Altering Presets

 

Adobe® Photoshop® and Lightroom® Plugins 101

 

Lesson Info

Altering Presets

We talked a lot about presets and a couple of things I wanted to mention as we were kind of leaving that subject and and we'll deal with a couple more precept makers here, but a couple of things I wanted to mention was that when we were dealing with rad labs, we also had looked at the, uh, the camera calibration presets. So you've got these profiles here that are specifically built for cameras, and so we mentioned that show you how and showed you how to make some of those on your own very specific. So remember when we, when we made our our dmg profile for camera, we were able to really tweak it and do whatever we wanted to it, but you could also auto make those you don't necessarily have to tweak it, and you can you can make it in a completely automated fashion on dh, so that can be done with a color checker with a color checker from x, right, so the color checking from x right is just a checker board you can actually take the file, take a picture of that file and create your own profi...

le very quickly and very easily rather than rather than trying to tweak something there it is the color checker passport, it's just that's all it is it's just ah, a little grid of image colors these air these air, very specific colors. They know exactly what they are. So the program knows what colors it's looking for, and if it take, if you take a picture of this and then you run it through the profile maker, it knows what it's looking for. It'll find these, and then it will make a pass a specific calibration for your specific camera. Now this specifically is for, you know, very accurate color what we were doing with the profile maker before on the last segment is we're making funky color, whatever we wanted. So this is when you want to make absolutely accurate color, you're going to use this and you'll choose the, uh, the color checker image, and you have to it's interesting. You have to turn it to a d n g has to be indian g before you send it out. But then if this were the file and I apologize, but I I I couldn't find my one file that I had brought that had this I think I might not have brought the event with me that had it, so but I hit export, and I go in the export you when you when you m when you, uh, when you put the plug in in it's ah it's you goto x right and you download the plug in for the color checker maker and it will make a profile when you install that plug in it's going to install right here into the export dialog box so when you export you going to choose instead of like a hard drive or you know one of your other export options you choose the x right pre set and you name the profile right here so if I were naming the profile you know cannon mark three's sunny you know I made it profile specifically for son that I would name it here and then I would export this and it's going to actually put the camera port profile back in here so when I exported its going to export it it's going to make the profile and then it's going to throw it right here in this profile section so then I'll always have that profile available to me so that I can use it for very accurate color based on my chip my camera might chip and exactly what my cameras seeing so is very accurate color and I'll use this on commercial jobs all the time very specifically because I like especially when I'm you know lighting something up and there's mixed lighting conditions and stuff I'll put this in the light so that I know exactly what the color is I'm getting and I'll make a profile specifically for that job so I'll get the most accurate color and it's very it's it's almost mind less tio to make the colors work you don't even have to worry about you know, tweaking the it's just perfect it's perfect color because it knows what it's looking for so that's another way to make one of these profiles but if you want to tweak a profile and make it funky and cool and interesting so like like visual supply companies doing what they're pretty sets then what you want to do is you want to use that dmg profile maker that we showed last segment christmas list yeah no it zits yeah it is so small it fits in a pocket so I just adore wedding I can just keep it in a coat pocket and then if there's tricky color I once ended up in a wedding and I couldn't tell what color the cake wass had no idea couldn't figure it out it wasn't until I used this took a picture of it and then made a profile that I was able to see that it was a yellow cake because there was no way the light was so freaky and I didn't have like a white piece of paper to figure out there's a great card but it's not very big so it's good for drop picking it dropper but it's not good for what he can't really get in close enough to get a a full shot of this but man I got home and I was surprised to find it was yellow cake but there was a red down line on it I couldn't tell look like silver cake I just didn't even know what so anyway the color checker passport is a very very useful tool and in a pinch use a great card yeah absolutely in a pinch use a great card the thing is a great card helps you set a great card helps you set temperature intent these two knobs right here that's what a great card is doing it's it's registering that as a known non color and it's taking the blue and the yellow out of it and the green in the magenta out of it so it's neutralizing it but that doesn't mean it's neutralizing all the colors in relationship to that the reason the color checker is important is that you may get the temperature in the tent right but then your chip might actually take the blues a little too far or the purples or the reds you know and so it's it might spread too fast on the cool colors and not fast enough on the orange colors and so what the color checkers doing is it's sending a signal to