Five Step Tango Review
Again, it is my pleasure to be back in kenya chance to play with what I think is one of the most exciting creative tools in the world. Put a shop in general, as I've said in some previous classes, is like the gutenberg press in terms of how it has affected the creative landscape of the planet, it really has had that much effect. If you think about it, the percentage of images that go through photo shop and that now include the dopey camera is universal. How would probably say ninety five percent of every image, especially that's, used in a professional sense goes through photo shop and that's just amazingly huge. So I'm very, very excited to be able chance share the training related to photoshopped and specifically related to dhobi camera, because I'm afraid to say that out of those ninety five percent of the images that are being used, probably most of them are still being done as if they were using photoshopped from ten years ago, which just kind of makes sense because most people wh...
at we do is we get a new piece of software. We take off the shrink wrap back in the olden days when you actually got physical piece of software. You just take off the shrink wrap, you put it in, you'd figure out how to use it, you'd make money with it, and then you do that for eighteen months and a new version would come out and you take off the shrink wrap and put it in there, and you use it exactly the same way as the old one, and that goes on over and over and over again every year, and all of a sudden you realize that you're using it the way that it was originally designed ten years ago and there's a huge amount that is usually brought in. We each one of these revisions and specifically the concept of working procedurally and a doe became a raw versus pixel pushing in photo shop, which is what we're talking about now. Adobe camera adobe invented this con that of being able to work with the raw data coming from our big boy and big girl cameras and and what's known as d mosaic that information take the sensor data and turn it into pixels that we can see and work on and lust over and print out and make money with. When they did that, they really started a revolution there had been we're all converters before adobe camera. But they were the first main big one as a matter of fact, it was a optional plugging that person wasn't built into the bridge it was something that was ad on later on and now of course it's been around for years but it's amazing how much people really don't realize how far you can push it and how powerful it is there still working with images one at a time excuse me pushing pixels around in photo shop and again just it an overview of the difference between photo shop and something like adobe camera or like room when you go into photo shop you're dealing with pixels you're dealing with layers you're working with adjustments you're working with filters the great part of that is it allows you to at a pixel level filter it, change it, retouch it, do all sorts of things duplicate the file, bring in multiple files, work with multiple exposures retouch swap heads, swap eyes, swap all sorts of body parts of course work with typography and burn you and everything else but each one of those manipulations is being done at a pixel level double k murat is a procedural processor, not a pixel pusher and that means it's thie slider locations that were working on yesterday especially with all the global adjustments we did yesterday. The only thing that adobe camera needs to keep track of is the slider locations so it's very fast, it's very efficient, it's completely non destructive and all those slider locations and numeric values khun b simply computing pasted between one image and another huge advancement in terms of the speed and flexibility, because it's being non destructive but also the quality since it's, always going back to the original file when you press the shutter, even if you're working on a j peg, um, it's going to give you the highest possible quality? If you are working on a true raw file, then you're gonna have dramatically ah, better potential quality working in a procedural processor because you're going back to that raw data, even pre pixels and pre rgb again, you're working in a different, broader color space. You have billions of dollars at your disposal infinitely better. Even if you bring in a high bit depth images it's known as in the photo shop, you've converted it into pixels. In some sense you've cooked that file, you're no longer working with the raw file, so in terms of your quality, your flexibility and your speed of working with anything you can do in a procedural processor like a doe became we're all like room is going to be infinitely better than photo shop. As we saw yesterday, especially where I started off with the slide show off before and afters of what you can do, there's a huge amount that you can do with this program and that's that our time is all about. So, with that we had talked about the high key be ableto work with high key images in the basic panel. Remember yesterday, that's actually opened up a couple images here, um, from our yesterday, I'm using that shortcut command of control are from the bridge, so we don't force photoshopped, open saves, all our ram now I'm into dobie came around, we started off with that five step tangle we talked about why the's steps of first white balance and crop, then trying to see if the auto adjustment would be a help, then moving on to midtown exposure clarity are edge, contrast our shadow and highlight resuscitation, that's basically what that those are and why we're doing that order. So hopefully you don't have to do too much backtracking whites and blacks that taste to find tune it, taking a a close look at our history, graham to make sure that we're ready for printing and the last thing is vibrance are nonlinear, saturation and vibrant. Toward the end of the day we took and we broke this tango, as it were, and did that high key image where we purposely exaggerated or contrast exaggerated or shadow in highlights took advantage of either an exaggerated clarity or minimizing of clarity to get these beautiful black and whites another thing that you can do right within the basic panel is kind of an antique ing effect, and I showed it yesterday, including some little framing effect, so I thought I'd show off as a kind of review the