let's say about 20 pixels worth of blur.
And notice that the blur dissipates over the course of this election. I'll press Ctrl+H or Command+H on the Mac, which will not only hide the selection outline; it also hides my pin, as you can see, even though it's still in effect. But what's happening here is the blur is becoming increasingly more translucent as the selection dissipates. It's not necessarily the effect we want though. We really want the scene to grow less and less blurry as opposed to having a more translucent blur over the course of that selection. And if you want to achieve that effect, then you want to crank this Selection Bleed value up. I'm going to take it all the way to 100%, which will allow that blur to bleed as far as it can into my selection and then I'll once again click OK in order to apply that effect.
All right, now let's take the look at the other two styles of blur, which are Iris and Tilt-Shift. I'm going to switch to this image of this old car and then I'll press Ctrl+Alt+F or Command+Option+F on the Mac once again in order to bring up the Blur Gallery. Now if I expand Iris Blur in order to switch over to it, so we can switch between these blurs to any extent you like, notice not only does Photoshop go ahead and collapse the Field Blur but it leaves it on, so you can actually have multiple blurs combined with each other inside of this window.
I'm going to go ahead and turn off the Field Blur and I'm also going to press Ctrl+H or Command+H on the Mac, so I can see what I'm doing because my controls were hidden there. All right, I'm going to create a point of focus right there on that headlight and notice that the focus starts off at a 100%. You can dial that down if you want to. So, you can have everything be a little bit blurry if you like. But I'm going to keep that at a 100. And I'm also going to drag this guy out like so so that we can create this elliptical field of blur here, and here's how it works.
Out here at the edge, we're all the way out of focus. That is, we've applied our Blur value of 15 pixels. I'll go ahead and take that up just a little bit so we have a more pronounced effect. Right here at this point, we're in focus and notice these guys move in together or out together by default. If you want to move one independently of another, you press the Alt key or the Option key on a Mac and drag it toward or away from the center. Now just as with the Field Blur, you can have multiple points of focus and you create them just by clicking with that Pen Cursor and then you can once again move your controls as you like.
Notice that there's one other point, the square point right there, that you can move and that's going to give you more of a rounded rectangles effect. Also worth noting, by the way, is you have one level of undo and you can press Ctrl+Z or Command+Z on the Mac to implement it. Now of course these circles here represent a kind of filter mask and if you want to save that mask out as an Alpha channel, you can turn on this checkbox. To preview what the mask looks like. You press and hold the M key and that will show you the masked regions in black, so those are the protected regions, and then the regions that are affected are shown in white.
Just go ahead and release the M key in order to return to the color image. All right, I'm going to go ahead and click OK in order to apply that blur to the image and some of these are little more time-consuming than others, as you can see. And of course it's going to take longer in a high-resolution image. Finally let's take a look at the Tilt-Shift blur. We're going to use it to create a kind of fake miniatures effect here and turn this bustling street scene into a kind of tiny town. So I once again press Ctrl+Alt+F or Command+ Option+F on the Mac to bring up the Blur Gallery. I'll go ahead and turn off the Iris Blur and turn on Tilt-Shift, expanded as well, so that I can see its controls. And I'm going to move the point to the top of the bus right about there and I'm going to take this guy all the way down, really tight to it.
This point, of course, represents the beginning of the blur and I'm pressing the Shift key as I drag these points in order to constrain my drag, so it's exactly vertical. Then I'll go ahead and drag the dotted line upward. This represents the point after which everything is uniformly blurry. And I'll go ahead and drag this guy down outside of the image, which is entirely possible obviously. All right now I'm just going upward by pressing the Spacebar and dragging. When applying a Tilt-Shift blur, you also have a Distortion option. Now, what it's going to do is apply distortion in the foreground of the scene.
We're not seeing it that much because we're not blurring that much of the foreground. However, if you also want to apply the distortion symmetrically in a background, then you turn on this Symmetrical Distortion checkbox. Now I'm not really interested in a distortion for this effect, but I did want you to see how that works. All right now I'll go ahead and click OK in order to apply that Tilt-Shift blur and I'll press the F key a couple of times in order to fill the screen with the image, and now we have a fake miniature effect, didn't even need to create a mask to apply it. thanks to the new Blur Gallery inside Photoshop CS6.
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