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Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 37 of 118

Editing with Shadows/Highlights Adjustment

 

Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 37 of 118

Editing with Shadows/Highlights Adjustment

 

Lesson Info

Editing with Shadows/Highlights Adjustment

Sometimes they're other adjustments you want, because if you're working on the extremes of brightness, meaning things that are close to black were close toe white, it's hard to be really precise with the adjustment you're doing. And there are other adjustments that specialize in working on those areas. So in this case, if you look at the waterfall, this is in Iceland and the waterfall is close toe white. And if you look at the rock that's in the lower right of the image, that's pretty darn dark. It's getting close to black, and in those cases, sometimes using curves could be frustrating because it's too easy to get all the water fall to become white or just to make a non smooth adjustment. It's when you're in the middle of the curve that it's really much easier. The extremes that the ends are more difficult to control. So when that's the case, I end up choosing image adjustments. Shadow highlight Now Shadow highlight, unfortunately, is not available as an adjustment layer, so I have to...

choose it from here. In case you're not aware, there are two types of adjustments. One would be in a direct adjustment, which is what you get from this menu image adjustments that applies directly to the layer that's currently active in When you're done, it's permanent. So if you save and closed the image, open it a month later. There's no way to undo the adjustment, whereas an adjustment layer is a layer sitting there floating above your image, and you could always open the image you know a year later and just throw the adjustment away. The image would return to the way it used to look, but there are certain adjustments that are not available. This adjustment layers and shadow highlights is one of them. When you first open it and look like this, and it'll automatically assume that you want to adjust your shadows so this slider, called shadows, will be turned up. I'll turn it all the way down. Then, if I turn preview off and on, you'll see it's not doing anything to my image at the moment. If I bring up the shadows slider, it's gonna brighten up the dark part of the picture. What's nice about it, though, is it's gonna make sure that any area that's black remains black, so it's not going to just start looking like a ghostie kind of weirdness. Then we have a highlight slider. If I bring it up, it's gonna darken the highlights so you could potentially more easily see the detail that was in that area. But right now, with just those two sliders, it's not giving me too much control. Well, there's a check box at the bottom called Show More Options. And if I were to turn that on now, I have more control. Let's see what control it gave us. Well, we still have amount, which is the amount of a change we're making. How much brighter the shadows becoming, or how much darker are the highlights becoming? But then we have a choice called tone, and if I bring tone all the way down, then what it considers to be a shadow is a very narrow brightness range that is really, really close to black. So now if I adjust my amount and move it around, you see that not much of the image changes, and it's mainly the areas that are extremely dark. If I bring tone up higher, then it means let's not just work on that narrow, narrow range, close to black. Let's expand it and get closer and closer to 50% gray. You know a medium brightness level. So as I bring this up more and more of the images affected. So what you might want to do when you're in here is start by bringing up the amount higher than you need, just so you can see that the image has changed. So here's no change in the shadows. Bring it way up. So you see the bright ning. Then move the tone. Bring it all the way down. So that's the narrowest range it could work on. Slowly bring it up until it seems like it's affecting the general range you want. So in my case, maybe about there. Then there's a choice called Radius in Radius controls the transition from that dark area that we are adjusting toe how it blends in with the rest of the image and so you could swing radius low and swinging high. It depends on the picture, as far as what's gonna look best if I get it too high. It looks too dark in that right edge. Bring it to low. It looks artificial, with somewhere in between is gonna give me the best transition. But remember, I brought the amount really high, and I didn't necessarily want that big of an adjustment. So once I've gotten the other things tweaked will probably bring him out, back down and now decide exactly how much bright and do I want. And I could do something similar for the highlights for the highlights. They might start by just bringing this up a lot, so I can easily tell where it's happening. Then we have the same slider cold tone, and it means the same general thing. But in this case, we're talking about the bright portion. So this means between white and what shade should we consider to be. Ah, highlight. The higher I bring it with wider of a range it works on. I don't want it to work too much on the sky and the water. That's not the waterfall portion, so I'll bring this down and adjust it until I noticed not much of that sky changing. Then Radius controls how it blends in with the surrounding image and all experiment low settings, high settings to see on this particular image, what looks best. It really depends on the picture. Then finally, I'm you know, just my amount. I had it cranked up just so I could see what I was working on. And now I confined. Tune it to the side exactly how much of a change I want. And if it's not making enough of a change, I need to go back and fine tune my other sliders. All right. When you have show more options turned on, you get some additional choices down below. Mid tone means what should we do with stuff that is not highlights and is not shadows. Instead, it's the in between shades. How should they look? And so now it could brighten or darken those in between shades. And then we have a choice called color, and color is a little bit interesting. If you bring it down, the colors will look more similar to each other, and as you bring it up, color separate more so in this case, there's not much of a difference in the colors, but if there was blues and greens and reds as you bring color up, you're going to see a much more much more separation between those colors. And if you bring it down the look more like the originally did, so this means we want to separate the colors a bit more, and that's the main thing that's in here. The choices at the very bottom you don't usually need to change. Black clip in white clip. What they do is ensure that the darkest Portia year of your picture becomes really close to black in Same with the bright portion. If you found that you had a foggy seen and when you win in here, it just suddenly had way too much contrast. You could set thes 20 and then it wouldn't attempt to make the dark part really close to black for the bright part, really close toe white. But anyway, shadow Highlight is a specialty tool. I use it when the issue that I have is near the extremes of brightness really close to black, really close toe white. That's when I think about going there, and it's not available as an adjustment layer. Most the time I'm not playing with all those sliders. I'm playing with either the shadows or the highlights. They don't usually need both, uh, and takes a little bit of time to find tune, but I usually like the results that I get from it.

