Actions Using Plugins

 

Adobe® Photoshop® and Lightroom® Plugins 101

 

Lesson Info

Actions Using Plugins

I go down here and say I want to use I want to smooth her skin I want her skin to look beautiful and so I have to actions that I use one that standard one that's medium and I know that standard medium sound the same but I and I don't know why I named in that but standard is normal and medium is a little bit more but I've never wanted to go beyond medium because it's just too much and I never want to go less than that because it's not enough and so what's the point in doing it so high standard and medium probably it should be standard and lots or something like that but anyway so I'm going to click on this and then once I click on it you'll see what it does I click on it and it gives me a note that says this action requires portraiture by an image on it because it if the plug in isn't there the action can't run the plug in so I hit continue and it's going to run it there and now it says go ahead and paint the areas that you want to get rid of continue and now what it's done is it made a...

new layer it went to the image gnomic software ran the plug in return the layer to me with an image of a mask on the image that's already turning the image off so you're you can't see what it just did I have to now paint white onto this mask in order for her face to start showing the smoothing and it also selected the brush that I need to do that with so now I'm going to and and I just need to go to one hundred percent because it didn't choose one hundred percent for some reason okay, so I go into her and I increased the size of my brush I'm painting in white so you can see my color there is white and I'm painting it in on this mask that little black mask if that mask was white, it would mean that you could see the layer but because it's black, it means you can't see the layer, so I'm going to paint in on that brush are on that mask everywhere that she has skin and I'm just going toe go like this and you can be pretty liberal with this because in economics is really good at what it does you could even, you know, go over eyes and it does a pretty good job not getting her eyes and then if you want, you can go in with the black just switch from white to black and then paint out the eyes a lot of times that's easier to dio to paint out the eyes than it is to try and avoid the eyes and and the ex key switches between white and black you pay one hundred percent white when you were painting percent y one hundred percent black thank you. Yeah, so I am zooming out here and now I'm painting one hundred percent white and I'm just looking tio anyplace on her arm and it's just smoothing it up a little bit remember, I don't want to go crazy with this I don't want to look like it's over those ones in the mall long time ago they were called glamour, glamour shots and lamb or something anyway, I don't want it to look like I got like, a vast clinging on my lens the hollywood lands that's, right? You know, I don't want that so and then I've got some down here on her feet, okay? That's it done and if I've got a guy, I don't generally want to smooth this skin, but if for some reason I you know I'm like, oh, he needs a little bit of smoothing on him, then I'll take that and all instead of doing incapacity of one hundred percent, I will do like a thirty percent and just kind of running over the forehead just kind of do this and that way it just kind of helps to remove imperfections, but it doesn't remove the gruffness of his face and now watch watch it's the difference now between on and off and let me zoom in as much as I can here so I'm going to turn on and off this layer and you can see see how much that's done it's just it's softened everything up but she still looks riel she still has wrinkles you know she still has a line here and there she still has her freckles but they're soft freckles right now if we did the medium one instead of the standard then it would be much softer but image gnomic does a good job now once that's done, I can then take the opacity of that layer and go all the way to zero or I can go to fifty percent so if it went a little too far the farther than I want, I don't have to go back to image gnomic and redo the er the job all I have to do is scale back the amount of softening I did and the rest of her imperfections on her skin. Wolf will shine through that so that's why this is so much more powerful to go into photoshopped to use a plug in than to go into the plug in itself because if I went straight from light room to the plug in then I run the plug in and I wouldn't have the underlying layer to kind of monkey with the total final effect that I'm getting and I wouldn't build a mask out things and stuff like that now in uh if you want something that will go straight from light room to, uh skin retouching without photoshopped than you would go overto on one software and use the one that we just talked about the one we just showed because it has the ability to mask out things and stuff like that it's it's much more robust in that way I don't think it does as good a job but the portraiture thing but it's it's a doable thing it's totally viable you could do portrait's without photos show I just prefer this method but you could use portraiture with light room absolutely you can go straight through torture go back I'm gonna open portraiture now once we've done this so that you can see what it looks like but once you've done this and you like what you've got then you just hitting that you're going to hit that flatten and now we've got it's flattened and it's ready to go okay then we could go to some other plug in at that point on dh and in which case I could go to, you know, add some grain and some structure inside of uh uh silver fax pro so let's do that really quickly I just want to show I want to show you what I'm showing you right now is the quick retouching path so we use portraiture to quickly go out soften the