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Leveraging Automation

Lesson 7 from: Bring Out the Best in Every Image with Photoshop

Chris Orwig

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Lesson Info

7. Leveraging Automation

Next Lesson: Using Content Aware

Lesson Info

Leveraging Automation

Well, I'll do here is switch from one tool to another and talk about automation a little bit. I tend to like open shade light, not everyone does, but I like it, and one of the problems is that can be a little bit too even or an interesting sometimes so we're gonna spices, went up a little bit radio filter in the tool strip right here, shift em to get there or just click on it, and we'll do some exposure and we wanted then make sure that we have we bring exposure, probably little contrast, maybe a little color, too, and I'm just going to click on the image and drag out and what happens a lot times when we click and drag out is it's not right, you know, because we either the feather amount or something's off or maybe we need to invert our mask, and we've talked about converting that mask before if it's the opposite of what we need so we can click on the icon. We can also presser shortcut, which is the apostrophe key, which gives us the ability to foot that one it's a great shortcut to ha...

ve. In this case, what I want to do is add some light to this area if we add further all the way up what it becomes justice really diffused soft light and it's small right now, but we can obviously change the size of that so it's not so much noticeable, they're still center to it. You can see that you can see how it's starting to take on different characteristics, so I want to have one of these light sources on the face and then one down here in the lower portion of the image. I want to duplicate it to duplicate that one. You already know this, but I'll say it again it's control, click and choose duplicate and then we'll change this one or bring this one down to new area. Maybe what needs to be is a little more like this, and another thing that can happen is you can actually place this off screens and this time like it goes way down there, but it can help to have a little more even light in those areas it's a little too strong for that in this one, too, a little too strong as well, but what I want to do is start to bring in some of these qualities here and take my feather down on that one a little bit as well, and I'm not twice super amped on what it's looking but I'm liking direction you guys like in the direction a little bit more here's my before and after you know before she had sort of lost there and what I might need to do is, um is do some basic adjustments so go to basic of course these tools fit into the rest of that work flow and how we do all those things and then after basic come back and and work on these adjustments again so if you've done something somewhere, go back and I'll go to my amount slider and say like, ok, well, what if I just took the amount of these guys down? I'm just gonna look teo how it can modify that light a little bit there try to make it a little more natural maybe something along those lines here's my before and after all right, great. So we have radio adjustments and often you have environments where you could reuse that we've talked about synchronizing before what as a refresher what we can do it this is we can go to another image and as my friend matt klesko's, he likes to say probably the most overused, powerful invest but in light room is previous, and what that will do is we'll take whatever he did previously and apply it to the new image all those settings if they're selective adjustments or basic adjustments whatever when we get to the adjustment often we may want to go in there and customized maybe this one here would benefit from opening up a little bit more and same thing with this one here, you know, it was a little too small based on there's a size difference between those two files and what that can do forces is, you know, get those two that sweet spot as we start to work with selectively improving the pictures let's do another improvement just to look at some of our other tools serve shot and with this one, as we saw before let's go back to the beginning were like, yeah, shadows or too dark so I brighten up my shadows here, so I'm just gonna click and drag bring those shadows up or we could do the same thing using our shadow slider we're just trying to bring in some light but it's really not it's like not far enough, I need to have surf photography is really tricky actually because there's so much whites and the white can overexpose so easily. So anyway, I want to have some of that still so gray didn't filter this one exposure over exposed for a moment but so we can see it so I have this big, huge thing the further away these two lines are the mohr of transition mohr feather and so repositioning that and what I want to do this kind of light up that waiver I don't want to get some energy on this and for part of that that's going to be my color and we could really swing this color if we wanted to kind of go a little bit more green in that the guy still needs a little bit of work but I think the wave is closer to a better spot a great way to see that is to click on your toggle flip switch and to look at your before and after and he is going in a better direction then why don't we go back to our old friend the radio filter with the radio filter it's going to be too hot right here but that's okay, we'll go on and say yeah let's add some feather to that and that a lot of feathers so we just want to lighten this guy up and let's find just that right valued if it's going to be brighter might also need to have a little color in it and sometimes having a lot of a lot of light on their helps find that the right spot if I'm going to do that though, we need to have clarity in contrast and the feather value needs to go up even higher because you sort of see the edges too much with where it is right now so maybe bring it up two there and we're going in this type of a direction with this adjustment little too strong for my liking, so I'll go to my amount, slider and drop that town, and I might even go back to the this one to scale that one back a little bit is well and that's part of the fun of finding the right way to do the image here's or before you know what happens with before you don't even realize how bad it is till you get there. And so that's, why that backslash keys really important to look at those before and afters one last one in this space, my sister and her family and we're going to do with this one is just some basic adjustments to start off with those we know that people and fall in a park need to be warmer going to have more light in those areas, and it gets better, you know? We can kind of get that, but we just didn't want brightness here with this. So kate cakey to get your adjustment brush exposure, right bracket key. I want to reiterate these shortcuts that goes bigger, but that bigger brush flow if it's to hire low, I'm tapping a number of key on the keyboard shift bracket key if I need to change my feather amount. And if we bring exposure that we can't forget about its friend, contrast, and maybe even a little color, because otherwise I will get to white. This is little maggie right here. This is stewie, I'm just painting over this and still he's, really fun. Every time I see him, I give him a dollar coin wrapped up in something it's like our little thing. He's, really fun. All right, all right. So there we kind of have the basics of that don't need to get to detail, but you can see how those things there that little extra ten percent right, getting the images, that spot where we find those things.

Class Materials

bonus material with purchase

Chris Orwig - Bring Out the Best in Every Image with Photoshop - Reference Guide.pdf

Ratings and Reviews


Chris Orwig has long been near the top of my most admired photographers list. I own his books, have watched almost all his courses, and naturally purchased this course from CreativeLive. As always, in a short time Chris covers new and unique material in his wonderful professorial manner that is always easy to understand. Great material, great class, great Orwig, and highly recommended. But I must add a short addendum for other Orwig followers who may be considering this course. Chris is easily the most philosophical, metaphysical, feeling photographer I know. He is a poet with words and images, and he teaches that you should produce images that resonate with your own higher self. Great! But I almost fell off my chair when this class started and Chris now has a very long beard. Okay Chris, I am a follower! You are not only my favorite instructor, but my guru of all things photographic!

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.

Student Work