Nik Color EFEX Pro Test


Adobe® Photoshop® and Lightroom® Plugins 101


Lesson Info

Nik Color EFEX Pro Test

Now um this software is creating layers correct? Yeah they're they're basically layers but each one is a filter okay when you then send it back to photo shop does do those filters stay on those layers or it combines everything it combines them but when we come back from lunch and start talking about photo shop I will show you how to maintain those layers through what's called a smart object and so in the end you'll if you work through photoshopped right now we're kind of going from like room up tio a plug in and then back okay so what's happening is it's just giving you it's returning to you one document so all this is baked in but if you are in photoshopped photo shop through smart objects will allow you to go back and forth so those layers will be maintained on one layer so if you ever need to added them you can go back and do it but it just returns you back to the original plug in so we'll show you that on later tonight great perfect thank you good question the very important thing ...

you have to and that actually then branches often to another discussion that we've had yesterday, which is that you have to know what you want to do in order to be efficient we have to know what this photo needs in order to know what route to take because if I know that all I need to do is add this brilliance and warmth, I don't need to go to photo shop to do that, I can just go straight to the to the plug in or I could use an action to quickly do it through photo shop from light room and I don't need to touch it, I just add it so you kind of know, I know I'm doing this and I'm not doing anything else to it, but if you know, I need to retouch this than I need that brilliance and warmth and then I need to add some grain to it. Well, now you know the path you need to take now you need to take the path over to photo shop, you need do the retouching, and then you need to apply the brilliance and warmth in the grain and then come back to photo shop and then go backto light room so you too the path is dictated by what you know you need to do if you're just floundering. If you're the type of person that just thinks I'm gonna walk my way to this photo and I don't know what I'm going to get, then you're going to be spending a lot of wasted time going back and saying, oh, I shoot, I forgot I really need to retouch that, you know the plame ish on her face or I needed to do this or what and then all of a sudden there's all this wasted time which means you had a lot of fun doing it and that you know I don't I don't begrudge that I totally understand how fun it is to play with photo but like I said yesterday you know you're if you love working on photos then you should want to work on more photos during that same session I remember you ever work in the dark room I did indeed many, many years here I remember being so frustrated at going into the dark room and when you get the dark room and just everything turned turns off you know and you're in there listening to music and you're working and then you come out and it's dark and you haven't eaten and it's ten o'clock at night and you're like what what happened the day and then you look at your production and you got three three pictures out of the day. I remember being so frustrated by that process because it takes so long to do this thing and there was no way to automate the process so you just had to keep doing things over and over and then you have to burn and dodge and if you wanted three prints you had to literally print three prints and burn and dodge each one individually you know it it was just so frustrating because you'd spend so much time and you would only get a small amount of production out of it well especially with the burning and dodging right you would burn and dodge a print in five or six different areas and then when you when you if you want to do anything new to it on the next print you have to remember exactly where you burned a dodge and in what order and in what order and on what filter you were doing this burning and what filter you're doing that burning in which filter you're using that dodge for and which tool you're using and how long did I keep that dodge? And so you'd have these extensive notes over here burn here fifty then you know and that's a frustrating experience in the darkroom because there's so little production that doesn't mean it wasn't fun the frustration comes at the end of the day when you realize you've got one picture accomplished instead of ten so this will be a fun process for anybody I mean control points or super fun I like I think they're cool like aiken the fact that I was able to take that sky and bring back that blue really makes the image popped more right and so the fact that you can do that is awesome and you can spend a lot of time doing it but the frustration comes at the end of the day, when you realize that could have done fifty photos and I only did ten, and the reason you only did ten was because you were floundering, not knowing what you wanted to do with the image and and knowing what you want to do with an image is a skill that you develop over time. But it's, a matter of having confidence in your opinion about what images should look like and just roll with it, and then and and and not looking back that's my probably my my chief weapon, is that I I don't look back and say, what if? Because I could I could certainly say, well, I could do this a different way, but the key is in training yourself to not look back, the absolutely happy with what you've done, regardless of whether it was the absolute best or not, just be happy with it and move on and then do the next one better don't try and do this one, do the next one and keep moving forward, because if you just keep trying to re do something or rethink yourself, we're just gonna waste a lot of time and it's just going to be frustrating, all right, all right, here we go, so inside of nick color effects pro, you've got these various layers and those layers each or filter this I really have no interest in this fog layer so I'm going to delete it with this remove uh ex button here so I'm just going to get rid of that so now I have is the brilliance and warm and I'm going to add another layer and this is an interesting layer that I always like to add