its profile maker and the profile maker is then saying ok on all reds they should be a little less saturated so that they spread further and they should shift to the magenta or shift to the red, you know, and so it's separating the way the colors react past gray, which a great card cannot do. So if you great card something and just do a great dropper on something, you may get the initial point white, but as the color spread, they'll be wrong. This is the only way to get dead on accurate colors toe have an actual break. Our macbeth checker perfect all right, now, thea other thing I wanted to mention that we were talking about earlier in the last segment was the not the split time, the tone curve there the tone, kurt remember when we use the visco settings, it changed this tone curve and you see how it's kind of a funky tone curve it's not just a standard s curve, what they did, and I'm going to zoom in here on this so you can see it, you can see here how the blacks are really thin and what they've done is they've they've gone down to where the blacks are, and they said, you cannot register a true black. So what is black is going to be dark, dark gray, so if I grab this and I pull it back down, then I get the blacks back so I'm gonna undo that and you can see see how that black gets milky that's because they've registered here on the tone curve that it's impossible to get a black you could do the same thing up here on the whites and pull the white down to the point that it would be impossible to get, you know, a true white or even, you know, a true bright and that would make it even more thin and image really soft and and almost no contrast in it so you can make us crazy is the curves you like it's not a good idea to go up and down and up and down and up and down like that then you get poster ization and it becomes weird but you can certainly play around with this curve to kind of limit the amount of whites or the limit the amount of highlights that you get or blacks and that's what they've done in order to create these film effects. So this goes working on the tone curve and they're working on the profile. Those are the two things that make them unique above all other people is that that's what they're doing now? There's one other group that's doing that as well and that is hold on when we find these guys see all these it's just so many of you just again, I can't can't emphasize the importance enough of the concept of making sure that you go through and spend today and find the presets that are valuable and get rid of the rest because there is no way that I could be efficient with this many presets it would just it just eats me up I literally when I the first time I pulled him in I was still working on a job and I started scanning and was like this crazy I will say here trying to make decisions all day long and I will never get anything done it's fun it is it's it is fun to browse through this it's super fun love it because you get to see these things that you never thought of but it's not efficient and it's not productive so you kind of got a pair that down so so we looked at totally rad o you know who we haven't looked at is pretty presets so pretty presets is a group of girls actually that make pretty presets and it was funny when I contacted them they were they were surprised they're like, you know usually guys don't contact us it just doesn't happen so I'm gonna take uh I'm going to go to a wedding here on the edge of the grand canyon that will be a nice place for us so here's our image for discussion of pretty presets and they've got two different sets they've got a clean set that's it's really they're trying to you know do kind of a workflow oriented set so there's noise reduction and sharpening and vignette ing and so you can see if I click on like a fight if I zoom in here so that we can see you know what they look like and I want to add some noise reduction on this so if I had a noise reduction high, you can see that the everything smooths out more and you don't getting noise especially if you go into the sky there's no noise there s oh, they're just trying to do some basic workflow stuff and then they but they've also gone to the extent of doing like, oh exposure brighten a little and brighten a lot well, if I want to do to do that, I would use my keys, which air here and we'll talk about that in just a second. So these air kind of useless things that not valuable as a preset because you'd have to go over here and I look at the difference between the right side of screen and left side of screen as a commute you know it's like an l a commute you know it's like forty minutes to get to here and forty minutes to get back to their it's just such a long waste of time so the less I can go back and forth here the better and so I would prefer to stay over here working here and never have to do this or I had prefer to work here and be not have to go over here but back and forth back and forth doesn't make a lot of sense so I I just don't see that is very useful I think these keys are far more useful when it comes to adjusting things so this is I think the work force that is there's a couple in there that are interesting like for instance softened babies and females so I'll show you what they're itt's very easy to see what they do here so if you click on softened babies and eat and son softened babies and females click on it and you can see that they are changing the clarity you see that clarity is going up and down so so that softens things but it also softens everything so if I were trying to create a soften skin preset you know where I would print it I would put this softened skin pre set in the brush so I would come in here and I would take everything and reset so that it's all zeroed and then I would take my clarity down however much I thought it should be and then I would go up teo the