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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.
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.
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