Adobe® Photoshop® and Lightroom® Plugins 101

Lesson 15 of 29

Continued Plugin Tests

 

Adobe® Photoshop® and Lightroom® Plugins 101

Lesson 15 of 29

Continued Plugin Tests

 

Lesson Info

Continued Plugin Tests

Let's take a different image um uh, this is a really sweet out here I'm going to go from this image here because it's so this is the image this is the tiff that was retouched, and I wanted to show you that by the way, if you go down to that image that we were just working on, you'll notice a difference between these two images here. So this image was the original one that I played around with in in exposure five, but you'll notice there's a big flaw, and that is that her dress has wrinkles in it, so I I did all that not all this work I touch to presets and was excited about them and saw the image and thought that's a really brilliant image, but I didn't do it the right way because I went from light room directly to the to the plug in, but if it sends it back now, I've got all the plug in grain and everything over the top of this. Then if I go and start smearing around this dress to get rid of all of these wrinkles, it's going to be obvious because I'm shifting around these grain pixels...

and whatever can't do it so you have to go to photo shop first, get rid of the wrinkles in the dress and then go to the alien skin software, so knowing what you're going to do to an image changes the direction you go instead of going directly to plug in, we go to photo shop first, do all of that and photo shop, and then from photo shop, we can go over the alien skin and do it and then return it backto light room, or we could return it back to light room and then just tell it's going alien skin and do it. But if you're in photoshopped, might as well do it right there, so but but you have to go to show photo shop first, and so when we come back to this image here, which I think is a really sweet, and this is her brother here, and so I just thought that was a super sweet image of the two of them, and so he noticed that I did a little editing on her and him in in here, and so now I'm working on the edited image, so you first go to photo shop, do any kind of major retouching or whatever reconstruction that you need to do, and then now we take this tip. So that's, why I want to use this one it's already a tiff image, right? Click it, and we're going toe edit this tiff image, and we're going to go to whatever so let's go to the dx oh software so another plug in so we're going to go to the x o and this time instead of making a new version of it we can simply edit the original hit at it and now we're going to go to d x o and we're going to play with it in there so again you can see that there trying to emulate where you're coming from which is fairly well done on dh then but this is a little different he looked down here we've got our color slide film color negative film black and white film on dh then of course you've got your custom presets and your designer presets so these these tabs here are to get you in the ballpark of a given film this one is like an all inclusive like hey touch this and it's got all sorts of stuff to it and then of course anything you build khun b put here so let's turn this to black and white and will play with the different options that we have and if you want to see these a little better you can increase the size of them so that you know really what they ought to do is do this yeah these ought to be big s so that you can see what's going on there and you can also search the presets which I think is a on added benefit the fact that you can search your presets so because sometimes you just have so many and you're like because I was looking over and nick I was like where is that film effect where is that film effect and you have to scroll and find it yeah right whereas here you could type in whatever if I'm looking for an ag for you know film now it's just going to show me all of my agatha's right here s o I'm I let's do it now I wonder if that t max yes no uh t space max very teen acts so there's my team max films I'm going to go for a team acts one hundred click on that and that adds all of the effects that would be involved in making that team max film into here so here's the film rendering see how they've got all these films ready for us here and they've got the intensity of it here so at one hundred percent intensity that this is what it should look like so let's zoom in and see you know this is the this is the way the image looks and we can change the anticipate weaken bring the intensity down or we can bring the intensity up on overplay the hand but you'll you'll notice that they've done it really they do a really good job with the grain the grain is actually pretty pretty chunky you know they've done a good job with that but look at this the size of the film this is something that I think is a great addition to any software is the size of the film because if you're shooting thirty five millimeter film on t max and you print it to eight by ten there's going to be x amount of grain but if you shot a four by five film on the same team acts film and printed an eight by ten there will be almost no grain it would be very difficult to see the same at the grain because it's such a big film it's not getting expanded very big to make the print and if you did a four by five contact of it there would be no grain whatsoever you couldn't see it would be too small so the idea of what film are using are using a small you know or using large format brain changes the way the grain looks and then you can of course add that into your preset so that's what that's I think that's a really good addition to the whole concept of film grain so then we go into filters we can have you know our orange filter which would change the way this looks because remember the color information is still under there we still have all of that color information available to us so I can go in and say I'm going to add a orange filter to this and notice how it changes the sky here because the blue