Class Description

All individual classes that make up this bootcamp are also available here for individual purchase.

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Develop an understanding of how Photoshop works
  • Create your ideal workspace
  • Configure the essential preference settings
  • Set up Adobe Bridge and Lightroom for optimal integration with Photoshop
  • Navigate multiple images seamlessly

ABOUT BEN’S CLASS:

Adobe® Photoshop® 2020 is a feature-rich creative force, perfect for turning raw ideas into audience-wowing images. With Ben Willmore as your guide, you can master it faster than you think and take on a new decade of projects.

Ben takes you step-by-step through Adobe Photoshop 2020 as only he can. With an easy pace and zero technobabble, he demystifies this powerful program and makes you feel confident enough to create anything. This class is part of a fully-updated bundle – complete with 2020 features and more efficient ways to maximize the tools everyone uses most.

Whether you’re a 20-year designer or you’re opening the app for the first time, this is the perfect way to learn and love using Photoshop. From retouching to masking to troubleshooting, Ben unpacks all the essentials and hidden gems, while giving you real-world examples to drive each lesson home. By the end of the class, you’ll feel eager to make serious magic with Photoshop 2020.

WHO THIS CLASS IS FOR:

  • Beginner, intermediate, and advanced users of Adobe Photoshop.
  • Those who want to gain confidence in Adobe Photoshop and learn new features to help edit photos.
  • Students who’d like to take ordinary images and make them look extraordinary with some image editing or Photoshop fixes.

SOFTWARE USED:

Adobe Photoshop 2020 (V21)

