Bring Out the Best in Every Image with Photoshop

Lesson 6 of 11

Enhancing Colors Workflow

 

Bring Out the Best in Every Image with Photoshop

Lesson 6 of 11

Enhancing Colors Workflow

 

Lesson Info

Enhancing Colors Workflow

Let's do something a little more complicated let's dio this was this is the image they threw up for the kind of slide for the course. This is a kind of final image and then this was the image when I saw it, you know, my friend's office and the balloons were looking so sad, but the colors are neat on dh. So how do we get there? And again, we're going to go through our work flow and what we're going to do with our work flows ask ourselves, well, what we really want is exposure. In contrast, most raw files need that, and I want to get some of the background stuff out when it looked a little more shape with clarity and I'm going to leave it there for a moment and think about the crop I have distracting elements all over the place, so I want to get rid of those in I'm gonna crop those those in and what the crop should feel like not just look like, but feel like is it should eventually feel pretty natural not too worried about, um, the issues that I'm having around the image, but I'm trying ...

to think, is this going in a good, good spot? And I would say, yeah, pretty close adjustment russia's next because that's, the tool we're on right cakey gives me my adjustment brush and I'm going to go to my pull down menu in hit exposure that I'm gonna drop my exposure way down, turn auto mask on for a moment, cause I'm gonna be getting near the edge of the blue. And this is similar to what way did with a photograph on a black and white guy ronnie smith, we're gonna have to do is turn auto mask off at one point right down here, much better to not have to go over here to do that. So I press a. You need a smaller rush. I press left bracket, and then I have that. If I want a new adjustment, someone help me out the audience. If I want to do a new adjustment, the same side of k k k wants to exit kid again, get back in and then and then I'm hitting it. The reason why that's nice is this one. I might need to hammer even more because I really need to get out the highlights and the shadows and all that that it's in there because that area was brighter in the image. So again, I'm trying to get to speed here you see in that speed, working through that image. Now, what about the these guys cake again? So I hit that again. I'm like, well, I want some color and in these balloons and I need auto mass rather than clicking, I hit a on there and I'm just going to say, well, this one let's, bring it up a little more so you can see it. My flows a little low, I'm gonna hit seven for seventy percent. I want to bring up this little balloon that was lost in the background there because I have auto mass turned on and paying attention to the cross hairs in the middle of that and that's giving me the ability to make an adjustment in that area. So we now have that balloon, which was kind of lost back there, coming back into play out a little contrast doesn't have to be over the top. I want to do another blue, you get the gist, right? You press k and then kate again and then once we have that, we can get into our yellow balloon over here because I want to sort of have multiple wounds or we could do other things with this to kk again this time just exposure was going to bring an exposure value make sure really a lot of feathers smaller brush and we could do something like kind of add to mention sort of bringing highlights that's too high with my flow three for thirty percent bringing little highlights under these guys right? Because that's what blooms have kind of bring out that shape of them and how highlights tend to show us that this is more when you get into drawing right and you're kind of trying to create contours and what? But this is a great tool to do things like that all right question is there a way to preview um the mask that you're drawing like say you went off of one of the balloons by accident yeah, I should pay you five dollars for that question that's such a good question so let me go to this one right here so um the easiest way because you know I'm a shortcut guy is the okeafor overlay shift oh what's that going to do is change the type of overlay so because sometimes if it's like this one here it's it's just dark you know or it's gray or something you can't quite see it the colors sometimes are good but it's on a red background may be needed to be green so the okie and then shift gives you the access to show your overlay which is such a good question because a lot of times especially if you're working fast a lot of times we do when we get excited that can just save you because you're like, oh my gosh, I totally didn't see what I was ruining in the image in that way all right? And then the h key last but not least hides those overlays so we can actually evaluate it then we want to go back slash and say ok, well here's the before and here's the after and with the before and after we always want to ask yourself is the image better? What happened so often I've said this before with my students that they would show me their before and after so excited they're new to photo shop and the after was worse and I would say, well, what went wrong? And you know it said, you see that it's worse that they would say yeah, but it took me this amount of time, you know, like that doesn't matter, you know? And so we're trying to ask herself or walk away and come back to the desk all right let's do a little neighbor a neighbor check in which is neighbor what's one thing you've picked up so far or if it's not anything from life than what's one thing you want to do with your own images and why I am saying that is one of things you may want to do is go back and revisit images you've abandoned. I initially abandon that picture of the island because I was so disappointed. I mean, my experience was ultimate thrilling the image wasn't there, but fortunately, you know, for some reason, I went back to it so that maybe some twenty seconds go for anything that you've picked up or anything that you want to do is a result of what you've seen so far. Chris, can I ask you something? You can you can you tell us again what? That what wass that you said about the reason that photography matters so much? Is that it's painful? Is that way said their reason why photography is so painful is because it matters so much, yes, because, you know, we're talking about, you know, yeah, so many things like that. Yes, it's a good one. Yes, I'm also I'm trying to come up with what my food connection is. I came into the threat and my photography I want to hear what your prices out there in the chat rooms. How would you describe the threat to your photography with food? Yes, I like that one, yes, that's a funny question, yeah.

Class Description

There are countless ways to edit every image, but there are some specific techniques you can use that will guarantee you are always retouching efficiently and effectively.

In Bring Out the Best in Every Image with Photoshop, Chris Orwig will introduce a range of photographic case studies and discuss changes that will make each photograph stronger. Each project will begin with a raw file and an evaluation of what needs to be done to make the image better. You will explore which tools can be used to accomplish that vision and add polish to the project. You’ll consider new methods of retouching, improving light, enhancing color, selections, selective adjustments, and sharpening.


Software Used: Adobe Photoshop CC 2014.2.2

Reviews

Noemi Rav
 

Great class as usual by Chris Orwig, a gentle mix of useful teachings (it goes fast, be prepared to take notes or rewatch video) and wise guidance. I particularly appreciated how practical the course is, you get to learn things you can apply right away versus a general Lightroom or Photoshop class. If - like me - you know your way around a little bit the editing tools but want real life exemples on improving the edit of your images, plus appreciate it coming from a great teacher, definitely watch this course.

creativelive student
 

Chris is brilliant in the depth of his knowledge as well as his teaching skill. He can talk sliders and deep emotions in the same sentence. So many photo teachers are "self-taught" with giant holes in what they know, or they think that 7 years of experience is a lot. Chris is one of those pros that just gets better and better, with skill and with heart. This particular course goes fast and you have to pay attention to the arrows to see what he is doing. But listen up - it's Chris - what he says can go deep instantly, or be a big terrific new skill.