can't get through the orange filter but notice their faces get a little bit brighter so if no filter see their faces a little darker on dh then if you do the orange filter their faces brighten up a little bit and the sky darkens so if I'm making a preset for people I'm going to use a orange filter which is going to brighton if it's black and white when he was a black orange filter so that their faces will brighten up all the skin telling start to brighten up and all of the blues skies start to darken and I get much more dramatic beautiful print and even if there's no sky putting an orange filter into a black and white preset is brilliant because it makes the faces glow a little bit more which incidentally if you're in light room you can do that as well. So when you're inside of light room if you're going to make say out of this image here if you were going to make yourself a preset to try and make really great black and whites when you go to the black and white this is your filter so these are your filters that you would put on front of your camera when you're shooting black and white there they are right there and so if you you know go into their faces and you increase the orange see that it's doing the same thing so so it's not rockets there well it may be rocket science under the hood but it's not rocket science beyond what light room khun d'oh to do what they're doing here but just keep in mind that those filters when you're in black and white are absolutely essential till the way the final image works out so in fact one of my presets that I used the most is a black and white filter for skin tones so when I click on it it adds black and white and increases the warm colors in the image to kind of brighten up those faces because it helps helps skin tones and of course they have a bunch of different tone ings and they've got creative vignette ing creative blurring but this is this this is I really like this and before light room five this plug in was the only way to really do this and that is you've got this creative vignette ng so if I change if I let's do a vignette like that and let's do the midpoint really quite in and the transition very smooth and they're now aiken set center point so if I click on this then I can take this guy and move him to there and now the center point of the vignette changes now of course with all great art we scale back what you've just done so we take this and we scale it change the intensity so we scaled back the intensity so that it's just kind of lightly there and I can still move this around a little bit to get that just right there then I can turn it off but you can set that intent there that centerpoint also on the blurring so if you wanted to do some you know creative blurring to an image you can also set that as well you can say okay I'm gonna have you know a lot of blur going on but I need to set the midpoint so that their you know faces and bodies are not blurred and then aiken so now you've got all that blur going around them of course that doesn't always really do all that good a job because you can see that the canyon which should be blurred way back there is not blurred because it's in the center of that you know blurring effects so blurring effects are often very difficult to they're often very difficult to make look riel because there you've got it two I don't know a plug in that can make a blur look riel without photo shops assistance there's even a boca which will weaken look at right now as well so let's let's save this onda geun you khun you can make your presets in here is well so once we're done with this just file save you can also save as it's asking me what quality I want to say that I always want to save it at sixteen bit and we will say this out so just from earlier how often do you calibrate your screen I calibrate my screen about once every couple weeks okay great though usually it's when I'm I don't want to do something on the computer so I need an excuse to walk away for a couple minutes eso I'll come in and I'm like I'm really not ready to work yet so at that point that's when all calibrate the screen but unfortunately the calibrate our only takes like two minutes right so it's not a really good breaking so there's our image and we can zoom in and see how nice the images so let's look let's go look up with skies here so you can see all that grain very beautiful grain they do a great job of grain so that's d x o okay they do a great job of the grand look at that no brain on this image I mean it's ah there's a very clean image and then go this image and that's not pretty green super pretty so deac so does a great job with their grain absolutely okay so you could also go you could take an image too to boca and boca to is a the purpose of boca to is just to do blurry affectees stuff but if you look at the way it's designed it's it's this is alien skin it's the same software we just came out of that was so nicely done and then this one it's like someone else designed it. So it's it's not the same you I, uh, that's user interface for those of you who don't know what you lies so it's not the same unit user interface and it's a lot more clunky and stuff so it's kind of, I think it's one of those things that it's, you know, it's boca number two and their exposure number five version five. So this one's in its infancy and it probably was designed a while ago, and so they probably the next time they come to something and look more like the stuff they're doing now. I don't know, but this one has the ability to do various types of of focus issues, but even here, and this has a lot of control in the way that it does all the focusing. But even with all the control that it has, you know, changing the the spread or them, you know what you would call a transition or ah or a feather in photo shop so you can change that you can change the shape of this, you can turn this into aa grady in't there's a lot you can do in here, but still without light without photoshopped, this can't do the whole job because in the end, the canyon behind