this layer but it was something that I actually until I was talking teo the people of nick I didn't realize that the same engine because I was always going to silver effects pro to get their grain because they have absolutely amazing grain in silver effects and I thought, oh, I always need to go there and so I was making grain and silver effects but I had to do it through photo shop because I had to bring it back to photo shop and then turn the layer to illuminates later so that it would be color so I would still have a color image but it turns out the same exactly same engine is inside of color effects so if you want the grain that you can get from silver effects but in a color image you can get the same grain inside here because it's an exact same engine so we can go to our grain and so we're going to go through all of these right here under film grain where are we there it is so it's under f for film grain and then we can we can choose the options so you can see what the grain would look like or in this case because it doesn't make sense to show your options and film grain because you can't see him anyway so in this instance what I'll do is just out of phil to remember you have to add the filter otherwise going to replace this one so I'm gonna add a filter and then in that filter I'm just going to click on film grain it's going to add it and now I get to choose so zuman and one hundred percent and see what the film grains going to do so film grain is a pixel count so if it's ah high number it's a small grain because more of them fit in a given area so I'm going to rough this up a little bit I love film grain and the reason I love film grain is it it is the great unifier so if you add grain to an image it unifies the differences between the different tones and the different textures in the photograph um so for instance let's if I turn off the film grain you can see that the sky is smooth and then as we get into the shadows they become less smooth you know and that's simply the nature of of a digital image there's more detail and more information in the highlights less in the shadows and so when you get to the shadows it's going to be more grainy or pixley or noisy in the shadows than it is in the highlights. But once you put in the grain, then all of a sudden this smoothness in the sky starts to equal the same grain structure in the shadows, so it no longer looks like a digital image and not and I that seems kind of like a funny thing to say adding grain makes no longer look like a digital image, of course, because it looks like it's going back to film but it's not because of the grain looking old school that it makes it look less like digital it's because it unifies the the texture across the image because digital images do not have a unified texture, shadows air always noisy highlights are always smooth, so grain adding grain helps to unify that. So generally speaking, you know if you go too high, then it starts to break up the image, so I'm going to keep it. You know somewhere in between about four hundred, three hundred is a really nice grain amount and then choosing a soft grain versus ah hard grain just kind of helps you tow it almost that's that's how much you actually see the grain itself and how rough it seems so, like, if you go to aa hard grain, you're going to feel more like you're using a t max type film or something like that, and if you go toe a softer grain it's going to feel a little bit more like a, you know, low speed ag for film or, you know, some, like, a hundred one, sixteen, you know, fujii portrait film or, you know, something like that, so I like a kind of a mid I don't like super soft, and I don't like super hard grain, so I just kind of doing, and then the film track contrast comes in, and so the film contrast is basically saying, what style of filming my using so, you know, you have this, you have films that are very soft and portrait toe like, so those, if you wanted something that was kind of a portrait film, you'd go to a soft contrast so that you've see how her hair is nice and soft and her face is soft and, you know, all the details there, but if you go to a contrast the film, then suddenly you're blocking up in the blacks, there's, a lot more color saturation, things like that, so this is kind of your film type here, and so I I like a softer feel to that contrast so I'm going to go with that on dh then two important points here and this is all across the board everywhere and nick, you'll find these two controls and sometimes these two controls air in various places there might be like one filter my two versions of this control but it's the shadow on highlight so it protects shadows and highlights. So if you go to a area where there's a shadow or highlight, you can protect the shadow more or less so if you if you go up two, one hundred percent see how the shadows get real thin because protecting him it won't let the shadow become a shadow so it's weird but higher on that scale means the shadow gets it becomes less of a shadow it's protecting the shadow more and as you go lower on it it protects a shadow less if you go to zero and there's no protection on the shadow and so it won't the shadow could goto pure black if it wanted to sew the default is ten and usually that's about the right place, but sometimes you'll find that your highlight is too well protected or your shadows too well protected and so it's not rich enough so that's where you would go to these usually they khun stay about where they are but remember the funky effects that we were getting inside of inside of rad labs and then also in pretty presets yesterday that that effect can kind of be manipulated here in the shadow bip ringing up the shadow and then suddenly you get that thin look which helps for you know that kind of effect style where that style so I prefer to keep him about where they are but they're certainly times where you'll you'll play with that effect so I think that's it I mean there's so many controls in here there are so many options that you can play with and but they're all basically the same concept so that I think in a nutshell is the way the way you operate in here and I think that's enough for people to go on once you got yourself a a recipe that they call a recipe you just click on this save recipe here and it's going to name your recipe so and again this is a it's all or