skin and come back and I know we've been talking so it seems like it's takes a long time to do this but it doesn't it takes very little time to do this s o but I'm showing you the quick path so now you go to your grain if I want to add grain I can I could save this and go back to light room and add the grain in and light room or I can bake the grain in here by clicking on one of my nick software grain so remember that warmth filter that I liked in the effects of color facts facts yet so I this was before I found out that the grains engine was the same in both but I I want to show you how powerful and action khun b so if I click on grain and warmth nick with structure it's actually going to open up to different software is both by nick it's going to open up so silver effects and color effects and it's going to make players out of it so here I go I'm going to click on this and now you can ask me questions because it's going to it's running through these actions right now all right let's bring on some questions so philly birdie one of our regulars would like to know if you if you go if you're over up if you over smu the face, could you ever add noise to get some of the texture back? Absolutely and that's what the grain would be ok, so in fact, the reason that I have grain as such a standard in my life is that it unifies the face to the rest of the image if you smooth face like and I know exactly what you're talking about so what's is in philly birdie, so philly, I know what you're talking about because there are times where someone's face it is so difficult and it's such a challenge that you you you have to do so much retouching that it becomes over smooth not because you did a bad job of smoothing it, but it's just there's no way around that you you're shifting so many pixels that you end up with a smooth face I get it, I know that so yeah, so you add a grain layer that grain layer creates the texture on the face again and because it's adding the same grain layer to the rest of the photo, the grain on the face feels the same is the grain in the sky feels the same and suddenly that face doesn't look so smooth anymore it looks normal so the grain actually almost feels like pores and imperfections in the skin, so yeah, absolutely now we have already finished this job here and I want to show you what has come as a result of our job here okay, there we go so we have the background and then it went into silver effects and it made a layer of grain so it went in made a late layer of grain added some what? What they call structure inside of nick software which structure and nick software is really good it's it's basically the same is clarity in light room but better it's like clarity on steroids because it can be you confined to knit you can go on and on lee do clarity in the highlights are on ly due clarity in the shadows or you can do clarity with one of those with uh I forget what they call him the points um what I don't I just totally spaced on it the points the addition point I know I'm not a yeah anyway so we'll get there soon enough yeah so any way you can add a point and on ly clarify a face or you know things like that so it's it's very, very it's customizable control points control points thank you bam that's what you're there for so control points so it's a it's a very customizable um clarity so and they call it sentence structure I must have a food come so what? It has added the black and white through silver effects pro and it did it as a smart filter so there's a smart object it also added a layer from nick color effects pro and that's the warm filter that I was talking about that we talked about earlier today and so added all of these and all of them are smart filters so now I can go to the image itself so I can go to the image and you can see that it's got a grain to it and I can turn the grain off come on see that but I like the grain I love it I think it makes it look better I think this is too clean this looks awesome so I love the grain to it and then I and then here's the color effects see how that's it's warmed it up a bit I mean go out to the full image and you can see you know it's just created this nice glowy warmth to it but if for some reason I decided you know what that grains a little too much all I have to do is double click on the silver effects pro so if you come down here you can see that smart filter has a it tells me what's in the smart filter and it's a silver effects pro double click it and it opens up silver effects pro and I can go in and tweak these air all the settings that were used inside the action so I can come into silver effects pro, which is very much laid out so you can see how it's laid out very much like color effects but I can come in zoom in and one hundred percent look at them and decide did I really want that much grain so I can come into the grain area here and decide while it's let's add a little bit, you know, make the grain a little bit smaller and let's take this up and do a little less of the structure so I can drop structure down, see how I've got the structure slider aiken grab this and say I only want structuring the highlights I don't want structure in the shadows and you can turn the total structure down a bit so you can change how much you know mid tones on structure in the mid tones and the highlights, but I don't see what's happening to the sky look right above his right to the left of his head in the sky and as you add structure in the mid tones it's actually creating kind of ah richness or ah a broody nous to those skies zoom out if I or to grab where there it is, so if I were to grab the mid tones and pull the structure out, pull it in see how it's it's creating structure in the canyon to say that so I can choose how much structure I want in the image and then if I wanted to I could also come in and out of control point and then that control point could decide how much structure I want in their faces or not so all of that stuff could be done here inside