effects and I would save that effect so you can go down to the very bottom save that as a preset and by the way, I have a pre set in here already that's a skin softening preset so you would just there it is right there skin softening basic. So once you did that, you could then go down and just say, ok, I want to soften skin so you choose that skin softening basic and then you paint it wherever you need skin softening rather than on the hair and under this and that there is a value to a one touch. Show them what it would look like and then deal with it later I can totally see that. So there may be a value to say ok, I'm creating a preset that softens everything just so that they see the soft look and then later on I'll go in and fix it and on ly soften the skin but I never want to soften hair and things like that because the nelson the details gone and it looks like I'm remember the nineteen eighties when we used to put those those blurry lenses on the camera and then it was like it was softer here and then it got a little sharper in the center in it remember those the soft focus is do I remember? What about the vassal lean on the vast alina and I was thinking about that were show try, so I mean I don't know that I want to go back to that. You know, the eighties in most cases, going back to the eighties is a bad thing. You know, there's some things where the eighties were great duran duran that sarandon hot, right? Yeah, yeah, there is quite quite the effects back then, right? So so let's not go back to the eighties and let's let's apply our skin softening type presets here, which is another point of interest here is that you need to you need to think more about presets not just here, but you need to think about presets here in this in the the actual local adjustments as well and those those presets are in the same places all the other presets. So they're just in a different folder and they're just as important because you can spend a lot of time putting a lot of energy and the shoving these to the left and the right and it's just a waste of your time. So if you right, click here. If you click on this and go down to the bottom, you can save any presets that you want here you can overwrite change presets to your heart's content and if you need to find those presets again, you just go up to the light room. Preferences click on this show light room presets folder and then once you're there it's here's the developed pretty sets those are the ones that over on the left hand side and then if you go down you'll see local adjustment presets those are the ones that are in that folder and the interesting thing about local adjustment presets is that they work on all three of these so they work on the brush they work on the radio filter and they work on the grading cool now the radio filter is a particularly interesting thing for presets because not only can you apply radial filter presets here you know just precept to the brush but you can actually record the radio filter as a preset over here which is interesting and can we take a diversion and do it? Sure yes right on. All right all right you're the boss on the boss so in the rail filter there's there's a lot of opportunity for, say, an image like this if I were making a preset for a radial filter because a radio filter comm used for several things one it could be used for a vigna like a total image been yet the other thing it can be used for is a vignette that circles around one thing and then dirt darkens everything else right because up to this point that the problem with the vignette world was that it was always around the edges and you couldn't like target a central point somewhere else. You know, that wasn't in the center of the image. So at this point you can create a radio and I'm gonna create a radial burn that say, you know, a one stop burn and I can create that seat. I just created a burn that burns everything except for where that circle is. Okay, so if that was going to be a valuable thing to me and I think that's way too much in this instance but weaken back it off and suddenly that becomes fairly useful to us, right? So if I wanted to create that as a preset, then what I would do is I would take that and I would make the affect the way I want it. So I like that I think that's a useful, workflow oriented preset, so if I were to do that, then I would take this for this not for the image, but for making the preset. Okay, we're thinking we've got our are making preset cap on. If I were to touch this preset, if I made it just like this, it would always put this circle right there and my people are not always right there, but the closest place aiken get to my people at all times is right dead center like that if I put everything dead center like this and that's where it creates it it's going to be the closest it khun b to any person on every image it's the like that's the central point it's the center so now what I can do is come over and create a preset check none and all I'm going to do is check the process version because it needs to be in this process version to do this and then I'm going to collect check check on the where is a radio filter right there so then I can just say uh call this I don't know uh women are number one hundred and then I can put this in my uh my test folder and I can call this one hundred and it's going to be burned what is that one half stop esso point five stop medium uh target ok, so I have a medium sized target and it's burning outside of that by half half a stop so I've named it put it in the test folder and all I'm doing is the radio filter in the process version hit create now if I were to delete this and I were working on an image and I thought oh, that needs a very off center vignette to it all I would need to do is go to that pre set which is inside of my test folder and if I click on it it throws the thing