basic panel and some things that you can do in terms of pushing it and in this case breaking it. But first off, just as a little review, I got a shot here of copenhagen no there's, no palm trees in copenhagen, but I did want to go there, and so I did teach actually taught on a cruise in copenhagen all throughout the baltic sea, which was fantastic I highly recommended, especially fall in copenhagen um, so I'm not going to crop it white balance looks good, I'm going to come over here, and even though I'm getting my little, um, we can't call this spinning beach ball of death anymore because I don't know what you'd call that in the current we are but whatever that is that's kind of funny, that little icon right there now it's gone, so auto did a stab as we mentioned of these six different entities here exposure there mid tone contrast contrast, mid tone contrast exposure is the mid tone exposure, the brightness of your mid tones, contrast for your mid tones, highlights and shadows. You can see that it brought down my highlights. Brought up my shadows. It changed my whites and blacks to set those to get a complete dynamic range. These six or what are done with auto and again, this is what it would do before and after trying to maintain that which is a good starting point for me. Next, I'm gonna jump right into again looking at exposure. It is heavily backlit. It's obviously, this is a morning really early in the morning. The nice thing about fall in northern europe is you basically have, if you know, eighteen hours of light it's, you know, like you're going heading up into alaska and sunsets and sunrises can last for hours at a time, you could get two to three hours of that glow light, but anyway, so it's not like I really want to push the shadows too much. But just to show you how far you can and remember that fantastic thing about the new processing engine is that I can separate those shadows out and you can see how it's not changing the mid tones at all. I can do that shadow, which is just so fantastic so I will add a little bit more in there. I am going to do clarity because I'm a little bit of an addict to it again. It's add in quite a bit of pop to the image you can see what it's doing to the history graham it is changing overall, but its emphasis is on the edges. Um, highlights. I like how it's maintained that highlights that is a really clean transition between highlights and mid tones again, that's one of those things that this new engine does better than curves. We also talked about curves yesterday and the challenge with trying to maintain the transitions between all these different tonal areas by using curves so clarity and will come up here to vibrance. I also mentioned the one thing with vibrance because it's nonlinear things like oranges are kind of left untouched, and oftentimes it will really exaggerate the blues in the sky. So it's almost like it's being cautious with oranges and it's going a little bit crazy with blues. So in this situation, where I have oranges and blues, I may try regular saturation, and you'll notice there it's actually mohr because it is linear, the brickwork is now also being brought up as the sky at the same time, I actually, in this case enjoying saturation more than vibrance, so just to say that vibrance isn't always going to be used in a second, we're going to an antique ing effect, and you're going to see how we're going to use by prison saturation, also in concert for a special effect. The last step of that five step tango that goes along with vibrance is this idea of using a post crop than yet to draw the eye in. So in this case, I'd like the color priority versus the highlight priority it's more subtle at maintaining the integrity of the colors here. In other words, they're not going it's less likely to go to a gray color where is the highlight? Priority may be a little bit mohr, less subtle, and but the nice thing with color priority as I take that down and you can see that I can take the amount down, I can take that, uh, mid point, either up into just the corners, and then I add the feather back and to make sure it's a nice, smooth transition, and if it is starting to affect that highlight too much, I have my highlight slider that is going to allow me to keep a little bit more of that highlight information intact, so this is that vignette, and again, just using that to draw the eye into the center of the scene, um so that is the tango there's your little review to the tango remember, there is no all on all off in terms of previews the closest thing you can get to his jump over to the snap such snapshot tab and then tap the preview or tap the peaky, which is the shortcut for that and that's your closest thing to before after before after okay, so that is the tango in reference let's come over here to this image here and do this little and taking effect also primarily with the basic panel over here because it's a different sort of effect this is where we started yesterday. We also did this one in our tango that first step of quite crop and white balance crop looks good remember, we do have our straightened tool here so I can drag this off on my horizon line to automatically get my image straightened, so that is up here next to the crop tool remember when I want to jump out of one particular tool or if I'm over here in one of these panels or I'm in one of the targeted adjustments, I like the short cut of tapping the h key that's going to jump me over to that hand tool that automatically kind of gets me back in this case outside of the crop and if I was in a targeted adjustment it would also be a toggle that h key is going to jump me back from using something like the adjustment brush back over to oh my panel's being available, so I like that, okay, so that was my little crop right there. I can do auto it's going to take a first step. I like that this one in case the middle tone values or their skin that next step down for auto is exposure, so I may take that up a little bit for the skin tone, not worrying about my shadows or highlights I'm just looking at my mid tones, I'll come over here and, um, the shadows actually look good and here, so I'm going to jump and clarity again with portrait ce usually I'm going to be really cautious with it. Um, I may do a little bit you can see if I get a little bit carried away it's going to take that edge contrast and now it's definitely