a silver effects and noticed they were on a black and white image because silver effects on ly deals black and white it of course has the ability to make filters so you've got all these filters that you can add to it but we don't want to add the filters here because it's a color image on the backside so I'm gonna hit ok that's going to re register all of that to the smart filter but notice were still in color because silver effects is driving on lee the grain and the way it's doing that the way it's on ly dealing with the grain is that that layer is called the luminosity layer so it's on ly registering the luminosity of the of the information on the layer it is not registering its color it's not if I turn this layer to a regular layer or even to like if I turned into a color layer than the whole thing becomes a black and white because now that layer is also determining the color of the images so in this case we wanted to be a luminosity which on lee registers the pixels cause the pixels or dark than light on dark than line so it's it's creating that it's creating the grain without changing it to black and white because the grain structuring both silver effects and in color effects is the same engine you could just run one color of effects pro and it would it would save time um it's just I did this one before I ever knew that and I just never have changed it since then because I like the way it looks I just left it now remember you are asking me questions while that was happening on and I'm not sure how much of the video they were watching like I don't know if they were watching the screen while you're asking those questions or not, eh? So I'm not sure if people saw that happening but it doesn't it doesn't happen super fast and it doesn't happen super slow it's just kind of it takes a minute or so minute minute and thirty seconds to run through it or maybe sixty seconds or something like that, right? So if you're doing images and you want to run that effect and you click on it, you'll have to wait for a second to fort to do t to get back into it which can be annoying, but once you once you like what you've got, you can either save this as a layer tiff backto light room and then you can come back and fix it anytime you want or if you really like what you've done, you can flatten it and now you're going to send it back to the flattened finished image where you're not going to do any retouching, but you don't have to sit around and wait for that. You can set up your system in such a way that you can export let's say we were going to make an album, I shot an event for youand you chose thirty images for a our album so it's one you know, beautiful picture per page, thirty pictures looks and I'm going to retouch all thirty of those so that they are awesome that's what we want to do great. The best way for me to do that is to start with a style and say, I'm going to retouch all these images in accordance with a certain style so I would then go in and retouch all of my images and then run style. Now, if you were perfect and needed no retouching or they were all kind of documentary, then I wouldn't have to do any retouching, but the key here is to create an action and photoshopped that khun do this amount of stuff, so we, you know, that's three there's, two layers of some pretty complicated stuff that we had it run plug ins to do and all that kind of stuff on dh we could even add other things like we get out of burned dodge layer into that concept and all that kind of weaken do all of that and then once we've created that set of commands that we want to dio, then we can tell light room to tell photoshopped to run those actions for us while we sleep so now instead of waiting for photo shop every time I open up in image, waiting a minute or so for it to do it and then you know, re touching it and then deciding and changing I could come to each of these images and they would already be p pre prepped to do what they want them to do, so let's do that and let's just fake our way through a set of things that we want to do. So I'm going to close this image and we're going to decide on a typical photo shop editing experience that we want to experience when we come into photo shop and we're going to automate that experience together so that later on we never have to go through that experience again the great thing about photo shops sisi is that things could be saving while you're doing other things did you know that saves in the background it's awesome so this could be saving and I can tap and go over the light room and open enough up another image. So I'm just going to go and say this image, and I'm going to, uh oh, it finished thing was, too, but I could go in and ed it another image inside of photo shop. And while it could be opening while photo shop is saving something else, so photo shops. Sisi allows you it's a lot more useful to those who want to get things done, because you don't have to wait for it to finish saving. You can open something else up and be working on and that's, just saving in the background.

Class Description


Want to know how to tailor Adobe® Photoshop® and Lightroom® to make them even more powerful? Join creativeLIVE instructor Jared Platt for a three-day introduction to the plugins that will change the way you use Adobe’s seminal programs.

Jared will guide you through a wide variety of plugins as he explains why and how to use each one. You’ll learn about building a workflow that incorporates plugins, saving you time and money in the post-production process. Jared will also cover ways to synchronize and implement plugins on multiple computers. You’ll also explore the built-in tools in Lightroom® and Adobe® Photoshop® for creating and implementing your own plugins.

By the end of this course, you’ll be ready to harness the power of plugins and take your image editing skills to new heights.


Software Used: Adobe Photoshop CC 14.0, Adobe Lightroom 5

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