in the center and then I grab it and drag it, and I'm done so you could create a siri's of these vignettes, and and I have a serious of these whole series of vignettes and face bright ners and things like that in my new set of presets that will be coming out and so you can just click on it and it and it applies you're needed little targets and then you just shift them to where you need them. Now that the interesting thing about this is that it's applying all of them so if you wanted one face brightened, then you you would apply one, but if you if you need two faces brian pushing it again isn't going to add a second one it's going to add the same one, so watch what happens if I click on it again? It moves it back to the centre only gives me the one because it's just overriding this whole thing, so if you wanted a situation where you're like, ok, well, I constantly need to put radio filters over people's heads to brighten them up. You could make a siri's of presets that's like one head to head three head, forehead, five head six head, you know and what? And then what you would do is you would reverse the process of making your preset and you would say ok, now what we're going to do is we're going to brighten it up and then we're going to take the shadows back down and add a little bit of clarity to it and the reason we take the shadows back down and add clarity is that when you use the exposure and brighten it up, the black comes up to so you want to shove the black back down, keep it where it wass and then bring up the light areas so if you're going to do that, you're going to create that as and then you can invert the mask because now you want whatever you're doing to be inside the circle not outside the circle so you could invert the mask and then you would click it and you can see how it's brightening up their faces or the flowers or whatever. So then you could say, ok, we're going to create a siri's of little circles like this and and here's how you copy a circle if you've done something that you like this is totally not a preset we've gone we've gone off and now we're just doing like welcome to light room two o one so anyway if you but this is good for making free set if you want to create a duplicate of the circle you hit control all right let's see option come in yeah, option and command and click on it and now there's two of them on top of each other and you can move this one say over those flowers and then you hit command option again click on it and now there's three and you could put that over his hand and then you get another one and so I'm duplicating them so I don't have to keep hitting new and change this I can just duplicate it and the size so it's very easy to just create one and then duplicated and move it to the next face and duplicate it moved to the next face but if you wanted to then you could also come in and make a new pre set that says, you know, five heads uh brighton or something you know five heads up rider on dh then you do the same thing click on it and now if I were to reset this hole thing and I would go back to the test folder and click on my five heads brighter, it gives me five or power for four of those things and then I could just grab him and drag him you know wherever I needed them to go I want this one to go hear her for this one to go here and just drag him around and then if one needs to be bigger, smaller here's some of the command keys just for those of you want to know if you hold the shift key down, it expands the circle simultaneously in all directions if you just do it regularly with no click it grabs it and it expands it on the opposite side and the side that you're dragging but not on the the secondary sides and then if you on ly want to drag one side you want to create kind of a weird off long shape then you hold the option key down and drag and it on ly expands that one side so you create kind of an ob longed version of it and then if you want if you created something that's kind of like that and you want tio tilt it, you just go outside of the circle little bit and grab it and it tilts over so that it matches you know, however he's standing so that is how you deal with radio filters, but radial filters are accessible inside of the presets you can start to create things total vignettes for images or useful little head tools or whatever for your images simply by creating presets so it's a pre setubal event and it worthwhile enough that I've made a couple presets for my new preset release that that air are great and as a reminder if you get the presets now they're always up datable so you just go back to your account type in your email and your password and you can read download anything that you you know any updates will come to some people in the chat room or a little confused about that the super site when you reiterated that they were like that's awesome and one woman was like, ok, I'm bottom right now one to be quick and she was she was often running do you a preset specifically related to maybe doing eyes and portraiture like you have, like a set of these types of things most of the one specifically to deal with portraiture here inside of like the brush setting in this effect right here. So the comprehensive set comes with all of these brush settings here and some of them are like skin softening one of them is a more a brush so that you can get rid of, like, you know, when you get a more a pattern on it on a coat or something like that. So most of that kind of stuff happens here inside of this. Okay, yeah, but again that there are certain things that light room is not excellent for, and serious retouching really needs to be looked at inside of photo shop, right? Ok, because we did have some questions from pro photographer a cz well, as jay would seventy two, asking about preset stacks or applying multiple presets ok, that that's a really