Over/Under Exposure in Adobe® Photoshop®

 

How to Fix Exposure in Adobe® Photoshop®

 

Lesson Info

Over/Under Exposure in Adobe® Photoshop®

Lots of great stuff today on exposure and photo show now of course when you always start off with photo shop, the best way to get a good picture is take a good picture, okay? Of course and when that doesn't happen that's when photoshopped comes in because the key to any good exposure is going through getting a camera knowing what you're doing but then again mike hammer is an iphone, so I use that all the time and you're going to have to mess with low light conditions, highlight conditions and going in and being able to correct those obviously we can't correct everything, but there are a lot of tools in photo shop that we can use to correct I'm gonna show you about six different ways and also introduce bridge into the equation too, so if you've never used bridge or camera raw, we're going to use both of those to adjust exposure starting off I've got a picture of I think this was in monaco yes and they have all these yachts all over the place. Yes, one hundred foot two hundred foot yacht...

s quickly snapped something with my camera and we've got the nice little pool there the hotel but then everything else was kind of it's kind of flat basic to get basic ideas to get started in working with an image to be able to adjust the highlights and shadows here going under the image and controlling your adjustments. So if you've used levels before absolutely that's one way to do it, I'm using this particular image because we don't have anything really blown out. We don't have anything really saturated. We just have kind of a flat image, so levels is a really simple way of going in and adjusting the image when we call up our levels panel, we have our shadow slider here, which, of course, when we slide that in, makes the dark starker we take our highlight slider goes in, makes the lights lighter, and this is our history. Graham and hissed a gram is telling us the story of what's going on inside the image when we have a very large mountain of image, hissed a gram here that has piled up at the left hand side. That means that we have a lot of information in the shadow areas when we have this pile of information over on the right hand side, that means we have a lot of highlight information here it's kind of in the middle, and we have very little information in the shadow area, which means that it isn't really saturated in the dark areas, and we have nothing here in the highlight areas, which means our highlight areas are kind of subdued. We don't have a lot of strong highlights, so as we go in people usually go in and they slide this lighters back and forth, and they're like, oh, that looks great. Well, what is great? Okay, well, if it looks good to me, well, that's, great, but that doesn't really work because if you're adjusting multiple images, what happens when you're doing thirty, forty images in our ell what happens is you tend to start skewing him one way or another, and then you go back to the first when you find out that you're like, how you know now, I have to go back and start all over again because I had made him too dark or too light, and as I got better with this, I kind of finding that happy medium. So just a really quick idea if I'm going to go in here and I'm just taking some images and I just want to do a really quick adjustment on him just super fast, five seconds apiece, basically, I'm going to take my highlight slider, and I'm going to slide it in until it begins to touch my mountain of information because that's, where the information is going to start, so I'm just going to park my highlight slider right there, everything outside of this. To the right of this here simply gets cut off when I click ok my shadow slider the more I slide it in it's going to make the dark starker we'll see a little pile of information here, so do I put it here? So I put it here do I kind of guess? Well, it is kind of a guessing situation, but I want to know how I can adjust this image based on what's actually in the image and I want to have the image tell me what's going on here rather than major just kind of fumbling around so in my levels and this will work with curves as well I'm going to click on either my highlight or my shadow slider doesn't matter which one we start with, I'm gonna hold down my option key and when the option click on my highlight slider, everything goes black and now there's nothing to adjust, which is perfect just kidding with my option key held down and I begin to do my highlight slider you begin to see things will begin to appear. Now what I'm actually seeing here let me move this over so we can see this little bit better option key held down I begin to see what's called clipping and clipping is going tio begin to expose those areas that in this case because I'm holding down by option tea on the highlights lighter those are the areas that are going to start to be blown out, they're going to be made lighter and lighter. Now you'll see several different colors that begin to appear here and what those colors are are the colors that make up the image, and so as they begin to do this, my dark blues and my science here are starting to get blown out, and then you'll start to see white areas. Those white areas are now to the point where there's no information left in there, none whatsoever, so when I'm doing this and holding down my option key, I could go through, and I can see as I begin to slide, those areas that begin to disappear will literally have no information in them, so I have to pay a little bit of attention to how far I want to go on this, these air clouds. So as I kind of adjust that over there, I'm pretty satisfied with that or so I think, so I can take my option key off. Now, I want to see how this looks before and after, turn on and turn off the preview here, and I am losing some of the detail there, but for now, I know just how much detail I've lost, I'm gonna