Black and White in Photoshop® and Beyond

Lesson 1 of 1

Black and White in Photoshop® and Beyond

 

Black and White in Photoshop® and Beyond

Lesson 1 of 1

Black and White in Photoshop® and Beyond

 

Lesson Info

Black and White in Photoshop® and Beyond

And welcome and we're all very excited to let the next instructor kick it off brian hughes we're welcoming back to the creative live stage he's the principal product manager for photo shop and beyond and he's also a featured speech er speaker renowned ah featured speaker and I messed it up I renounce photography conferences around the world including w p p I photoshopped world and more his bio goes on and on and we're thrilled to have him here with us so brian, why don't you take it away? Thank you very much good to be here and this is a really cup it close to my heart black and white is something that I co wrote a couple of books on and I I really love it and I've been fortunate to be a part of the development of light room and photo shop and bringing features in there the good news is there isn't a lot to black and white as it pertains to just black and white it actually has to do a lot with color as well, so the things that we're going to be learning about are going to be applicable...

to your color work flow as well. There will be a lot of time spent getting great color images and then converting to black and white so we're going to cover a lot of ground in light room camera photo shop but the great news is this stuff isn't difficult and it will carry over to your color work as well and I definitely want to encourage questions so anyway that we want to facilitate those I think that's one of the opportunities of having a representative from adobe is you can give me your feedback your future requests on your questions as well. The first thing that I want to talk about right up front in light romans we're just going to go through some imagery and we're going to talk about seeing in black and white and back in the film days there was a very conscious decision to put black and white film in the camera and there was you know, you are forced to go from color to black and white and you sort of changed your whole perception of what you are capturing and with digital it's a little different, I think there is a tendency to sort of spray and pray and hope that you get something and maybe to work out in the end, eh? So I really encourage you to change your mindset when you're shooting black and white or at least think about some of the following things, so I'm going to go ahead and we're gonna look at this in a lights out mode I'm gonna get rid of my dialogues and light moments one of the great things I can do by hitting those little disclosure triangles and then I'm going to hit the elke twice to just black everything out turned the lights out, and I'll sort of speak to some of the thinking and some of what I think works with these black and white images, and then we'll talk about how we created them so long shadows, lots of texture, pretty dramatic scene here, you really get the scale of it lends itself really well to black and white, uh, one of the things that I should mention with this image that I think black and white is great for. This is the original canon rebel, which is like a six megapixel dslr, and it was really noisy, and when I look back at all the shots from that time, there's the quality's, not too hot, going to black and white, suddenly your noise becomes grain and there's this sort of charming aesthetic to it, you can get away with things you can't get away with with color that also works well with low light, noisy pictures, ruddy skin, stuff like that. This is not a tone photo that's, just the color of the mud. Sometimes the scene makes the decision for you, so this is a sort of monochromatic image, but I didn't do anything to it, something like this as a black and white exposure sunrise, it it really doesn't tell the story, you know? You have no idea what's really going on and it sort of gets lost their we'll talk a lot about how you can have both with the digital workflow you khun create virtual copies and you have a black and white image or a color image. A lot of the time you don't know if you want a black and white image into you've really worked the color image somewhere along the line you might decide you know what? I thought this was going to be a great cup black and white it's actually better its color and sometimes you change your mind down the line. This another one of this one's a shut in japan it's it's not a black and white image it's just a really black and white dreary day, same trip, lots of texture and shadow in this case and you guys have probably have shots like this yourself. The background is really it really fights with the image there's a lot of color back there that's really distracting so it could be great for minimizing distractions obviously, and I don't have the color image right here next to this unless you really have something special going on, which I don't hear a sunset is best captured in color and that's kind of a no brainer, but I've seen maybe five or six great black and white sunsets that are better monochromatic then they would be in color an image like this from that trip to japan. I've tried this one as is black and white and it just all gets lost in there you lose the whole image so there are things lines, shape, textures, shadows, things that really come through in black and white or in tone images so you can really get away with abstracts, textures, lines, all sorts of interesting things with shadows. This is an image of ah, a long exposure of barbecues popping and exploding, and it's a neat color image, but it's also any black and white image and in color you know what it is in black and white it's not really clear what you're looking at. Uh, I think black and white encourages you to have a little bit more fun could see a little more leeway. I did a whole siri's for this jewelry website, and we wanted to show the end product being really, really beautiful. Ah, and clean and whitened pristine, and we wanted to show this dark, gritty side of the manufacturing process and black and white perfect for bringing that, you know that feeling to it, that aesthetic to it really lots of ah, aggressive clarity and a really dark look to it I was talking about sunset before there are exceptions, you know, this was ah, really beautiful sunset it was a really neat black and white image too, though the light came through in a totally different way great example, how sometimes you want both we're almost through with my visual examples here and we'll just jump right in this's ah, road trip that I took and I'm shooting out the window with a twenty four millimeter lands and very, very little photo shop involved here some of the images are great it in color for those of you who you know, used film sort of fuji vell ve a kind of thing, some of them they're great in black and white it's the same basic idea it's just a totally different feel um with the black and white, you're almost forgiven more for being soft and out of focus and it just it has a different personality, really a direct shot of the horse here. The reason that I converted this one to black and white is because there's this lead blue color in the background that's just completely distracting in the color image and a very abstract one um uh another horse obviously an image that wants to be color although I'll say this lens flare is really distracting to me, you could either edit that out or if you made a black and white, you wouldn't even really notice it. It just becomes one more piece of the image almost through these color image, black and white image, you see, same shot, same feeling, but totally different emotion. Depending on what you're doing, this image didn't work at all in black and white, if its color, you can figure out it's a light bulb, it's, black and white, you want to turn your head trying to figure out what you're looking at, ok, so let's talk about how we're doing this, and what we'll do is we will just grab one of these files. Um, and I'll just really ever so briefly talk a little bit about the capture process because it is really important. So when you're capturing images, whether it's for color or black and white it's really important that you get the exposure is closest possible with landscape photography with a shot like this there's a lot going on in this, and when I reset it, you see what the camera saw, uh, and that I'm about I'm exposing for the highlights here and that's that's a good general rule of thumb, especially with black and white, and especially with fine art or landscape. There's an amazing latitude to these digital files, there's a lot of information sitting in the shadows and sitting in the highlights, but it's a lot easier to blow out the highlights than the shadows. And as we'll see in a second, we're going to recover a ton of information from this. So I want to make sure you do that a couple of other things to be mindful of she raw if you can, obviously for those of you who have a dslr or something like that and you're not shooting wrong that's really, really important stabilized the image of you can easier said than done. We don't all carry tripods along with us, but it makes a big difference and ah, dmg, I'll just briefly get on my soapbox about tng, and you can see this is a d n g file. When you import your files in delight room or photo shop, you have some choices, and one of them is to convert to a d n g file and converting to a d n g is going to give you all sorts of benefits. For one thing, the image is going to be a little bit smaller it's weaken, weaken, use lossless compression to save you some room on your hard drive, we can also put the settings of the raw file in there. With the file so if you've ever noticed when you have a raw file like a neff for c c r two and you got a little text file and a text file describes the raw file and if you separate those two, the instructions are lost in the round file doesn't know what it looks like if you have a d n g, they're they're together in the same rapper and there's also a preview of what the altered file looks like. So you have a black and white raw file. Even the operating system knows what it looks like there's way backwards compatibility you could have photo shop, see see your light from five and you could have a friend who has light room two or photo shop cs three and as long as it's the d n g, they can still open that file even if cameras support just landed in the newer version, I could go on and on about dandi, there will probably be some questions and maybe I'll get to go on and on