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

The revamped Exposure controls


Photoshop CS6 One-on-One: Advanced

with Deke McClelland

Start your free trial now, and begin learning software, business and creative skills—anytime, anywhere—with video instruction from recognized industry experts.

Start Your Free Trial Now

Video: The revamped Exposure controls

In this movie, I will show you how to work with the Exposure options, which have been completely revamped in Camera Raw 7. So I am going to select both View from Alcatraz-1 and -2, and press Ctrl+R or Cmd+R on the Mac to open these images in Camera Raw. Then I will press Ctrl+A or Cmd+A on the Mac to select both of them and I will press the Down Arrow key in order to advance to the second image. Now both of the images are quite washed out and your primary means of correcting luminance inside of Camera Raw are these six sliders Exposure through Blacks.
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 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

please wait ...
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

The revamped Exposure controls

In this movie, I will show you how to work with the Exposure options, which have been completely revamped in Camera Raw 7. So I am going to select both View from Alcatraz-1 and -2, and press Ctrl+R or Cmd+R on the Mac to open these images in Camera Raw. Then I will press Ctrl+A or Cmd+A on the Mac to select both of them and I will press the Down Arrow key in order to advance to the second image. Now both of the images are quite washed out and your primary means of correcting luminance inside of Camera Raw are these six sliders Exposure through Blacks.

Now you could just go ahead and click on the Auto button if you want to and that will dramatically enhance the scene, they are not exactly the enhancements I want to apply however. And for purposes of demonstration, I want to start from scratch. So I am going to click on Default in order to reset all six of these values to zero. And we are going to start down here at the bottom because things are so different than they used to be. Now you might think of Whites as being analogous to the White slider triangle that you find inside Levels and Curves, except the big difference is in addition to raising the Whites value which is going to brighten the whites and potentially clip them as well.

And we can see that we have clipped some colors by the way in the Red channel because this little highlight clipping warning is appearing red. So if it appears red you are clipping red, if it ends up appearing white as it is now then we are clipping in all three channels and obviously that's a bad thing. If you want to see where that clipping is occurring then you press the Alt key or the Opt key on the Mac just as you do in Levels and Curves as you drag this White slider triangle. And that will show you which colors are clipping there inside the Image Preview.

But in addition to brightening and potentially clipping highlights you can also darken your Whites, and thereby retrieve otherwise clipped highlights. So highlights that were clipped when we first entered Camera Raw are now coming back from the dead. All right, in my case I am going to Alt+Drag or Opt+Drag this White slider triangle until I see a little bit of clipping occurring there inside the preview and that happens at about a value of +25. So it's looking like I am making the scene brighter than ever and more washed out as well, we will take care of that in just a moment.

Next we have Blacks, now if you reduce the Blacks value, it's just like raising the black point value inside Levels, that is to say you can clip your shadows if you like. And in my case I am seeing cyan for the shadow clipping warning which tells me I am clipping in both the Green and Blue channels. And if I take it so low that I see white that tells me that I am clipping in all three channels. If you want to see where the clipping is occurring you press the Alt key or the Opt key on the Mac as you drag the slider triangle.

But I want to go ahead and take it down, I still have Alt or Option down as well by the way. I want to take this value down to a point where only that sweatshirt, that red sweatshirt is clipping and it's just clipping in the Green channel. And I know that, by the way, because if I back off to the point that we are just seeing a little bit of clipping inside the sweatshirt, I'm seeing a green warning at the top of the screen, and of course, Magenta tells me that I'm clipping green as well because its green's color complement. All right, so I am going to take that value down to -30.

Next what we have is this Exposure control. Now Exposure in previous versions of Camera Raw was analogous to a white point control, it was more sophisticated. But now it's more analogous to a Gamma control, again a more sophisticated one. And you can see if you increase the Exposure value -- take a look at that Histogram in the upper right corner -- we are shoving the entire histogram around. So if I raise Exposure I am brightening the entire scene across the spectrum, if I reduce the Exposure value I am darkening the entire scene across the spectrum.

Now one of the big differences between Gamma and Exposure is that Gamma never clips, where Exposure will clip. You can see right now that I've managed to clip shadows in all three channels in fact. And you can see where that clipping is occurring by pressing the Alt key or the Opt key on the Mac while dragging this slider triangle. And I am going to tell you that Alt+Drag or Opt+Drag trick works with all six of these sliders except for Contrast, so it works with Highlights and Shadows as well. Anyway, I am going to take this value down pretty low actually because I want to deepen the colors in the scene.