jump over to the shadow slider, hold down the option key, and I'm going to run that and now I begin to clip from the shadow area so as I do this I begin to see the colors build and those the colors that are starting to get saturated once I go to solid black I will not see any more detail because those the areas that are filling in and I can go further and further now how much detail do I want out of those? Well that's what I decide okay so I can turn on and turn off my preview and I realize that I have gone in here and I've been able to get a lot more contrast and contrast is nothing more than making the dark starker and making the lights lighter so I can guess and just slide them in there or hold down my option key and slide these back and forth to see those areas that I'm either saturating or I'm blowing out to get an image that's going to be fairly well balanced okay it's still not great but this is going to bring me a lot closer and if I just need to go in and just do a very quick adjustment on these things to get flat image is little bit more life and this is the extent of photoshopped that I'm going to use this would work pretty good and then we also have our mid tone slider here which is going to adjust overall so we could make it lighter or darker overall holding down the option key with this doesn't do anything it only adjust the highlights in the shadows right there so that's my image right there turn on turn off the preview and it's a whole lot better now I'm adjusting directly on the image, which of course you don't want to do because once I click ok and they say this pile, I have no recourse and anything that you've learned with photo shop whatsoever is doing everything non destructively so I want to show you this we can also do it non destructively as well, so doing it non destructively would mean not going under the image menu and adjusting directly on the image using our adjustments but going under the layer menu and doing our layer adjustments from here so I'm gonna jump over to my levels I'm going to create a new layer close my properties panel here it comes up automatically and now in my layers panel here I have an adjustment layer which I can then go in double click on the adjustments and I could do the exact same thing. The only thing is I'm doing this non destructively on the layer so it works the same hold down my option k option click on my shadow on my highlights right there on dyken see my adjustment what I like about this is that if I've over adjusted something or under adjusted something I can go back into my layer here and I can control the opacity, basically allowing me to dial up or dial down the entire adjustment overall if I'm working in my layers or my levels here it's very difficult to go ahead and just take it down like ten percent because where you move your shadow slider in our highlight slighted together to get ten percent less or ten percent more, not very easily plus, I'm adjusting the entire image overall, so what now I've got is I've got my entire image adjusted overall, but there's some other areas that I want to adjust further in here, which would be my clouds. So with my adjustment layer here, I can always turn it on turn that off its nondestructive when I say this is a layered, photoshopped file, I will always have this adjustment layer I have my mask that I can then hide certain areas so that won't get adjusted, and I can always control the amount of adjustment by controlling the opacity on that layer. And if you don't know this wonderful trick and photo shop, you can go in and adjust your adjustment later this way. But I love the little scrubbing, however, over the actual name of the field that you want to adjust and just scrub back and forth on that name should get a dynamic preview of that unique to photo shop love that feature right there so that's one of the very basic ways of going and adjusting and I could show you masking and all that stuff, but I've got so many other pictures to show you another way that we can go in and adjust in image here I'm gonna turn this off is going in and using another adjustment layer, and what I want to do is I want to go in and I would love to do and they go into adjustments here. I would love to go in and do shadows and highlights, and this is going to work really cool, but I noticed that I go under my adjustment layers there. I don't see shadows and highlights in here because shadows and highlights is actually a destructive setting, which is a real bummer because shadows and highlights can actually work kind of cools. Let me go back to my layer here under adjustments, and I'm going to dio shadows and highlights a little bit frustrating that I can't do this as an adjustment layer, but don't get too frustrated because they're going to so many other cool things we'll show you so shadows and highlights, I call up my dialogue box here, and what I see is all of a sudden it automatically adjust and it's like wow this is amazing the trees or green the sky or blue everything's looking pretty good and basically I have pre sets that are in here that come up exactly like this now one of the issues that we have with shadows and highlights is that when we adjust this you get some really weird effects with shadows and highlights and if you ever look at real estate pictures and you see these really overly saturated real estate pictures they have this glow on everything kind of has this slightly bottled effect and it almost looks like it's got like this metallic glow around everything shadows and highlights will do this you could get very interesting effects by using in shadows, shadows and highlights but you can also make things look really weird with shadows and highlights so with the shadows and highlights here I can adjust the amount and I can go up which is going to be the amount of shadow I'm going to get rid of. So if I have no shadow correction there I can go in and just slide that back and forth you see what I do that it gets kind of this weird