Now we've been working pretty much globally with the effects even are sharpening them we just finished up with would be a global sharpening. We touched briefly on the ability of this new radio filter tto be used as have been yet, but basically when we start getting into target adjustments is when the excitement really comes in if you think about it without dodging and burning, if we didn't have that ability to go in and selectively lightning darken, a portion of the image would be completely, uh, hamstrung would be the technical term in terms of what we could do with an image of the stories we could tell a cz example, if you can think of ansel adams without his ability to muck about in the printing process, printing process and dark room, and all the elaborate work that he did to fine tune those prints to be the mouth watering, world renowned, monochromatic depictions of america it's because he could go in and find two in specific areas. Teo direct the eye through the scene to emphasiz...
e the portions of the story t to do his magic as he said, the negative was the score of the performance, but the performance was the print, the the conductor's sitting down and actually pulling out the emotion fromthe wonderful score was done at the time of printing or in this case would be our photo shop our post processing is where we perform the, uh, the sonata, as it were, and nothing is more powerful than these target adjustments that came in when they came in a few versions back in adobe camera, if we just had darkening and lightning, just some sort of dodging and burning is what we're hoping for a way back in the day. And of course, what adobe has done is continued to elaborate on these is incredible capabilities within these targeted adjustments, the adjustment brush, graduated filter, and now the new radio filter, basically taking everything that we've done so far in the tango and putting it inside of a brush. It's what it's going to allow us to tell our stories in a really dramatic way? They've also done the same thing with another area of targeted adjustments, which is our retouching. What started off is what's, still known as the spot removal tool little teeny thing to get rid of those sensor despots that that are annoying us has now turned into a complete retouching tool, both healing cloning opacity, which has had for a while now, feathering and actually drawing along a path with it. So those are the two areas that are goingto make our work a go from simply optimizing an image to truly enhancing it and embellishing it one of the best little, um pieces of information criticisms actually that I got was when one day when I was showing my portfolio to a friend another one of the uh the photo shop gurus from photo shop world benson for such a great photographer wonderful author great guy and I was showing him some work years back actually at the beginning of digital photography I am showing them some samples and getting his input on them is a nice yeah what's the thiss branch down in the bottom of this landscape image why don't you take that out because it was there and this was the beginning days of digital photography whether it was going it's not real photography because it's corrupted it's not you know you can't tell if it's really happened or not because in the computer it's so easy to change everything so we were all a lot of us were very cautious about how far we would push a file and he said that's the stupidest thing I ever heard your job as a photographer you're not a journalist you're not documenting something for a newspaper your job is to make a drop dead beautiful piece of art that somebody wants to live with and so whether that's removing something or dodging and burning or doing whatever it is making art that a person wants to step into is what it's about now that's not to say that there's a set way of how far you should push things as I mentioned I was just working with a a photography summit called the summit in aspen in jackson hole wyoming heavily sponsored by national geographic and they are very minimalistic in terms of what they do with their images they are doing something similar to the tango in the sense that they want to get the color and tone right but very very minimal and not interpretive at all it's very much the best shot they can get of the scene so that's one way and of course my background is actually in graphic design and advertising and painting so I get carried away needless to say with how far I push images but that's the story that I want to tell you everybody here has got a different story to tell just like with painting there's a million different styles of painting there's no set right way of painting it's what floats your boat and what you want to share with the world you know that's why again instagram and hips dramatic and all these other things are becoming so popular is because it's a different way of telling the story we like getting our fingers went sort of speak in the process and that's why I think we do have these sometimes a tendency to over process and images because we're just having so much fun playing for me I don't mind that if you're having too much fun playing I can't think of a better thing to be doing that having too much fun playing because the alternative is sitting at home watching reality tv which you should just shoot yourself and be done with it that's my job here is to make you stop watching television and continue playing with your art which by the way I was going to mention um I know all of you have one of these or you should some sort of mobile device and wait or iphone we won't go into windows phones but um adobe has got a couple of programs that get a number of problems mobile programs one is photoshopped touch which is for both the iphone as well as the ipad on android as well, which is great one its layers and masking and filters and selecting and it's an awesome