Adjustment Layers in Adobe Photoshop 2020
today, we're gonna talk about tonal adjustments and adjustment layers. What I mean by a tonal adjustment is one that is not designed to a just color instead is designed to adjust the brightness of your picture, so that means you want to brighten it, darken it, add contrast, reduced contrast, were. Do anything that's not related to color. Eso. Let's just don't dive right in and get in a photo shop and do as much as we can. Now the first thing to think about is if you're going to be adjusting the extremes of color, meaning things that are very close toe white or very close to black. And your original image was captured as a raw file, not as a J peg, not as a tiff, not a something else. But it captured the raw data that your camera's sensor collected, and you have all of that data available. Well, then you want to adjust. That image will. It's still a raw file, and that means you should do things in Adobe camera raw. I'm gonna show you an example. Here I have a raw file that I'll double c...
lick on, which brings it into camera and If you see how bright the highlights or bright areas are, it looks like there's pretty much almost no detail down here with just the exception of a few lines. Well, if I take this image all the way into photo shop, but I just choose open image ignoring camera now, there's nowhere nearest much information available here because there's a large number of things that happened to the picture once it gets into photo shop. And it just what happens is, let's say in the highlights. Your images met out of three pieces red, green and blue. Well, if there's only information that your camera captured in one of those three colors, that information doesn't usually make it the Photoshopped camera rocket still use it, but Photoshopped can't. It just wasn't sent there only where we had information and all three colors would get something. And so let's see what happens. We attempt to adjust this. I'm just going to actually use the camera raw filter, and you can get that from the filter menu with. The difference is I'm not working on a raw file because the moment and images all the way open into Photoshopped. It's no longer a raw file. It's only raw before it went through Adobe Camera once it came out the other side. It's a normal image now, so if I do the camera raw filter, I want to get this highlight detail to show up. So I'm gonna bring the highlight slider all the way to the left, and I noticed that it pretty much didn't do anything. Then we learned a trick. If you happen to have watched the class on camera on, that is, if you lower this the highlights all the way down and you wish you could go further, you could take the exposure slider in lower it and see how much you can get. And you can see that there is a little bit of information there in the brightest part of the picture. But by the time I've done, this theme is just starting to look rather dull. Now there's a lot I could do to it, and I'll just move around some sliders to try to brighten up the rest of the picture and tried to adjust it overall. But I don't find this toe Look all that great. Now I'll click OK and I'm gonna open that image a second time. I'm gonna go over here and I'm just so it doesn't complain. The image is already open. Let's go over here and duplicate this image. I'll call it non wrong, and then I'll close the original before I duplicated it. All right, then, let's go back to bridge. Let's open that image one more time. A double clicking since it's a raw file comes into camera and I'm gonna do the same process. I'm gonna bring the highlights down. I'm gonna bring the exposure town and right away. Right now, I can tell that the image looks more normal when I do this. It doesn't look quite as hazy and and just not as it's nice looking. And so I can go over here like, for instance, on the other one. I needed to bring my whites up dramatically to make the rest of the image look normal. Now I don't At this point, I didn't move these anywhere near us far. I did move the highlights as far as I could in the exposure down, But once I've done that, the other sliders I didn't need two minutes later all that much I'll click open image, and now we have two images that we could look at side by side. Then here, I'll tell it to tile them to up so that right next to each other. And so this is adjusting the exact same picture. The image on the right was ignoring camera. The image on the left was taken advantage of all the information that was contained within that raw file, and I dramatically prefer the image on the left. I might adjust the blue sky, little bits, a little overdone for my tastes. But there's a simple control in camera where you could, like, um, bring down the saturation on the blues, and that would be no problem. So I show you this because we're about to get into tonal adjustments and Photoshopped and I want to make sure that you are aware that that doesn't mean that I'm replacing Adobe Camera raw with these features and Futter shop. I try to get as much out of my images as I possibly can in adobe camera or light room. Light Room has the same features as camera when it comes to adjustments, because that's the only time when it can look all the way to the original data the camera captured. Once an image is opened in photo shopped. A lot has happened to it to simplify the data that is there and just make it ready for photo shop. In the process, you lose some and your highlights and shadows that you could have taken advantage of had you adjusted that image in camera raw.