about it again. But let's work a color file top to bottom and converted to black and white in light room, and the same workflow would work in camera exact same engine, ok, so I'm gonna go over to my develop module here. I could also hit command option to do that I've got a ton of presets on the left here presets air really important and there are really great place to start, but since I'm showing you how to do this, um scratch, I'm going to dismiss that dialogue so I could get more of my screen and for the most part we just want to work top to bottom with this image and if I were to click on these little disclosure triangles in the history graham and the upper left and upper right, I will see the problem areas the sun is totally blown out, not surprisingly, and there is some blue area in the shadows that means those air clipping just sort of a general guide as to the health of my file, some people keep those on. I just like to look at them up front now, even though we're talking about black and white, we're still going to consider things like temperature we're still going to consider working the entire file through, so you know what these controls do? I'm going to take you top to bottom with this file, uh, temperatures really obvious it will warm up or cool down your image any of the sliders in here, and this is especially important with something like temperature you can double click them to restore them to their default value somewhere along the line you're going to like, what did I just dio how do I get back there? You can do commands eu khun do undo or you could just double click the slider and it'll go back to where it started it's especially helpful with temperature intent and when it comes to tent if if we were doing ah white sampling of this which I can show you in a minute uh tin would move a little bit but it's kind of like messing with your tv I do not suggest the mess with ten too much really easy to make your image look weird and not know what you did weii cover that what yesterday? And, uh, I'm a big fan of auto because auto has evolved a lot I'm not saying that you should do this with every image, but if you hit auto a lot of things, they're going to happen and as you can see, it did a pretty great job here. What we're doing is we're actually looking at your history, graham and where we're comparing that to other hissed a grams of similar files it gives you a great starting point auto there was a time when it just sort of mapped a black point, a great point in a white point and the results weren't that great but try it, it works, it works quite well so with auto, we can see that light room has compensated for a dramatically under exposed image by adding two and a quarter stops, and I'll just move this way over to the right and way over to the left, and you can see how much dynamic range there is in a raw file it's really, really incredible. I'm shooting into the sun and there's, so, so much so I had auto again come backto quarter, and what I'm going to do with this file is I'm going to reset it just to show you guys, um what it what it would look like if you were working from scratch so let's assume you didn't hit auto and he would wantto bring in some exposure. For the most part, exposure is a sledgehammer. I only is exposure if I've left exposure compensation on, but because I'm often exposing for the highlights tend to leave exposure compensation on, so I'm often adding exposure after the fact we're going to do that here, I'm not going to mess with contrast right now highlight will give me all that highlight detail back, and oftentimes as soon as I do that aiken boost exposure again, you're sort of walking this line of keeping the highlights recovered, boosting the exposure there's a lot of information in the shadows you'll notice if you take this too far you're going to start seeing some strange stuff down here so I do recommend from time to time that you zoom into one hundred percent and look at the image because a lot of texture and noise will start coming out as we open up the shadow areas this is a really tricky image dynamically speaking the white and black sliders we'll just take the most extreme areas so if you watch the sun much brighter and the shadows much darker there are images where that really works well this is not one of them he would be great once we go to black and white to come back and play around with isolated contrast to just work either end of the image clarity is a really great one and it's it's great for black and white or color we used to call this punch and that's exactly what it is it's mid tone contrast it's taking the center of the hidden history ram and it's just amplifying it s so if you go to the right it's going to get crunchy or punchy and if you go to the left it's going to look like you smeared gasoline all over the lens which we literally used to dio back in the film days so that works really well I think that additive clarity is one of those things people tend to take a little far it's it's become one of those looks it's like additive vignette ing people throw in a ton of additive and yet it's my advice is to just tread lightly there, so I know we're still talking about color we will get to black and white all of this again is important for getting to black and white vibrance is great because you can crank vibrance and you can get really nice results if I restore that again by double clicking and we had saturation you'll see that the landscape in the foreground looks like it's from another planet. If these were pictures of people, their skin would also look really ridiculous vibrant is tuned for skin tones and it's tuned to stay within the gamut of riel colors saturation is very old school technology it has its place but a little bit goes a long way. What I will often do, especially with pictures of people is all boost the vibrance and I'll pull the saturation down a little and it allows you to punch up certain colors while pulling others down again. All the work we do here once it's black and white that's just gonna pop that much more so that's a little bit about what's going on up there I'll speak more about graduated filters in a second, but this is a great image for grabbing our graduated filter, pulling that down over the sky and if I wanted to just excuse me it's dark and that a little bit I could do so there and if I wanted to do another one for the foreground and brighten that a little bit I could do that I could bump the shadows up again remember what I said about the texture in the corners actually a trick for getting rid of that with this image but that shows you that you have a lot of control when it comes to the graduated filters the graduated filter is like a graduated neutral density filter but it can do almost everything that develop module can do and it's it's really ah great tool ok, so let's move down a little ways I want to talk about how these curves controls work because there are a lot of different ways of doing this and again it's going to make a difference when we get down to the bottom a lot of people love that rather than using photo shops method for sort of wrangling a diagonal line to yield a proper exposure which is a foreign concept to everyone except for the engineer who originally came up with that that's just not intuitive it doesn't why whywould bending this into an s shape make a a nice exposure so you could do that you can grab this and you can pull that all over um you can uh you can pull it just like you wouldn't curbs but what's a little easier is to take these sliders and this is called parametric curves so it's just wiring sliders to the curves I want later shadows and darker highlights I do that and you can see that I will build that as shaped curve. Now some people will dismiss that as not being very accurate or not being very precise that people don't realize that you can grab these quadrants here and you can slide those around. So now the highlights will only affect ten percent of the history ram and so will the shadows. So if you're not a huge fan of this implementation if you feel like there's not enough power there, remember that you can tune it to work the way you want it to. All right? So black and white conversion at this point is a simple is clicking black and white. Here there are a couple different things you could do. You could come in and you could just individually d saturate all of these colors and that's a little tedious it's worth building a preset for that because one of the things that you khun dio if you do that is you can come back up here and you can still use temperature and there's some images where you could get a really equal look with that um that's very different than the normal workflow I'm just going to go through and individually reset those by double clicking on them which is if I hit black and white something else entirely happens more taking those individual channels were converting it to black and white and you'll notice there's this s shape through those and the reason we do that is imagine someone has a green shirt and blue jeans and you convert them to black and white and suddenly it looks like they're wearing a jumpsuit because the tones are very similar we're introducing just a little bit of contrast through them and that makes the different color channels pop a little bit more makes for a more pleasing black and white image and you could go through here and you could guess what these individual colors are and this is a good time to mention that late room just has a much friendlier interface and photos show it's a it's a really nice place to start it's a nice place if you're new it's kind of refreshing he would never see orange or aqua or purple mentioned in foshan those air those air not terms of photo shop uses but there's some their terms that mean things toe normal people. The best way to do this though is to use this little widget right here a just black and white by dragging on the photo. If I click on that the way to the work is I can just click on any part of the image and pull that up or down and you'll notice that it's moving the corresponding slider it's moving the blue area here if I click on the foreground, I have no clue what the foreground is, it might be orange might be yellow, it might be red. I click on that and I move it and I see that it's actually a combination of orange and yellow, and if I look carefully, you'll see that they're moving at different rates so I can actually do things that are impossible with the normal interface by using that on image control, it'll move multiple sliders at different rates. It's really a cool way to play around with your image and you don't have