awesome program it's like photoshopped on a mobile device they also have something called photoshopped express and put a shop express has got a bad reputation over the years because it was a piece of junk rightfully so it was that I mean it wasn't in comparison to a bunch of programs that was fine, but it wasn't upto adobe standard that had some simple filters and in a few little effects and it was a toi they've just radically changed it, which some people don't like but I love and because they've made it much more like adobe camera raw, they've added clarity shadow highlight sharpening noise reduction and a bunch of other really cool things is well it's a special effects but as you can tell already what can we do if you have shadow highlight clarity at your disposal and vibrance you can rock the world so terms of what we're doing here and also wanting you to not watch tv if you don't have your laptop in bed you do have one of these in bed so you have put a shop express in bed so go ahead and play around in bed with your tango that actually worked out pretty good doesn't it you have my permission to tango in bed okay I wasn't planning on going there but you get the idea okay? So let's go into some target adjustments the two things that were going to be doing is this retouching of a file as well as uh are are localized adjustments and actually want one other thing we got we got some questions about um the processing engines I mentioned yesterday that sometimes it's good to be working with this old processing engine that I mentioned here coming over here to this camera profile we have the current two thousand twelve process versus the old two thousand ten process and I mentioned that for some special effects especially ones that take advantage of the old clarity versus the new clarity it can be nice so I just wanted to show that quickly so I don't forget about that here is the new process and image if I take clarity I'm all the way up there is the effect that I get I can even take up do you know shado and highlight I'm trying to just kind of exaggerate the scene so there is clarity and shadowing highlight no artifact ing on it in terms of you know halo and going on beautiful shot nice crisp, clean, sharp that's what we wanted that's why adobe created this new processing engine I come over here and switch it to the two thousand ten process and come back here and now take that clarity up and I'll take my fill light up I'm going to start getting some artifact ing in here and it's going to be this exaggerated halo coming up here kind of kind of zoom up here and you can see that inside each one of these blades is actually getting that halo artifact ing which again can be a feature rather than a bug you're also getting a little bit of a lightning going on out here it's a little bit hard to see let's use this image here and do that same sort of thing so let's come up here and we'll use this as an example this right here is using the current one this is a obey over on the island of molokai called mo mo me my mo mo me bay on the island of molokai why do this creative photography for the sole event happening next week have time want to join me in molokai for a week? I think it's ah, actually, that invitation that we remind me to give the link on my facebook page, there's that like there's a bunch of freebies on their known specific to this class, but to the light room, class and painting class and things like that, including an invitation to this event he's on my facebook page. Yeah, and if you guys, if you haven't already become fans and liked jack's paige, you should do so keys, always coming out with some great freebies and some amazing event, so take a look. Yep, so here we've got this image here, and if you can see what we've got going on, I am enhancing this edge contrast throughout this file in this misty morning looking back upon the nepali coast on molokai, but if I come over here and switch it to the two thousand and ten process and then come over here and do that same sort of thing of exaggerating that clarity that's actually built to our little auto here, we'll take our clarity up and kind of redo our scene here we're going to get a more exaggerated ej definition in terms of what this clarity is doing, okay, the old clarity versus the new clarity is giving us this fringing this halo and the transitions between one area, one tone and another. So this exaggerated edge artifact, which actually is a bug, could be considered a feature if you're going for that, and I kind of like it in some sort of atmospheric way when you're trying to exaggerate these planes in an image going back, um, sometimes that old clarity can be very, very useful, but there you go, it's it's. Whether that artifact is a feature or a bug to you is something that you may want to consider going on to our target adjustments let's, while we're here jumped into our targeted adjustments and you're going to notice that what you have at your disposal well, just as in the basic panel, remember, you now have recovery and feel like rather than shadow and highlight it actually re names that when you're using the old processing engine, thes sliders are actually renamed and their default settings are renamed o r started different locations. When you go to a targeted adjustment in your old age in the old engine again, this is a different set of parameters you have at your disposal than using the current engine. Let me just click on this button and you're going to see that now you have temperature and a bunch of other things at your disposal. So, going back to that old processing engine like clarity, I can come over here and do a plus clarity and put that into the sky. And I can exaggerate those clouds even more. So now you're going to see those clouds popping again, using the old clarity, using in concert with something like exposure again, I can do my little exaggeration of my sky.