good question and it goes back to the plug in manifesto that we talked about remember in the plug in manifesto we talked about the fact that you need to have surgical strikes surgical strikes are like this I'll show you an example of surgical strike and then I'll show you an example of a non surgical strike a surgical strike is this I have an image here and I have a certain type of look that I want to go for so let's say I want to give it a black and white so when I clicked black and white it on ly applies black and white and then I add c p a to it and then I come down and add eight hundred grain to it and then I come down and out a little richer curve to it and then I come down and added a vignette those are all what five surgical strikes boom boom boom boom and you notice I went downhill so I started the top with um with the more general thing and go further down until I'm done so I don't have to go up and down and up and down and that remember well in the in our manifesto what did we say browsing is not effective right? Correct so browsing in is a is an effective surgical strikes so what you just saw is a non browsing surgical strike on an image and we accomplished the image by simply going bam bam bam bam now in this particular image there's one other thing that has to be done because my specific men yet looks pretty good but the sky up top needs some work so now I'm going to go over and finished the image with another surgical strike click on the brush which is the place where I need to be click on the effect and I'm going to choose one stop burn and now I can do a surgical strike on that one area by clicking with my penn tool and just burn in the area that that that preset didn't get I can burn that in not just like that now if I hadn't used a vignette let's let's assume I hadn't used the vignette let's say ok I want to remove the vignette another surgical strike took the vignette away and now I'm going to go over to this area and instead of using a burn on a brush I can use a burn on a vignette and now I can just do a surgical strike there and then another surgical strike right here and now the image is very natural looking without the steep vignettes and but it's accomplished all of the issues that needed to be accomplished but it's all surgical strike based you so so when when I was a pro photographer pro photo or pro photographer pro photographer so when pro photographer out there says, can I stack, then yes, as long as what you've, your presets, as long as your presets have been designed correctly, yes, you khun stack, because you're designing your preset such that preset number one on ly deals with the tone curve preset number two deals with the split toning priest up number three deals with what you want for the detail preset number four deals with the lens you know, if you build them that way, then yeah, each one of these is a layer and you can mix and match the layers all day long. What you can't do is take two different tone curves and stack them on top of each other. Well, no that's not true, you can if you have a tone curve and a point curve because you can separate out, appoint curve from a tone curve there two different things, so if you see I can have a given, I can come in here and do a point curve, so like I can create, this is a point curve, and then I can come back into the normal curve and you can see how that point curve is underlying it's still there, and now if I start adjusting it, it's adjusting on top of that point curve actually appoint curves still maintains while you can add so in some instances you khun you can separate those things out a little bit further, but generally speaking, each panel is represented by a preset and then a couple of them are broken down. You can see that when you make a preset you can see which ones were broken down. So lens correction has quite a a few things that can build on top of you, so if you treat each check box as a layer and photoshopped, basically this is how many layers you can have cool, great itself, and that speaks to the idea of when we're dealing with various people's presets and we're working on safe, pretty presets, and we say, ok, we're going to go to, you know, this image here, I actually like this one this one better there you that's my fare. Okay, so, um, there's the there's, the raw and here's the tip, so you'll see the difference. This is the raw and then here's the tiff. You see, I did a little bit of a little bit of manipulation, a little bit of retouching, stuff like that, but pretty much the same image with a little bit of extra burning and whatever so once we, when we're originally with the image, without the photoshopped version of the image on dwi, go into, say, pre presets and because we were low the work flow was it was fine you know there's some interesting things in their useful things but the stuff that had to do with exposure and things like that I would never use but let's go to the fine art the art film collection and look at this now see now that pretty presets is doing this watch watch what happens to that tone curve here let me I mean there watch what happens when I do this this is actually really pretty preset do you see what they did to the curb yeah it's whacked out its way wacked out but it's pretty you know what I mean like that it feels super night it's styled itt's artistic you know but it's it's very pretty and so those types of curves air really interesting and fun to play with and they're great for preset and notice then that it's better done here if we if we do the same preset here let's just go back and forth see what's happening though this is where they shouldn't have been messing is up top shouldn't have been messing with the up top right but watch what happens if we let's apply this preset and then let's make another presets so I'm applying the preset okay okay I'm gonna