them will still look sharp when it shouldn't, and so you actually have to do several versions of blurring out this and then and then bring them back in by masking so it just can't do it all on its own for its needs. Voters shop. I'm not gonna spend much time in boca because I never really used this kind of stuff, and I'm not all that interested in it not interested in doing a lot of blurring effects, but I will say that I've used it, I've done some stuff with it on like plated foods, so when I'm doing, you know, a picture of a steak dinner or something for a restaurant on dh, the plate needs to be in focus, but I need everything else to just kind of I couldn't get I wanted more depth of field on the plate, and then that depth of field of spiel spilling off the play it's very easy to go into a plaited dinner and get this to circle right around that plated dinner you know, like this? Yeah, and then let this spill off really quickly and just add to the out of focus nous, you know, I'm not trying to make it out of focus because it was in focus, I'm just letting it make that that depth of field drop off faster on it works really well, and it could be done right in here without much help from photoshopped. But even then, if the steak was going up off the plate, yeah, I had to have two layers. One layer is this sharp version one is the boca version, and then you are race out the steak part back to the original so that it looks like it's actual depth of field issues. So so you can I just can't think of an instance in which you could use something like boca on its own unless you just wanted to look all campy, you know, like you done on your iphone right thing you could does this software have any presets for till shift effects? Yeah, so this is your I know that's a big this is your this would be your tilt shift opportunity right here and then, of course you're going to set your presets based on what you've accomplished in here, but this is your this is your tilt shift here got so you've got and you've got the plainer, which is both or you can do half, so if you have it on lee, see how it's on lee doing it's like it's out of focus that but there's no bottom side to this tilt shift so you khun you know, delete this one and keep this one and then you could add another one of these and this one you could bring down, you know, over here and and and do something different with this one than you do with this one. So you've got you've got two different options of you could just keep adding these half planes, but still you end up with kind of a campy look and the last you start going in and masking yeah, so but die with back dial it back right? So you can uh it does a good job and the real thing, the thing that is better than doing it first because you could go into photo shop and blur stuff, but the reason you would want a plug in to blur it for you is that the plug in has a pretty good handle on what different lenses look like and how much boca is in the lens. And so you can kind of change the way that the strength of that blur and that the style of the blur and what it does to the light refracting and stuff like that it's pretty good but then so sodas photoshopped photo shop has that ability to and does a pretty good job at it as well now so photoshopped kind of has its own interior lens blurring options as well I don't know it's not one of my most favorite plug ins but it is there and it's it's it does a fine job I used it but it's it's not it's not something I get excited about and a lot of these plug ins now I'm not going to go over every single nick and I'm not going to go over everything because they all operate generally the same but what we want to do now that we've kind of introduced the different styles of plug ins we want to go into photo shop and we want to start using photo shop to make those things those plug ins more powerful and to make them more automated because it photoshopped will do both of those things is make them more powerful and more automated let's see oh, you know, one one thing that we haven't talked about is the perfect photo sweet so that's made by on one software and the perfect photo suite is a siri's of things and they're all kind of actually in the same photo suite, which I think actually was a bad idea. I think it was a good idea for nick two separate him because then you're not running all of them at the same time you're running this one and then that one it doesn't get its bloated so with on one software when you go to the perfect photo sweet and they're all there I think that's why it runs a little slower than the other ones do because it's not a streamlined and a product but the products are really good at what they do if you were the type of person who on ly wanted to buy light room and plug ins and had no interest in photo shop then the perfect photo suite is where you would have you'd have to have it because it allows you to do masking and allows you to look at things so for instance I can take say this image here and let's edit this image and we're gonna add it in a perfect portrait to andi I'm just going to edit a copy of it because I want you to see what it does when it opens the perfect photo sweet is it's looking for faces and it can detect the faces see it found her face and then if I want to edit that face there's a little tip if you click on it it brings you into the face and shows you the eyes and the mouth and then once it knows the eyes and the mouth so you just kind of restructure these little selections here so that it knows ok the mouth is right there and that's kind of its shape and then the eyes you congrats these and put it in the corner of her eyes so it knows the shape of her eyes and then once you have those shapes under control so it knows where those are and if there's a picture of twenty people it will find this for all twenty people but once you have that face under control then you can start using all the smoothing and skin and removing blemishes and all that kind of stuff here and it's on lee going to be affecting the