mottled effect to this so I'm affecting all of the shadows overall and this is going to be the entire amount my total range is going to be just how much I'm going to effect those shadows as I apply a higher number there, it's going to effect more and more of the shadows when I do it less it's going to affect less of the shadows, you see, is a start blowing my shadows out there. It starts flattening the image to a certain extent. But it's pretty amazing if I have these down here, those trees look virtually black there's not much going on there. So just a little amount of adjustment there and then actually calling the tone up there kind of fills that in or actually takes the shadow out and begins to open up the shadow area. The radius is the amount of area that I'm going to deal with, the amount of detail, and this is the really picky part as I go in, basically think of this is going in selecting certain areas. Now we can't see what areas were actually selecting here. So as I adjust the radius, you can see that things begin to change. I'll do that just a little bit. There. You can kind of see. Check out right around the trees here where we see the radius being adjusted, the more I do the radio, so you can kind of see those areas kind of growing. And it's kind of like feathering a selection around there without actually putting a selection on here. So as I increase the radius here, it will go ahead and include mohr and mohr. Greater amounts of the shadow areas takes a little bit of time to kind of dial these in and find the right balance. Let me jump over to the highlights here, and this is where I can go in and recover areas of the highlights, but it does as a kind of puts like a general fog over everything on the highlights and so I don't get is much adjustment out of the highlights is I'd really like, and I can slide these back and forth as well, but I can also go in and adjust my color, so just my colored make a little bit more saturated or vibrant or less saturated there, and then they can go in kind of perk it up a little bit, their turnout and turn off the preview substantially different, okay, but I'm still left with a fairly flat image. I was able to bring out a lot of the detail here and lesson the shadow amount fill in the highlights a little bit here it's better, but it's not awesome and because this is going to be adjusted directly on my image here, I would have to put a selection around those areas and then do my shadows and highlights here in order to make that work and then I'm stuck with it so I don't have any non destructive way of doing this so well, this is kind of cool and you can get really nice results from this fairly quickly. I don't really like strongly recommend this simply because there's a lot better ways to go through and do this, but on the other hand, I think it works better than the levels because now I've actually gotten some more vibrant color out of here and overall kind of happy they really wanted to, I could then go in and just use my quick selection tool in the clouds here just to kind of bring those up a bit and I'm not going to spend much time on that selection and then do my shadows and highlights here and then I can go in and they can adjust my total range there and do my highlights yeah, not loving it that much, so levels shadows and highlights very basic stuff. Catherine, could you please explain amount versus tone again? Ways said that just didn't quite follow the first time, okay, totally understandable and so the technical terms for this if you hover over these, you get your tool hint so the amount is how much you want to die elin or die allowed so with the shadows here as I go in and I'm doing this basically it's affecting just think of it as like a light switch dimmer, ok? I could have it on very low or aiken do tons of adjustment right here, so the tonal range right here and I have to read these little tool hints, so the tonal range means I'm going to go ahead and folk cause I'm just a very narrow town, so like a very specific color or if I go ahead and I ramp the tone all up it's going to go through and it's going to include a lot more of the color sorry, it's not very scientific, but that's, you know, I have to deal with all these different measurements here and photo shop, and I've used this so long that I just kind of know what they are but hover over those little items right there, and it will actually tell you what it is, so the radius is actually the area, so think of it as like a small selection or a larger selection of what it is that you're doing since we're just in the shadows here, if we have a very small radius it's going to focus on very specifically just those shadows areas, if we up the radius, it will kind of expand that selection to be larger and larger outside that hopefully that helps great so wow, billy, blasting that out there looks even better, gets better and better every single time, however inconsistent. But, you know, overall, that looks good. Unfortunate looks slightly fake, because, you know, you never see stuff that green. And if you ever look at the really high end real estate stuff, this is exactly what it looks like. And so this is great. If you have to go in and do lots of images really quickly, interior shots. This is what they use, because you get that really great, vibrant, saturated look there. But kind of it looks actually kind of like a plastic filter on top it's, like you're viewing it through kind of a plastic bag, but nonetheless quick and easy, fast. And if that's, as far as you want to go, that works really good.

Class Description


Over or under-exposed photos are easy to come across, but notoriously difficult to fix. Jason Hoppe changes that in How to Fix Exposure in Adobe® Photoshop®.

Jason will introduce you to a filter that restores highlight areas, opens up shadow areas, and balances the image exposures – all non-destructively.


Software Used: Adobe Photoshop CC 2014.2.2

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