to remember was that green? Was that science? Is it aqua? You just click on the area you want and you make it brighter or darker. Now, if you take this really far, you will start to see some poster ization so you might do what I mentioned earlier and occasionally zoom in close on your image. Take a good look at what's happening there, but it's a really great way to do that. Make sure that you turn that off when you're done using it, and I should mention with curves that's possible to, you'll notice that same control I don't need to know what part of the curve the sky as I just click on it. And pull it down or pull it up I take the highlights in the foreground here pull them down pull them up these air all global operations this is what light room does best it's what kamerad as best things done to the entire image when we get into photo shop will talk about much more of the nitty gritty all right, it is their question yeah um the parametric curves does it allow you to have multiple points on there or can you only have one point manipulate with the parametric curves? You're just year passing instructions up to the curb it's just a different way of interacting with it rather than plotting points you're saying I want them to move around in these quadrants and you can define the quadrants but if you want to do it point based then you'd want to just click directly on the curve there you can also load and save presets for those as well and you can change the behavior of how you interact with curves as well. So if you're used to curves and photo shop, I'd say grab the curve and use it the way you normally dio but if you're new to curves using the using the parametric sliders is great and using the on image control can be great but remember it's going toe alter that whole that whole image yeah curves are I think there was literally a hole course on curbs. I was talking to colin yet yesterday, and he said he did a whole ninety minute course on curves. I said that's great, someone really needs to do that that's an awesome course to do because curves are very, very deep, and they're kind of the backbone of all of this stuff, in fact curves or what's under the hood for a lot of these under other controls. Ok, so let's talk really briefly about toning, all right? And I shouldn't know before we do that aa lot of the time, after you make a black and white conversion after you've played around with your various channels, you'll have a totally different approach to what you would have done with the image of the beginning. So a lot of the time you'll come back up here and you'll say, you know what? I want less contrast with that. I want a little bit less exposure. Um, maybe I do want the shadows to be a little darker. You might change some things after the fact, so I often pop back up at that point. And walter somethings one of the great things about light room is that you've got living history right next to this by people love the of a safety net. In light room you really can't do anything wrong you can also see where you began uh any point and a neat trick that I learned the other day I mean that's what's so cool about teaching this stuff is people will weigh in with their own feedback if you want to change your before state I could grab any area in here and say to say I want this to be my before or say I want this area in black and white to be my before I can click on that and drag it over and drop that onto my before image so that used to really bother mouse like that I don't mean before like at the dawn of time I mean before like five minutes ago so that's a really neat trick that someone showed me a few weeks back and I've been using that a lot makes it a lot easier to really tune your before and after and when you're ready to switch just go back like so okay tony so with toning this's this is another one that used to drive me crazy and then someone showed me the trick here you can come in here and you can choose what you think is the color and then pull up the saturation say that's not it I think it's more like that pulled out now that's not quite it either and you could drive yourself crazy doing that all day long but what's a lot easier, and this is the one keyboard shortcut that I want everybody to remember here is the option or all key, and if you click that while you're pulling the hugh slider, you will temporarily get a one hundred percent saturation so you can get a preview of what that tone would look like. So you pull this over, you wait till you get the tone that you want great, let go of the option all key and then gradually build your saturation up and that that keyboard shortcut does all sorts of wonderful things in kameron like women it's the one you want to make sure that you remember you could do the same thing with shadows. I'm not saying you have to split tone your image, but you can come in here and you can say for the shadows, you know I want a cool tone or for the shadows, I want the same tone or similar tone, and then you can play around with the balance of those as well. Um, I'm not going to use that all for the shadows. I will go on a brief rant about sharpening the way that sharpening works is you want to lock onto some detail in the image and there is twenty five twenty five percent sharpening added to every image here by default you don't want to sharpen in camera in general let software decisions be made in software on the desktop you can undo them give a much bigger screen um they're not baked into the file and um this's we've been doing this for twenty four years now so we know a lot about imaging software the camera companies suddenly had to figure all that stuff out when they went digital and that's not necessarily their forte there's been amazing advances in digital imaging, but I would I would leave the image editing to the desktop or even even tablets and whatnot but don't don't do it on that tiny little screen on the back that was sharpening for his incredible as light remains an incredible his camera eyes you don't want to do your aggressive sharpening or you we're trying to buy back focus here this is not the place to do that global sharpening a little bit of sharpening all files need that this is a great place to do that selective sharpening or more aggressive sharpening you're going to want to do that in photo shop now if it's just run of the mill web output or print or anything like that, you've got really great tools in here but the sharpening algorithms that aaron kameron light room they're they're fairly basic, comparatively smart sharpen and photo shop which we'll talk about and the sharpening brush to a really, really great job of sharpening without creating artifacts so, again, totally okay to use a little bit of sharpening here don't use a time. The workflow again is lock onto something that you want to be sharper that you believe was sharpen the image using this little loop here, and this is another one of those times where you want to use the option or all key. And if you pull that slider with the optional key, you'll notice that all of the color information temporarily goes away. The image becomes strictly black and white. If this were a color image, it would be even more profound of a difference, and you're able to see the effects of your sharpening or in this case, how much more texture and noise I'm bringing into the image. I would keep this fairly low rating the same thing you're going to see a ghost it area of the radios if I didn't hold the option or all key it's kind of a mystery what's happening when I pull the radio slider. If I do hold it, I get a really nice preview of what's happening the area that I'm affecting when I when I apply the radios, same thing with detail, I slide this it's not really clear to me what's happening, if I slide it with the optional key, I can see that. There's no texture or no noise at it and there's a lot, so I can really get a good balance now I think the coolest feature in all of light room in all of camera raw is the ability to do masking on sharpening, and I don't know if you guys know how this one works, but again there's a somewhat vague slider that purports to be doing something, but if I hold the option key, I'll see that everything is white. When it's white everything's being sharpened has I move this over? I'm building a sharpening mask on the fly and the black areas are not sharpened in the white areas are this is really powerful, and it lets you get away with a lot more with the sharpening that's in here, you khun more aggressively sharpened because you're doing it selectively again. If you missed your focus a little because you were shooting where the really fast lens or something, you're not going to be buying it back by using this, you'd want to solve that problem somewhere else and that's a difficult problem to solve, but doing this, this masking makes a really, really big difference. Okay, so noise reduction this image has artifacts there doesn't suffer from noise that was shot at really low aya so because I'm shooting into the sun if it were a high I esso image noise is really important and it's easily remedied here uh the only thing I'll say about noise with black and white is a lot of the time like I said earlier if you have a noisy image converting to black and white you have the charm of grain suddenly it's t max thirty two hundred nobody really cares so you can get away with a lot of stuff there with lin's correction down here this is justice important with a black and white images it is with color and you can see there's a dramatic difference here in the shot we've built profiles not only for all of the cameras but all of the lenses too I mean not all of them because there are five hundred something different camera bodies and they're away more lenses in there tons and tons tens of thousands of combinations but we've we build profiles for a lot of them and we have a profile generator so that the public can generate their own as well. So this little check box is doing a lot of things it's removing distortion which is very obvious it's removing chromatic aberration which is a really nerdy way of saying color fringing which you'll often see when the sensor is bombarded with light and it's removing the netting which is now falloff we see in the corners which were promptly going to introduce back in there to hide the texture that's lurking in the shadows there so the next thing that I'm gonna dio has come down here and just bring some more of that back in there. Now again, this is an overused aesthetic, and I'm kind of over using it on screen, but the way that I would do this aside dark, and it may be a little aggressively, I pulled the midpoint