more of a special effect, I am going to be working on an antique ing effect, and the thing with an antique ing effect is when a photograph ages there's two things that can happen, you know it can even either become flattened and low contrast, which is often the case, or the, um the, um silver that makes up the print uh, can I, um maintain its contrast on the edges in other words, that the edges are maintained in terms of their contrast and it's the subtleties of the image that fade off so it actually becomes a higher contrast image depending upon whether it's left on the sun if it's whether age how the print was made, you can get either one of those so the nice thing is is that you can either lower that contrast toe antica file or you can actually increase the clarity, so I'm actually going to use a little bit of clarity here to to kind of imitate that particular aging effect and I'll take my highlights down because I want to maintain my, um details in my sky here, so I'll say that that again is my, um well say that is my there's my before and there's what I just did four antique ing what I'm going to do here is I'm purposely rather than using as shot, I'm going to exaggerate the warmness of this file by using white balance. If we look over here, you can see that I have all my options that are associated with the menus inside of a camera that shows that this is a true raw file I mentioned yesterday that just because something is a d n g doesn't mean it's actually a raw file you can take a j peg or to file converted to dmg you can always tell if something is a real raw because it will have he's available to it. If it's a jpeg file or something that's already been converted into pixels, it will just say as shot auto and custom, the only options you will see so you can use something like here like daylight oregon tight try and warm it up a bit. I could even try auto, which is goingto this case it's going to warm it up a bit, but I can exaggerate that so I can take my my yellows and my magenta is up and purposely give it a little cast almost like what we were doing yesterday with a bit of, um cross processing so I can just play around with it and I'm gonna warm it up a little bit exaggerated. But really where the antique ing is going to come into is I'm going to play around with this vibrance and saturation. Now I can take saturation down and that's going to de saturate the image, obviously so I'm left with the subtleties in the file. But remember what vibrance does vibrance looks at the subtleties and allows you to adjust them independently of something that's already saturated. If you've already got saturated colors and unsaturated colors, vibrance will try and bring those up, primarily works on unsaturated colors and brings them up it also you khun take vibrance and bring it down and it's going to minimize the subtleties leaving behind the saturated so you can actually take vibrance down and do some really nice and taking effect but in this case what I'm gonna do is I'm going to take out most of those subtleties but I'm going to bring back up by taking down saturation and then I'm going to bring back up vibrance so what vibrance is going to do is it's going to bring in the subtleties okay the non saturated colors it's going to bring those up but by taking down my saturation I'm taking out the already saturated colors it's away where I can um mute the colors I think in a beautiful kind of antique ing way so this exaggerated vibrance if I went up here you'd see what vibrance is doing but by minimizing it by taking out global saturation and taking these minimum tones in this case the skin tones and taking them up I can get just a I think a very nice muted uh set of colors in here so that is one step and then yesterday also showed you that pre ming technique that's coming over here to that effects panel I could go back I can actually use since I'm basically using it as a hard edged uh framing effect I can use any one of these techniques, including the the infamous paint overlay so I'll just leave it at hi lite party just so we can see it I'm going to take it up to pure white, which, by the way, I'll show you that these have different ways of working. You can see that highlight priority and how when I do that and take that up, what it's doing to it? You can see this edge appear in this corner and how different that is from the color overlay and how color overlay is a more subtle and natural transition and we're highlight priority it actually is trying to figure out where the highlights are and how it's going to make this transition in the vin yet so that's why another reason why I like the color priority? Um but what I'm gonna do here is I'm gonna take that midpoint down, roundness down and feather down just not all the way to unwanted hard I still wanted to have a kind of a soft edge to it. Like I said in the olden days, oftentimes what they would do teo capital place for the paper could be held during the developing process is they would put were basically a little mask a little, you know, frisk it sort of speak over that edge to not have the photograph, all the go all the way to the edge. And it would have a little bit of light would seep underneath it so it would be an often often a little soft edge transition there so I've got my framing effect I've got my muted colors I like it um I may go back and again I can now find tune that clarity alka said sometimes I'll exaggerate that clarity a little bit when I'm doing an antique ing or I can take it down and make it more muted this case I think I'm liking it going up a little bit but I still want tobin yet I want a traditional vignette in this case I don't want this little framing effect I want a regular vignette well, I've already used my vignette if you remember yesterday we've actually got now six been yet inside of adobe camera one of the easier ones is to go back to this lens correction setting where we found the upright filter and down at the bottom we have len's been yet now this isn't going to follow the contours of the image but it is going to allow me to come up here and dio then yet now bring it in I don't want to bring it in so it's affecting my groom too much but I am getting this little darkening of the edge here in terms of this vignette, so I'm taking advantage of this particular been yet let's go back there's my before. And here is my after with that thing yet.