Lessons

  1. Introduction To Adobe Photoshop 2020
  2. Bridge vs. Lightroom
  3. Tour of Photoshop Interface
  4. Overview of Bridge Workspace
  5. Overview of Lightroom Workspace
  6. Lightroom Preferences - Saving Documents
  7. How To Use Camera Raw in Adobe Photoshop 2020
  8. Overview of Basic Adjustment Sliders
  9. Developing Raw Images
  10. Editing with the Effects and HLS Tabs
  11. How to Save Images
  12. Using the Transform Tool
  13. Making Selections in Adobe Photoshop 2020
  14. Selection Tools
  15. Combining Selection Tools
  16. Using Automated Selection Tools
  17. Quick Mask Mode
  18. Select Menu Essentials
  19. Using Layers in Adobe Photoshop 2020
  20. Align Active Layers
  21. Creating a New Layer
  22. Creating a Clipping Mask
  23. Using Effects on Layers
  24. Using Adjustment Layers
  25. Using the Shape Tool
  26. Create a Layer Mask Using the Selection Tool
  27. Masking Multiple Images Together
  28. Using Layer Masks to Remove People
  29. Using Layer Masks to Replace Sky
  30. Adding Texture to Images
  31. Layering to Create Realistic Depth
  32. Adjustment Layers in Adobe Photoshop 2020
  33. Optimizing Grayscale with Levels
  34. Adjusting Levels with a Histogram
  35. Understanding Curves
  36. Editing an Image Using Curves
  37. Editing with Shadows/Highlights Adjustment
  38. Dodge and Burn Using Quick Mask Mode
  39. Editing with Blending Modes
  40. Color Theory
  41. Curves for Color
  42. Hue and Saturation Adjustments
  43. Isolating Colors Using Hue/Saturation Adjustment
  44. Match Colors Using Numbers
  45. Adjusting Skin Tones
  46. Retouching Essentials In Adobe Camera Raw
  47. Retouching with the Spot Healing Brush
  48. Retouching with the Clone Stamp
  49. Retouching with the Healing Brush
  50. Retouching Using Multiple Retouching Tools
  51. Extending an Edge with Content Aware
  52. Clone Between Documents
  53. Crop Tool
  54. Frame Tool
  55. Eye Dropper and Color Sampler Tools
  56. Paint Brush Tools
  57. History Brush Tool
  58. Eraser and Gradient Tools
  59. Brush Flow and Opacity Settings
  60. Blur and Shape Tools
  61. Dissolve Mode
  62. Multiply Mode
  63. Screen Mode
  64. Hard Light Mode
  65. Hue, Saturation, and Color Modes
  66. Smart Filters
  67. High Pass Filter
  68. Blur Filter
  69. Filter Gallery
  70. Adaptive Wide Angle Filter
  71. Combing Filters and Features
  72. Select and Mask
  73. Manually Select and Mask
  74. Creating a Clean Background
  75. Changing the Background
  76. Smart Object Overview
  77. Nested Smart Objects
  78. Scale and Warp Smart Objects
  79. Replace Contents
  80. Raw Smart Objects
  81. Multiple Instances of a Smart Object
  82. Creating a Mockup Using Smart Objects
  83. Panoramas
  84. HDR
  85. Focus Stacking
  86. Time-lapse
  87. Light Painting Composite
  88. Remove Moire Patterns
  89. Remove Similar Objects At Once
  90. Remove Objects Across an Entire Image
  91. Replace a Repeating Pattern
  92. Clone from Multiple Areas Using the Clone Source Panel
  93. Remove an Object with a Complex Background
  94. Frequency Separation to Remove Staining and Blemishes
  95. Warping
  96. Liquify
  97. Puppet Warp
  98. Displacement Map
  99. Polar Coordinates
  100. Organize Your Layers
  101. Layer Styles: Bevel and Emboss
  102. Layer Style: Knockout Deep
  103. Blending Options: Blend if
  104. Blending Options: Colorize Black and White Image
  105. Layer Comps
  106. Black-Only Shadows
  107. Create a Content Aware Fill Action
  108. Create a Desaturate Edges Action
  109. Create an Antique Color Action
  110. Create a Contour Map Action
  111. Faux Sunset Action
  112. Photo Credit Action
  113. Create Sharable Actions
  114. Common Troubleshooting Issues Part 1
  115. Common Troubleshooting Issues Part 2
  116. Image Compatibility with Lightroom
  117. Scratch Disk Is Full
  118. Preview Thumbnail

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