in, I'd feather it, and then I would back off on the amount so there's always this sort of season to taste workflow over, apply it, tune it, and then back it down a little bit like I tend to use that approach with with all sorts of different things here what I'll say about grain, you want to treat grain like he would sharpening our our noise reduction or anything like that? You want to get up into the image, you want to look at it really closely, and I think this is one that it is a little misunderstood, yes, with black and white, we could say we're mimicking a film aesthetic that's not really what we're after when we put this in here, it's something that you can do there's some great third party solutions for doing that, but what it's really great for is normalizing our equalizing the image hiding artifacts it's funny to think that you can introduce noise, you can introduce grain toe hide artifacts and where it's really great is if you're compositing, so say that I've got an image that was shot at fifty I esso and an image there was shot at sixteen hundred I am so I could have the best selection in the world I could have the best mask in the world, and if I put those two images together and their grain structure is that different? It's going to look ridiculous, introducing a little bit of grain he's going to harmonize those two images and it's going to make a huge huge difference so considerate if you're using source files to then composite or if they're going side by side in a magazine or on a website, if they're really different grand structures, they're not going to look quite right, so additive grain is really, really great there, so that's a whole bunch of stuff in light room and it absolutely carries over into what you would do in camera same sort of thing, but now what I'd like to do is will jump over the bridge on we'll look at a little tiny bit of overlap with camera on a couple things we didn't talk about, and then we'll get more into the nitty gritty with photos show before I do that, I should check and see if we've got any questions, questions online or in the room? Yeah, you know, I've got a really good one, so some people out there some we'll use silver effects pro a little bit, but what I'm saying here is that a lot of that's a lot of it really can be done right here in the photo shop in light room. Yeah, absolutely so I will I will show silver affects pro I love silver affects bro, I remember being at photo kina and that plug in took it stole the show it got, like best of show in software wow, that's that's something for a plug in to do that well and it absolutely deserves it, but essentially what it's doing is it's making all of this a little bit easier? I wouldn't say that it's doing anything you can't do here, but having said that, we'll certainly cover it because it's great it's awesome let's go to the in studio when you were talking about not sharpening and camera you were talking about. If you shoot j pig right raw, it doesn't matter. I would say either way, you want to minimize your sharpening and camera just because the camera knows less about how to do that really well in the software. Turning off, sharpening and letting the sharpening happening here either way is better j pegs in general or tricky was sharpening because you've got these blocky artifacts, no matter where you do it, uh, you're going to see problems, but it's it's frustrating for me and it's tough for me when I see someone that's put a lot of money into a high end, you know, dslr and and really nice lenses, and, um, and then there were shooting j peg, just because you're you're losing so much of that quality, or if they're aggressively sharpening, are doing their black and white conversion and the camera, you're just hamstringing yourself, you're losing some of your options the other one and I don't think I'll convince the world on this, and I'm not as good of a citizen as I should be is stabilizing her image is if you're going out to shoot landscape that's the one thing that's going to make your landscape images look so much better brief sideways anecdote here I used to work at a high end camera store when I was a kid and all these rich guys that come in and buy fancy hostile blood's and like us and all this stuff, and they would spend tens of thousands of dollars on the lenses and I'd say, you know, you probably won't get a tripod now I don't need I don't try find I mean, they would spend thousands of dollars on lenses and they wouldn't spend fifty bucks on a tripod and I don't think anything makes a bigger difference with the quality except perhaps for jay think j p rah tried by no tripod myself blocks okay, so let's pop over here to bridge and I want to talk about sort of the intersection with with light room and ah and photo shop and waste it on the same floor. You know, the folks who develop those, um the mark hamburg who was the architect for photo shop for so many years when often did, uh, light room what I think is a really cool story. The camera rov, which is the engine that powers light room that came about because thomas nole, who invented light room I heard mentored photo shop, went on vacation and he was really frustrated by the software that came with his camera. So he wrote his own on vacation. He came up with his own rock and murder. Um and he came back and showed it to us anything. Do you think anybody would be into this that became the camera or I'll plug in that became light rooms develop module, so really cool, so yeah, just so you know very different products but certainly a lot of the same people working on them and they're certainly meant work together. Well, so if we were to open a raw file here it looks really different where were you know, working with photo shops twenty four year old architecture here but all of the controls of the same and if you pass this file from light room all of the settings will match and with a couple of exceptions usability wise you can do everything here that you could do over their auto is going to have the same back on these files. Um so yeah, all the all the cool stuff that you could do throughout here even those same shortcuts and modifiers so this is a good example for if I hold that option key with a color image it goes to black and white really just the same sort of deal but let's ah let's look at hdr there two things that you can do there a number of things you can do coming from light room you khun fire off an additive question. Yeah. It's real quick before you go on um I just I'm a little bit still questioning a no light room has more abilities and ron some ways, right? But like that I I use light room a lot but I haven't used raw a lot so just like you know when would you go into wrong when you gonna light room where you just go light room, wrong photo shop always if you're using life room, you are using camera wrong, it just has a different rapper on it it's got a big front end to manage your images and it's got some really cool modules for web and print slide show so they there is one hundred percent feature parody and overlap you don't need to use both the only building time that it's nice if you have light room is some people will push out a bunch of files they want to use and photo shop and then they'll end up passing through camera raw. But if you have light room and you're using light room, you don't have any need of camera wrong, but for those of using photoshopped or like that was a bunch of really cool stuff you just showed me a light room you can do all of that in photo shop now one of the things I should probably mention to your point earlier about j pigs you can open non raw files through camera wrong I mean, let me really quickly show you how to do that because this is an important thing to know how to do so here's a tip file tips not a raw file, but I want to open it in camera if I'm in bridge I can hit command are and that'll put me in there, or I can come up here to my camera, raw preferences, and I could say, automatically open all supported jay pigs or tips, or I could come over here to photo shop, and I go to my preferences and file handling and camera preferences, and I'll get that same dialogue and you'll notice if you watch me demo every j peg, every tiff they passed through camera rocks just a really friendly way to work with your files. Now, a huge change in cc and something we'll talk about in a minute is you can use camera raw as a filter and that's just that's, like having light rooms develop module wired to selections, wired to masks, its it is really the best of both worlds really, really cool, so we'll talk about that one in a minute. Okay, so backing up let's talk about hdr, and I'm going to drive this from within photoshopped just because I realized not everybody uses bridge. Um, if you were doing it from light room, the work flow would look like this. You'd select your files and you would either control, click and say at it in merged, tasty are pro and photo shop, or you come up here to photo edit in merged hdr pro and photo shop but I'm going to sort of switch hats and assume that some of you are not using light room and we're going to go over to photo shop and let's say file automate I joke that some of the coolest stuff that lives in photo shop is nestled deep in this little automates sub menu and we're gonna browse thorn hdr folder I mean a shift click to select all of those and there's a check box that says attempt automatically align source images ok it's going to say you really ought to be shooting wrong I know they're a little smaller so we can work through them quickly but I wanted to show you hdr does not just mean color by any means if you want to get ansel adams grade crazy you know red filter kind of black and white images hdr is an awesome way to do it and hdr done right does not look like I bleeding harry potter kind of stuff it just looks like a really ballet it's exposure so you'll see this is a ridiculous assembly of shots I've got here um I'm two and a half stops over exposed down to two stops under exposed the underexposed stuff is going to give me a lot more to work with and the overexposed stuff but I wanted to prove that you can do absurd things in here now we spent a lot of time making this work, the first thing that I'll say that you should do here is do not go with eight bit or sixteen bit you took the time to shoot all of these files, there's lots of information there don't pushed them down into a lower as file because you're going to lose a bunch of information, all these scary sliders don't worry about those. I think a lot of people who encounter this dialogue, they say, I'm sure you can do cool stuff there, I don't want