So I will take it down to -0.7. All right, next I'll also knock down the Contrast just a little bit. So I am just going to take it to -10 just to take a little bit of the contrast out of the scene because there's an awful lot of contrast here in the first place, very bright day. And now let's take a look at Highlights and Shadows, and these guys are pretty amazing. I want you to watch the Histogram again, and you are going to see just the right half of the histogram change when I brighten the highlights or darken the highlights.

So I'm really limiting my adjustments to just the lightest colors inside the image, essentially the lightest half of the Luminance levels. And there's a little bit of fade over into the darkest half as well, but you have an amazing amount of control. And I am going to take those Highlights down pretty low, and by the way you can Alt+Drag or Opt+Drag this slider triangle to preview any clipping. I am going to take it down to -80. And now watch Shadows, it does pretty much the flip thing over here in the Shadow region, where this image is concerned it's going to affect this big blue lump as well as this red lump in the middle.

So if I brighten the Shadows I am going to squish that red lump over like so and if I darken the Shadows I am going to turn that blue thing into a big spike. But there's very little action if any happening over here in the Highlight region. Now in our case what we want to do is brighten the shadows inside Sammy's face for example, as well as the Shadows on the side of Max's. So I will go ahead and take this Shadows value up to something like +70. Again, if you want a preview clipping, you press the Alt key or the Option key on the Mac as you drag.

Now the reason I am not concerned about the clipping inside this sweatshirt is because obviously we have a lot of depth associated with it. It's just clipping green and that's just a function of this sweatshirt being so very darn saturated. All right. So these are the settings I came up with, and then I decided that I wanted to raise the Vibrance, but taking the Vibrance up as far as I want to go for the sake of the scene just to keep it nice and colorful, ends up making the sweatshirt look pretty ridiculous. So tell you what we are going to do. It doesn't need to be that supersaturated.

I'm going to switch to the Targeted Adjustment tool, and then this is a kind of preview of upcoming attractions here, and I am going to click and hold on it and choose Saturation. And then I will drag down on the sweatshirt in order to take some of that saturation out of it, and we end up with something that isn't quite shouting for attention like it was before, even though these are perhaps the baggiest T-shirts on the face of the planet, but the kids love them so. I'll switch back to Basic here and now I can go ahead and take Vibrance up some more to let's say about +50 is what I'm searching for.

And we end up with these versions of the scene. And just so we can sort of see things up close and personal here I am going to zoom in by pressing Ctrl++ or Cmd++ a few times. And let's preview what we've managed to accomplish here. I will press the P key in order to see the original version of this image, you can see that it's just so blown out by comparison, and then I will press P again in order to bring back my modifications. All right, and just to make sure that we are happy with the other image, I will press the Up Arrow key in order to switch to it and press Ctrl+0 or Cmd+0 on the Mac to fit the image inside the preview and I will press the P key in order to see the original version of the image, quite washed out as you can see, and I will press the P key again to see the much better modification, thanks to my Exposure adjustments. All right.

Now I'll go ahead and click the Done button in order to add the metadata to the images and update the image thumbnails inside Bridge. And that's how you work with the new Exposure Controls inside Camera Raw 7.

There are currently no FAQs about Photoshop CS6 One-on-One: Advanced.

Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.

Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ .

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

* Estimated file size

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.

Mark all as unwatched Cancel


You have completed Photoshop CS6 One-on-One: Advanced.

Return to your organization's learning portal to continue training, or close this page.

Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member ?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any page and choose Site preferences from the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Learn more, save more. Upgrade today!

Get our Annual Premium Membership at our best savings yet.

Upgrade to our Annual Premium Membership today and get even more value from your subscription:

“In a way, I feel like you are rooting for me. Like you are really invested in my experience, and want me to get as much out of these courses as possible this is the best place to start on your journey to learning new material.”— Nadine H.

Thanks for signing up.

We’ll send you a confirmation email shortly.

Sign up and receive emails about and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from

Sign up and receive emails about and our online training library:

Here’s our privacy policy with more details about how we handle your information.

submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.