skin and not the eyes and not the mouth so it just kind of has a good idea so see how it says this is the face so if I go there and then I could make the face larger so that it's saying ok, I'm going to go that far from the face or I can do a small face and now when it's doing the small face it's actually cutting out the hair so see the hair is not involved in much and so it's going to skirt around it's going to stop a little bit towards the back of her ear so you can choose you know what size of face you're looking at and then at that point it's when you go in and say ok and by removing shine and my removing so if I if I remove the shine what it's doing is it's looking for little pockets of you and I know a lot about this but you know little yes we did a little bright areas here and whatever it's taking him and it's it's taking the tone on it and degrading the tone down to more of a skin tone eso itt's fixing the shine it's smoothing the skin on then of course blemishes and blemishes and smoothing or different blemishes smoothing is when it's going to take away your pores basically it's just it's just going to every little hiccup in the skin is just going too slowly it's removing the detail from the skin and so if you I wonder if I can zoom in a little bit more on this sea yeah okay oh, there s so let's just zoom in a little bit on this, okay? So if I if I go in and grab that smoothing and increase it, you can see that see how it just becomes like a blur which is way over the top too much but it's a blur but notice that her eyes and her lips see her lips still has all that detail and our eyes still have detail but everything else is getting blurred out so that's obviously way too much but you can see the effect that's occurring there whereas blemishes thie idea behind blemishes is it's it's looking for hiccups in the skin like little pox or, you know, anomalies in the skin and it's trying to remove onley those anomalies rather but you can still see that the texture is still available for you in the skin you still see the texture it's just the really over the top you know, dark areas or blemishes air coming through it's trying to get rid of those and then of course this is an interesting part of it is that you can you can color shift so you're going now that it knows where the faces it can then take that skin tone and shift it so a lot of times I run into you know, a dad that's got, uh kind of a red nose or something like that like, you know, just too much magenta in the face and everybody else looks normal except for that person and so you can go in and kind of play with their skin tones so the perfect photo sweet is is fine, but if if I were if I were doing skin retouching I still maintain and I'm gonna I'm gonna exit out of here I still maintain that if I am if I'm going to go into skin softening, I'm going to go into the into photo shop and then I'm gonna work on portraiture by image gnomic because torture by image islamic that's all it does that's the purpose and it really is quite good but I like I'm able to paint it in based on using photo shop so when we get back, why don't we start with doing some skin retouching inside of photo shop so we're going to show you how to get through the photo shop part of the work flow will go to photo shop and then we'll use plug ins from photo shop and will automate those plug ins so it's as quick as possible fantastic wow what we just cruise to this didn't way yeah it's like one thing after another yeah portraiture you know I think I'm in a duel suggestion because I think we need a portraiture class because I know a lot of four photographers are out there they're using it it's a very very complex very complex so with one question that I thought was interesting before we head off seal fan wants to know do use a plug in for noise reduction no camera camera okay because quite frankly if kamerad is such a good job inside of light room with noise reduction I mean it is absolutely it's voodoo good so I really really don't see the point in going out and I know that there are a whole bunch of plug ins in fact nick has a plug in for noise removal but there's almost no point in going to it because light room is so good at it besides that you really want to remove your noise in the raw experience rather than going to a tiff document and then removing the noise so I'm going to remove it and raw first if for some reason I got to the point where I couldn't remove enough noise in the raw inside of light room, then I might consider it but I've never run into a circumstance where light room five couldn't remove the noise enough that it looked good and then I'll add grain to deal with the noise removal cool you know I mean like yeah, just yeah s o so when you remove noise sometimes it's smooth the image too much but then you can counteract that with some grain and in fact we could, you know, kind of play with that when we're dealing with are round tripping to photo shop after lunch and what's nice that that noise removal that's in the camera engine yeah is that's exact same one that's in light room correct? Yeah it's all the same they're they're they're sharing the same engine so it's perfect you're used to it and in camera raw and photo shop then you're used to it here, which is which is interesting because there's so many people out there like I'm used to using bridge and camera wrong so I'm afraid to go into light room don't be because it's exactly the same engine you're dealing with same controls the same engine it's just faster and better then using kameron bridge so you know there's nothing to be afraid of it's just a better working environment for what you're already doing. So if you're someone who's using bridge now, and you're using adobe camera raw and you just haven't gotten into going into light room, don't be afraid of it. Take the lead because it's. Just a faster, better program and a better working environment and it's all the same.

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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