anything to do with it if you go to thirty two bit and I'm going unchecked this for just a second, you'll see that this is our dynamic range, all that stuff in the shadows, all that stuff in the highlights, right? We've got a whole bunch of images that we're going to combine, but I don't have to worry about doing any of that, because we're going to do all of our toning and camera raw and that's a really cool thing you can do. You could also save it out as a thirty two bit tiff and loaded into light room because the light room understands thirty two bit files, but I'm going to say, complete toning and camera raw now, the one thing I'm gonna do before I do that is I'm going to click on this remove ghosts. Checkbox because you see that barbed wires bobbing around in the image and this is a problem with hdr if you go taking three, four, five dozen images things are going to be moving between the images, especially with landscape shots, especially the kind of stuff you want for black and white and you need to be able to remove it and that's where most hdr stuff falls down and I think that's the reason that most of what you see with hdr is harry potter nuclear crazy, glowing and that's its own aesthetic. But I think the reason you see that the reason people overcook it is they're making up for the halos there they're disc sizing the problems with the file if I click this checkbox watch what happens to the barbed wire it just goes away right? It just normalizes we look at all those images and if you look really closely there's a green border around this one we lock onto the detail of that one particular image so you can do some really cool stuff with that and I have to give credit when we develop software. We've got some amazing guys in house that just healing brush, vanishing point all this awesome stuff when it came time to redo hdr this is a feature that I drove as a product manager I said we have to nail de ghosting this is this is the holy grail of hdr. We gotta nail this and there was nobody at adobe that really knew how to do it in the way that we needed to. So we actually went outside of adobe and we contracting with a guy named greg ward great board. We love you. This little check box does not do you justice. I think of you every time I click that and he works at dolby, and he had a theory on how to remove ghosting from images. As you can see, it obviously works for all of his hard work. All he got was that little tiny check box there, but makes all the difference in the world. Ok, complete toning and adobe camera raw. If I say tone in a cr it's going to take that really crazy, thirty two bit image and it's going to pull us back into this friendly spot here and just to be really quick about it let's, do auto let's pull the exposure down let's boost the shadows and we can do cool stuff like use graduated filters here pulling down on the sky, pull another one up from the bottom, and then when we move over here to make this black and white, you've got a really dramatic contrast e image and you can do all sorts of crazy stuff with it, so I'd say I use hd arm or for black and whites than I do for color it's a lot less in your face and it's getting that aesthetic so many of us fell in love with in the first spice with entered west and in ansel adams, all that stuff that uses red filters and a ton of time in the dark room. So I really, uh, really recommend you play around with it. It doesn't mean what people think of when they think of hdr. Ok, so let's talk about selective edits. Um, we're just going to step through these here. This is a really neat trick. I'll give credit to my friend kelly castro on the light room team because he showed me how to do this, and I think it makes a huge difference, and just as long as I'm celebrating our team, this is steve snyder, the program manager of photo shop, and steve's got kind of crazy blue paul newman eyes got really nice eyes, and they're totally lost in the black and white conversion for a couple of reasons. One we took all the color out, but the other reason is, you know, his eyes are kind of in the shadows there. And I can do all sorts of different tricks in light room and I can't get his eyes to light up I could brush them and I could do clarity I could do exposure it all just looks kind of weird and kelly showed me this trick it's really simple and it works really, really well and it's sort of fundamental photoshopped stuff we're going to use the quick select tool which anyone who watched my selections course before we'll know this is the tool to use and photo shop and I can change my brush signs by hitting control option or control ault and dragging left to right if I wanted to adjust the hardness up and down so again controlling option or controlling ault and I'm clicking and dragging left to right when I have that the size that I want, I'm just going toe click and paint on the image and release shift click on the other eye and you can see right away he did a pretty nice job I can option click to say I don't want his eyelid there and if I want to scare myself, I can go into refine edge and I can look at these on their own and confirm I got a nice selection once I've got what I want to just be really ridiculous about the details here I'm going to hit command see copy those coming on tv to paste them again, aiken freak myself out by honey steve's eyes float there in space and we're just going to do color dodge and I've turned on the lights in steve's eyes this little trick makes such a difference with people's eyes, especially with black and white images something about converting to black and white you lose a lot of someone's personality because their eyes just get money and they just get lost doing that little that little trick makes a huge difference ever since he showed me that I use it all the time, so and its subtle enough, you know, if we back up here that it doesn't look over edited it just his eyes were bright, ok, so let's talk about dodging and burning now you can do some dodging and burning uh, you could do some selective editing here in light rumor camera I could come in here and I could define an area like so and if I haver over the mask, I'll see the area that I've applied that too, and I can adjust all of these different properties and I going to do all these different things to it it works pretty well there are a couple of shortcomings with it I'm using these sort of blanket controls and you may have noticed if you use a lot of selective edits and light room or camera raw things start to slow down a little bit things start I don't have you ever knows that but they start to creep a little bit and it's because of the nature of how we're doing this what's great about cameron light room is that it's just a little text file that describes how the sliders move that allows you to have that safety net that history that lives with the file it's all non destructive can't make any mistakes the problem is when you start brushing your putting in a whole bunch of coordinates that tell it exactly where to do those things and that text file gets really long and it takes longer to read through it and load the files and there's just ah ah lot less detail around the edges and the blending and all that it just doesn't have that kind of information does a pretty amazing job considering what it has but for this particular case it's not what we want we've got photo shop here so let's use it so I'm gonna open this up and let's look at dodging this image now anytime you're doing detailed at its double click your zoom tool to come into one hundred percent that a crash you into a hundred percent and hiding over here these have been here since the dawn of time certainly since I started using photos opel way back when I can use my same controlling option or controlling all keys to change the size the brush this is one where you want to play with the hardness to I'd say probably less than fifty percent you want to soft edge brush if you're using a tablet michael welcome tablet or something this is all pressure sensitive and it really works well they're um but let's let's talk about how this works I make sure that it's rgb first okay, so I'm going to turn off protect tones by default protect tones is on as of cs four this stuff just works but anyone who ever used dodge and burn prior to see us for would never think to use this because the way that it worked bump this control up just tow accentuate my point here is it did this right nobody wants that that is not the desired effect here also doing is washing the image with a really bright area, but the combination of obviously being more subtle here back that down but also using protect tones which is a much more intelligent way of doing this where it's a much more sophisticated algorithm I can come in here and I can just lighten given tone so if I've got it set to shadows I'm just gonna lighten the shadow area and the way to do it is to just build it up gradually again if you're using a tablet really, really effective, then I would switch to midtown's aiken dodge those areas I want to show you more aggressively what's happening here I can turn this up, but you'll notice in doing this what's really cool is it's not affecting any of the other tones? It's really? This is a fantastic way to use photo shop it's a great way to use leadership coming from light room is to just do brush based edits and this is something a lot of people don't realize you could do because for so long it just didn't work for almost twenty years the feature was kind of so so so dodge burn sharpened and even sponge which uses the vibrance logic from light room and camera all just work by default get this really powerful brush engine really soft edges and for any image, especially a fine art black and white you have the ability to go in there and really specifically added it and you could do this sort of things that we used to do in the darkroom. So that's an example of dodging let's look really quickly it burning same exact idea not gonna do that in here I'm in a double click on the zoom tool toe crash assume in and we'll just look like the hood here which has a lot of detail and right next the dodge tool is the burn tool and protect tones is on again if it weren't, it really wouldn't work very well and I can come through here and you can see I'm subtly picking up those details if I came to highlights and I turn that up, you're going to see a much more profound change, but I'm not affecting the mid tones or the shadows, so really great way to selectively edit in here those of you were in the selection course yesterday may have seen this image a lot of people ask what's the best way to do