make a preset that fixes it and I'll bet you that we end up with just a cz good or better a preset simply by taking what they started with and finishing it right so if I were changing that priest that I would say pretty b w that's how we're going to call it and I would put it my test folder and I'm gonna check none I'm not going to check any of my basic tones, but I am going to check the tone curve I'm going to check the for them they actually use the saturation as a way of making it black and white, which is an interesting way to do it it's kind of the old photo shop mentality back in photo shop you wouldn't turn something the black and white because it actually got rid of the color information so you would de saturated that's how you would turn so there's a lot of people who came from photo shop and went to light room and still think the best way to make a black and white images to de saturate the image which is not true because light room doesn't deal with imagery that way light room still is looking at the color image even though you're looking at black and white so light room is looking at it as a color image and only showing you the black and white the colors still there cnn lost any thing and by changing by using the saturation as a negative, you don't have access to the black and white mix that you had before so it's it's interesting that there's that holdover from photo shop which is not necessary but anyway that being said we have to use the saturation because that's what they used but let's just keep it with saturation negative and with the tone curve and let's create that let's see I don't think oh you know and let's let's make sure that the contrast goes down to we're going to do the contrast because if I happen to have contrast this thing wants no contrast because it's a it's a non contrast e type of thing so it is an appropriate time to say no you don't get a do contrast so it's demanding the preset ok so now if I were to take this image this is pretty much the same image but it's a different pose right? So I'm going to take this image and I'm going to do the pretty preset black and white on that one okay oh there's have been yet involved we didn't get the vignette let's see all them where is that vignette? Is it in here? Yeah, I see that vignette there was a vignette involved in this pre set and was there a post crop no just a regular vigna so watch this so we take that vignette and highlight it and send it over there so we're going to synchronize those two settings so we're going to synchronize on ly check none were on lee going to synchronize the vignette so the lens vignette ing synchronized that over so now you're getting mohr of that vignette and they probably also you know what else they have is a split tone that's how you get in that blue see that blue so if we were to synchronize that blew over a cz well say split toning so we're getting really close to what they've done anyway but it's it's just a little brighter and area because they haven't I pulled out my exposure but otherwise for all intents and purposes the same image yeah it's just that I I purposefully made mine a little brighter sir if I take mine down it's pretty much the same image but I've got my highlights and shadows where I wanted them so a lot of people are too willing to mess with this and when they mess with that then it ruins what the work that you have done so if you had an image that was totally dependent fortunately this image was exposed correctly so if you change that zero it doesn't ruin it but a lot of people come up to an image and they want the image and they work on the image and make it better and then they push a preset it ruins it that's a non surgical strike so what you've just witnessed is a non surgical strike on an image a beautiful one beautifully done it's like a it's a it's a beautiful nuclear bomb you know? I mean, it just it's beautiful the way it is finalized everything but it was overarching and may not have been exactly what if it works on this one but at night might not work on something else. So you're better off when you have these types of presets to go in and figure out what they are doing and then take out the things that are a little too overreaching that might affect things poorly that way you don't have to click on it and then go oh, now I've got to go back and redo my the work on that individual image to that that made it bright enough. Now the one thing I will say about visco is that they have pretty much successfully avoided seat here's the exposure knob here and as I go there they've they've brought the exposure down I haven't found of a visual supply company one that touches the exposure it's almost like they said to themselves exposures to critical we won't touch that, but we will touch anything else but we won't touch exposure that seems to be what they've done on dh I've never had any conversations with him they they have no interest in talking to me, so I e mailed and said, hey, you want to chat about these before I go on there again so they're a little snooty and s o they don't want to talk to me about anything, but they seem to have taking the exposure and blocked that off and said, you can't use that, but but we can use anything else. Yeah, everything else, fair game. So which is a better call than using the exposure? Now, in this case, pretty presets has obviously allowed exposure to be used, which I don't think is a good call, but they on this image, it did a fantastic job, making it really cool effect. So if if I were going to pretty presets to buy something, I would be buying their artsy stuff, the workflow stuff, whatever. But the the artsy stuff, really cool. And then if you took the really cool and kind of tweet that, then you have something.

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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