selective color is, well, there's a few different ways to do it if I want to make something color and something black and white, I could just select the area that I want to make black and white and I could use a black and white adjustment layer so for instance, let's say I wanted to do that with this image let's say that I was just doing the loosest of selections on this boardwalk sign I'll just show you how this is working with a selection. If I clicked on black and white, then this would be black and white and if I can there's automatically a mask and if I came into the mask and I, uh if I wanted to invert that I could inverted if I wanted to make a selection, I could select it if I came out of that let's just delete that and before I had done that she's in a different tool just to mix it up a little he's I'm amusing purposely very ugly selection tools here because they have a better way to show you, but if I did this and I selected the inverse and we came into black and white, then on lee, the science going black and white, black and white and in photo shop, if you want to do your adjustment here, there are almost a dozen different ways to do it. I I wrote a couple co wrote a couple books on how to do it. You don't need to know channel mixer versus grayscale versus all these other ways. The black and white adjustment layer really, really powerful, really easy to use camera raw, especially now that it's available is a filter. I can't think of a better way to do it than that, um, there are merits to all sorts of old ways of doing it, but the black and white adjustment layer was created because people were frustrated because there were so many different choices, so that really is a great way to do it. Just a couple things to know about this, you see ah slightly different color names, but an s shaped curve to these there's, an auto button that will look at your exact image there's this familiar on image control so that I can grab individual tones in the image and adjust them. Uh, there are presets which you can load or safe and there's even tinting. Although I much prefer tenting uh, outside of here, I much prefer to do that in aa in light room or camera, but back do it the more intelligent way to make this image black and white and selective color. A lot of people want to do that. They want to keep someone's eyes color on the rest of the image. Black and white are in this case the sign. And what I would do is I would make this black and white again with the adjustment layer that's great it's not destructive. I can turn it off and on. I'd come here to my mask panel and then I come in here to color range and in color range. I can just click on the area that I want, I can shift, click to add more to it. I could won't sort of walk across the image and we can see that that's going to light up it's set to localized which those of you who watched the selection course know that fuzziness is the strength and range is how far out it's reaching and so I can get that just the way I wanted I can invert it so the entire image is black and white and just the color eyes in color their color range is a really, really powerful way to build masks it's kind of like quick select or some other things where people they find their way into and they think of that's need but it's not really that powerful it's a really powerful way to do it again. You choose the area you want to select you shift clicked at other areas and fuzziness is your strength and ranges your distance from where you selected and between those you can get a lot and you can eat there, you can even come back in here and you can option click on these areas outside of it say don't use that part! Do you use this part? So you're subtly refining your mask on the fly? The more you can let photoshopped build these mass for you, the better you can go in there and paint them yourself all day long, but letting photoshopped do the work uh it's going to do a much better job, you can see things that you're I can't okay, we talked a lot about sharpening, but we mainly talked about how you didn't want to do it in the last place that we were so let's talk about a couple of ways to do it using photo shop I'm just gonna open straight through here and again. First thing we want to dio doubleclick to crash, zoom on this and let's talk about a few different ways do this, I think the most popular way. In fact, I talked a little bit about headlights data and how we know how people use photo shop. I talked about that on on the panel yesterday, and we know that a kn sharp mask is the most used sharpening routine in photo shop and that's the same logic that's in camera and light room. Now, if there are better ways of doing if they're smart, sharpened, why don't people use that? Well, in short, mask has been in there a really long time. It has a really funny name, so people remember it, um, and it is really easy to use if I were to use on sharp mask and you see, we have a lot of choices here, then I've got these three sliders, I've got the amount I've got the radius, and I've got the threshold and pretty easy to get your head around what's happening, and it works pretty well that's about the same thing you can do in light rumor kamerad if you want to go further with this, use smart, sharpen and as I've said before, if it is smart were auto or magic in it, people assume that they're smarter or better than auto or more magical and they dismiss it but I'm telling you smart, sharp in is the way to go here and here's why we can tell it what kind of thing we want to work against uncharted mask works against god's gambler we're working against lens blur I've got a nice little loop here so I can have the best of both worlds like not one hundred percent preview and by two hundred percent preview I've got a bunch of presets in here that I can save I could apply my effects in here I can even do some basic noise reduction I can combat the amount of sharpening in this shadow area or in the highlight area I've got a lot of control here and again when I'm done with it I can save it so that I don't have to remember by sharpening every time we talked yesterday about selections and house every selection is different but sharpening especially with fine art, black and white output where you're always printing the same thing, you probably have a preset and he will know how you want to sharpen and you want the all of the images sharpened in the same way the only real general role give you about sharpening as I leave here is don't overdo it and the thing I always this is a strange little way of putting it, but it works for me something keeps saying it uh something happens with people in sharpening I don't know what it is um perfectly normal great photographers somewhere and this not everyone is afflicted by this malady but somewhere in there and they start grossly over sharpening and I will regularly have people show me their book and it'll look great and then I look at it a year or two later and all of a sudden everything is really, really crunchy and over sharpened I don't it's just one of those things um there's the weird part of my story my mom who likes salty food, pizza and chinese food and stuff salts those foods she like aggressively salts things that are already really salty and she doesn't know she does and doesn't know it tastes crazy and there's something really wrong with it it's it's a similar affliction to this whole sharpening thing that's going on? I don't know what it is and I understand it I guess this is my way of saying that if you have a friend who does that, maybe it's timeto have an intervention and have the sharpening talk but don't over sharp so much less is more you can always gradually turn it up later and light room and photo shop give you really flexible ways of sharpening so that you can sharpen for print for webb things like that? Yeah two questions um luckily is high pass for sharpening can you comment whether you would say to continue that work flow or to really get into that smart sharpening and then I have another follow up? Yeah, I think for new if you know the high past workflow and there's that's really well documented so I won't get into that one it gives you a lot of it gives you a lot of power it's it's an older way of doing things and it's there's nothing wrong with it at all for newer users for people who want to save their settings using the smart sharp in routine works really really well and it's it's a great way to do it and so I'm advocating that it's always dangerous especially with photoshopped to say this is the way to do it there is no hard fixed way to do anything there are a few things you want to avoid, but I wouldn't say hi passes one of them but if anyone who was jumping into it on isn't quite sure what's different with sharpening I would definitely take smart sharpened over on chart mask ok and is smart sharpen a smart filter it certainly can be and that's a really great question what are smart filters? Smart filters are filter layers so it's all of the benefits of layers with filters so let's take a look at what I'm talking about had I made this image uh sharp had I just applied sharpening it would have applied to the whole image but if I come up here and say convert to smart filters what that's going to dio is it's really is a filter layer so if I come in here and I say let's completely overcook this let's just do something disgusting to this image like so and then we print this out and we find out that it looks awful uh my mom printed this out on I want to come back in here I could just double click on this and I can say you know what? That's that's not what I wanted at all. I wanted something like that really great for pushing it a different media and that flexibility lives with the files so yeah overarching theme with any edits especially black and white especially fine art use a layer based workflow as soon as you get into photo shop you could turn things off and on you can share it with other files you can revisit them. Yes, the files are a little larger, but hard drive space is cheap workflow tough to deal also asked a question about if you have ah work for that you recommend for either light room or photo shop after like certain tools that should always be used first or last yeah no that's that's a big question that's a great question I get as far as I can in light room truthfully I think the one step that I left out its I save what I did is a preset and I remind people to apply that preset either on import if you've got a you know a similar set of files anyone is shooting in studio are fixed lighting work on one file save a preset and load that precept when you're bringing your files and you will someone out there I'm just saved you a week of work really makes a huge huge difference with that are there certain edits that should only be done in one program over the other? Sure yeah I think that you have a lot more control with sharpening and you have a lot more control with really detailed granular edits and photo shop but if you're finding that ninety percent your time is in light from our camera wrong that's that is not wrong there's no problem with that that's that's a good thing we're all shooting a ton these days it's not like the early days of photo shop where we had a photo cd with five scans on it or we flatbed scan one image at a time so the workflow for me and for most people he bring all your images in delight room he sort of all their you get us far as you can there's a couple things there in the back of your mind you're wanting to do over and photo shop and you either push those tow a folder or you pop over one of the time by hitting command e great thank you so speaking of presets you could have a preset set for the sharpening but my question is just presets in general so for example, if you were to have set a preset for the sharpening that you did for this photo my problem that I have with presets another powerful but I don't know how to name them so I would have named this one knife sharpening on then in my mind I would really like on ly apply it to more knives if I heard a photograph I'm with you, I'm with you so presets can it can be tricky, right? Because a lot of the time it's it's so subjective and it depends on the image with selections it doesn't really work they're all so different with color kind of works as long as you captured it the same right? So like a bunch of landscape priest that's a work if it's a cloudy day, but as soon as it's shot inside under tungsten light or something it kind of goes out the window the preset doesn't really work, so what I'll try to dio and this requires being a imaging nerd that lives behind this whole life is I'll try to think about the, um the context of what I'm doing and I'll try to captured in some sort of meaningful way so with the presets for uh you know something like a light room for the look of something I'll try to describe it in terms of either the device like my I've got a bunch of pre sets for the iphone because it's really contrast yes, I pass iphone images through like room um or I'll describe the lighting indoors outdoors cloudy sunny things like that was sharpening its easier as long as you have the same device that captured it the rules are pretty much the same it it's kind of falls under different degrees of sharpen it you could think of it is very, very little ah whole lot thie other way you could do it is based on where it's going if you're if you're pushing a j peg toe facebook you could get away with a lot more sharpening then blowing up a billboard for times square really really depends on where you're going with it. Yeah so naming presets was sharpening I would talk about the destination or I talk about the source naming presets with looks or presets I talk about the lighting or the context of where he shot it but yeah it's it's tricky you're managing a lot of information ok, so let's talk really briefly about another way to sharpen selective sharpening, and this isn't a perfect image for because the whole thing is kind of sharp, but you'll you'll see what I'm talking about when I do it. I'm going to come up here and revert this image as a team in here. Now we're going talk about brush based, sharpening the way that select it's happening usedto work let's say I want to just sharpen someone's face or just someone's some detail, their eyes or something. It used to be that I would go in and I'd sharpen the whole thing. I duped the layer, I'd sharpen the entire image and then go back to race everything that I didn't want sharpened um, it doesn't it's not a very convenient workflow it's it's kind of laborious what you want is a brush based tool so let me show you what we used to dio ah and what we do now so there's a sharp into which has been in here since the dawn of time, and it used to work this up like this, all right? And it was essentially the artifact tool, and so you used it exactly once and you never came back and he never used it again um, but I will tell you, this is another piece of photo shop that is complemented by the best technology out there on dh I know when it comes to sharpening I mean, we've talked to the fbi, we've talked to the government, we've talked to nsa military, we've talked to forensic experts, and you would think they had some crazy blade runner sort of secret science they're using for sharpening click on sharp mask photo shop seven really it's kind of scary just how, how antiquated some of it is when we replace this logic in the brush based tool, which I believe is the best sharpening logic in photo shop on doubt. There we went outside of adobe, and we went and found the best stuff that we couldn't we license that by default, that's what's turned on here with the sharpening brush, and what it allows you to dio is I'm a I'm aggressively sharpening, and I'm not introducing any artifacts so I can come in here and I can I mean, I'm going crazy, I'm doing things I shouldn't be doing, I'm really over sharpening, and you'll notice I'm not creating artifacts in doing that. This is one of those tools I this one of those things, I think, a lot of people who are watching and those of you who are here in the studio if you want to do selective sharpening play around with this it's really really powerful and I'll admit something that I can't get other people to admit I've been shooting a long time personally I have bought a fast lens before and I've shot that lens wide open and I've missed focus when I'm in a room full of pro photographers and I say how many people have done that nobody raises their hand and I'm like come on you guys really nobody bought a fast lens and shot it one point two just because he could and then missed the focus no nobody does that well I have and this works so well that you can actually restore a little bit of focus by sharpening um so black and white or color like I said before really doesn't matter what you're doing with it it really does work that well so they're a couple more things that I want to make sure is that tool that brush have a different sort of engine behind it than than the smart sharp india it's even better great thank you out smart surely you didn't really allows you to tune it yeah but as far as how it works just straight out of the box all the benefits of a brush based engine and just what it really does best is it doesn't introduce artifacts wonderful so to have a layer based workflow there you'd want to duke the layer work on that because then you could play around the properties of the lake or some people see me doing that to the background layer and that's, you know, that's don't do that. Thank you. Yeah. Okay, so I think we got all of our selective edits there. Let's. Really? Briefly. I'm just going toe talk about a couple of the most simple ways of doing frames. Let's say we've got a black and white image. Click auto, we got a slightly better one. We grab whatever color we want, we get our image looking just the way we want it and that's perfectly fine. And we want to introduce, uh, a frame of some sort of there's food for ways to do this. Um, I can come in here too. And besides it's probably the easiest one and set my background color to whatever I want. And I'm gonna look at the physical dimensions, and if this is ah, one inch image, I'm not going to go with a half inch border, but if it's seventeen inches, I could probably get away with that. And coming in here and adding a white border is a really, really nice finishing touch, um, the other way to do that, some people don't like this method, but it allows you to do some other things as you can use this attractive method for a border in this case I'm going to bite into the image I might not want to do that you make your selection you inverted and you could either fill that or you could do something like brighten it and lower the contrast you could do something like feather it and you know we could play around with levels of in brighton make it sort of a light leak if you feather it a lot you can get that sort of crazy instagram sort of light leak look but you could have a lot of fun with an image and you can change an image especially a black and white image by playing around with frames there's a lot of actions out there there's a lot of different ways to do it but I can't think of a black and white image that I've share they didn't put some simple sort of frame around it really ties it together nicely so I really recommend playing around with that okay so this is a cool one people ask you know what changes have there been tio black and white in photo shop and I get that all the time I did this this book with a friend of mine for cs three it was black and white book on light room photo shop and beyond and were evident for cs four and there are a lot of changes there there isn't a whole lot that's changed since then most of what's in there applies now but there is a change in cia six made a huge huge difference and it's a different different way of dealing with layer so really, really quick here's my image not gonna do anything else to it I'm just going to come over here to grady in't map and we, uh let me show you how you get to these within the radiant map there's this little gear that flies out here and if you come down here this is really it was like a speakeasies presets here you gotta gotta know where you're going and who to talk to click on photographic toning say ok? And then what it will do is it will replace it with all of these different presense here and we can look at these ever we want let's look at the large list so you can see the names these air really, really nice these air actually, I believe is a pre release tester that created all these laboriously created all of these really nice monochromatic presets. Um really sometimes when I hit the wall in light room and I'm just not sure where I want to start but I want the image to look different I'll come in here and I'll apply one of these on and it makes a really, really big difference um one of the other things we could do let's say we were starting with an image like this um we could do that and we could play around with our blend modes on our rapacity too. So all of your old layer tricks work really well with those as well. So great aunt map presets black and white adjustment layers playing around with different blend modes there's really there's a lot that could be done with all that stuff let me show you how to get there one more time because every time I do that people like that's it was really great, but how did you get there? Great map here disclosed those gear photographic tony very hidden, very secret feature all right, so this one's fun and I'll just talk briefly about video I think that videos one of those things where much like you know, we're shooting more photos that was ever shot before sharing photos and more places than we've ever shared them super exciting to see so many people into photography the same thing has happened with video I mean, you can't buy a dslr that doesn't shoot video can't buy a point and shoot not that they saw as many of those as they used to that shoot video you can't even buy a phone that doesn't shoot video and so you have people generating more video than any other time in history and sharing a lot of video to what you don't have and our research has shown this overwhelmingly is people editing video video freaks people out video freaks me out and so leading up to see a six we spent a lot of time in the field we always spend a lot of time in the field and we saw that there was this explosion happening around the five d mark two and you know iphone and all this other stuff and all this really cool video content was coming out but literally ninety eight, ninety nine percent of it was sitting on hard drives unedited we said we see an opportunity to do something about that and there are some people that think that video being in photo shop is crazy it doesn't belong there most of those people have figured out video they're using a nonlinear editor they've got their head around video I applaud them I'm not one of them uh the logic and putting it in photo shop is the files that come off of the card are already passing through light room and photoshopped those video files were on the same card let's just treat him like other things in photo shop so let's look at a black and white workflow with video and I'll show you just how easy this is to do so we've got a little clip here just a moment to wake up and I'm gonna open this is my remarkable footage off the five day mark two and what happens video prior to see us six was on ly in photos have extended a zoo of c s six the video functionality was in both versions and as of sisi there is no extended everything is extended you get all of that stuff in photo shops, sisi and the way that this works is I've got this little timeline here and I can press play and confirmed that I've got video playing right here in photo shop now the intent was to make the editing experience as easy as it could possibly be so you've got things like transitions you've got fades, you've got all sorts of stuff you can do here yet this is not designed to, you know, do a feature film or anything like that you don't have multitrack audio or anything like that but you do have a lot of things that you khun d'oh all these different cross fades aiken I could pull in a fate at the beginning I could pull out I could pull a favorite black to the end and if we play the same video we'll see that that's going to fade out now if we want to edit it this is where it gets really, really powerful all I need to dio is make this a smart filter ok and once this is a smart filter there's a rapper around all that video data and everything that I do in here can be done to the video so I could come in here and I could make that black and white I could take my on image adjustment, I could make the sky darker, I could tint it. And when I come back over here to play that I've just gotta see peotone black and white image it gets really powerful when you consider that I could do things like coming here and, uh and even do things like lens correction write so video huge with, you know, the five d and all these things. One thing I'll tell you what this is, video compression gets rid of your exit data gets rid of that information that we rely on toe load the camera in the lens. Now I joked that if you're serious about dslr video, you remember exactly what lends you shot because you probably still paying for it. S so let's say that I did this with a cannon five d mark two and a zeiss fifty millimeter lens, which I did. I got this huge list of lenses and down here is his ice fifty millimeter lands I can apply automated lens correction to video it's crazy that this is in here, but let's revert all of this go back to where we started I think the coolest feature for photographers for videographers and anyone doing black and white in c c is the ability to do all of this in camera raw as a filter it's just crazy um, I've got the develop module wired to selections and masks because I can do anything I want to do and photo shop, but I can do it to video too, so it essentially got a light room for video in a photo shop here's our video clip again, all we're going to do is convert that to smart filters and then I'm just going to say ok let's, do camera raw and let's do are really quick workflow earlier auto didn't work for us too well in that case, pull down our highlights at some clarity come over here, make that black and white looks good maybe we want to add a little bit of tone I'm holding the option or all key to get the tone I want and I'm gradually building up the saturation let's just come over here and we'll add a little bit of a we've been yet to it pull that in will soften that and we'll click ok and that is all done video so light room or camera raw for video so all the stuff you do in black and white all the presets you create everything we learned before could be done to a moving image yeah with video there's a little company off there now call magic lantern that allows dslr to shoot raw video can force fcc handle that in there video featured yeah that's a good question I don't I don't believe it can in just that video and there is an important distinction where people will start saying you know what about the red or what about this particular kodak when we put this in here which mind you camera support was not in there for video the idea was to satisfy the people who are new to video people wanted to play around with it the people who weren't editing it but I would say suddenly having kameron there everybody wants it now they're like what this is great I need this I want this but the assumption at that time especially with higher and stuff and raw footage was if you know enough to be getting that gear you probably have a premiere or final cut or something like that but no I'm I remain really passionate about video here and one of my jobs here is a product managers toe listen to things that people are interested in and want um we are able toe bring in footage off of like the go pro and whatnot and we're enjoying a whole second boom with with video around that but yes faras raw and some of these more esoteric codex and formats that wasn't the thinking when they put it in writing yesterday, your buddy julian cost did a great segment, all on video and photo shop today it was fantastic, so you guys didn't check that out? It's really, really great, absolutely, it looks like we might have a question right here in the studio if I'm moving some of these video files between premier and final cut and photoshopped, am I gonna have any quality and jen loss? If you know those applications, I recommend that you do your video work there. If you have the chops to do that, rock out, I mean, go crazy there because you can do things there, um, that you can't do anywhere else. There are some things you can do here that you can't do when you finish your video here you actually have aa lot of options for rendering it out, not compared to the deli world that you're coming from, but you have different format options and you have all sorts of different presets, so you're going to want to go with the highest resolution, best quality and then pass that over there is not deep integration between them that's a feature request that a lot of people have asked for, um, there's, not a small group of people they're using premiere and final kind of photo shop, but that's that becomes a much bigger question about prioritizing what things we do in photo op, but yeah, I think there's a lot more we could do black and white with when you're editing a video can you, uh can you go into a store like certain area just like you would with your image and maybe just play with a certain hues of the image like make you know the background no black, the rest, all those on image controls that were playing around with isolating different things that all works just fine pretty much everything you could do in camera raw, I think that's the friendliest way to do it, but video and photo shop you could you could have a selected piece of it that you were working with you could even use frames as layers ah, and so you could work on things layer by layer you know, if you're trapped in a prison cell and you want to remove someone and you have a lot of time on your hands, you go frame by frame and you could take that content where phil, that person out of all of the images you know, there's a lot you could do let me just really quickly because people are asking about it before show silver effects because we've spent all of our time talking about light room uh kameron photoshopped but there is a fantastic plug in, uh, made by necc, acquired by google called silver effects pro and with my file here, I'm just going to come in here to nick software, silver effects pro, and you'll see that this is very light room like, um I've got my presets on the left, I've got my controls on the right things like brightness, contrast structure our drama and you can see I mean, we we talked about this before what's the advantage, ease of use, I can just go crazy with my color image to black and white really quickly can I do things here that I can't do in light room? No, but it's fast and it's easy and it looks good really quick it's it's a really it's a great play and it's awesome! You can pull down a trial of this, you can play around with it for for free, I think for a little while and they've got a pretty good deal on it too. They've got plug ins that worked with labor man with photo shop, so play around with that one it's it's, very self explanatory it's very easy to use.

Class Description

Adobe® Principal Product Manager Bryan O’Neil Hughes will show you in-camera tips that will enrich your post-production process. Bryan will take you from field to Photoshop® as he shows you how to create gorgeous B&W, panorama, HDR and macro images.

 

Software Used: Adobe Photoshop CC 14.2

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