nothing so you're you're saving out a recipe with brilliance and warmth and film grain all involved again just like with brad labs if you wanted to do something that you always use maybe these five controls and that's all you ever use you could then create a a recipe with all five of those turned off create the recipe and then just click on that recipe and then going and turn on the ones you want for that given image and it's safe so that's a way to expedite your experience inside of of color effects is to be able to just click on one preset turn on the ones that you want to use maybe a justin or tweak um maybe had some control points to, you know, sweeten up the sky or whatever and then it's safe, so adding recipe is really important, so in this one, I'm just going to call this uh oh one, um warmth and grain. So there is my recipes, so you can see I have two recipes on their have warmth and grain, which is that one right right there and then I've got this one, which is a warmth it's just it's just named warm filter because I didn't name it anything interesting, but when I click on it, watch what we did with it, so see how I got kind of a weird color going on in there, okay, this I'm using what's called the film vintage effect, so this allows you to kind of play with the colors and d saturate and re saturate different things, and again it has grain in it, so I don't need the grain filter. This one has the grain separated, whereas this one has grain in the vintage film effect, but notice that when you click on a preset or a recipe, it overwrites everything and does a new recipe, which means that if you want to be able to do a stacking situation, make a recipe with all the things that you might use, and then just turn him on. All right? So that make the recipe with all of your options turned off and then save the recipe than when you click on it. You just simply go eye on this one. I just want film grain on this one. I just want brilliance, no film grain. Or maybe I want bowl and then hit safe. Ok, so there are the individual filters like film brain. Correct. But there are also sort of presets that, like the vintage film that has both as part of this software as part of part of that filter, it has both included even though the film grain could be separate on its own, you could have if you if you went toe brilliance and warm this one here, this arm in this vintage film yeah, now you've got grain in there, so if I zoom in, you can see that I can add this grain so here's the grain, aiken, you know, ada's much grain is I want into that, but then I could add another filter, and then I could come into all of my facts go to film grain because there's effects and I just added a film grain over film going over film great. Okay, so there's but there's all the effects right? And some of them are just multiples of filters and some of the richest single filter it's like film green is some of the some of the some of your filters so each one of these things is a filter and so some of your filters have controls that are stolen from other filters. Thank you. So so if you find if if you're a vintage film person and you like that you don't need to add two filters you've got both filters in one great yeah, thank you. You bet. Ok, so that is color fax pro? Yeah. Throw in one more our recipes share a ble yes. Recipes air cheryl thank you. So a recipe is absolutely share a ble it's just a matter of where is the recipe and how do I get it out? So if I hit export all here then it will explore all of my recipes and I can share all my recipes to someone else and then if I want to bring them in, if you double click a recipe it will install it for you great so you bring it on to your computer and double click it and color effects will pull it in because it knows this is a color of facts recipe and just like presets, you confined recipes for this on the internet I you know, I've never really search for recipes on the internet. I know that nic software itself if you sign up for knicks, uh, newsletter, they constantly are sending out free recipes for various things, like someone will make a free recipe for, like five recipes in the military, you can just get him so, like once every month, I get an email that says I could get these recipes from whoever great so there's plenty of free recipes out there, I'm in the process of developing my own, which I'll make available, but I'm not done yet, because ok, let us know I'm usually a pretty perfectionist when it comes to short, I want to make sure that they're perfect yeah, so it takes me a while. Great! So all right, so once I hit save, oh, I want to go back to this one, all right? So that's, our brilliance and warmth and remember on this one, we specifically have are control points in there, didn't we put control points in there or did it? We did? Did I lose them? Do the control, pry it point, say, save when you do the recipe? I don't think so no, they don't because that was because their unique that we're going to be a question so I lost my control points oh interesting ok so so the control points are going to save and because I was going back and forth I totally lost my control points but let's see if I can go back two here in history uh is there complicated histories? Well hold on I think that I think I've got that one back now hold on let's see brilliance and warm be it yeah, I've got it ok so now I'm back tio I got myself back to a point before I added the grain so we're just going to pretend that I didn't want the grain anyway okay and we're going to finish up here but now I have my control points back and I can hit save so now I've got my cool image with the nice blue sky coming back in and we're going back into light room and now I have the full image and remember we've got to test the plug in so we zoom in to see how the image looks in comparison to the original image so here's the original image and here's the new image and they're almost identical in the drain structures because remember I didn't add that grain so I'm just looking at the image and other than the change in you know the old path are the change in the saturation of the colors, she looks great, everything looks fine. There's, no stair stepping going on if I go over here, there's, no weirdness in the sky and a really tale, tell sign. When you, especially when you do a control point and start like tweaking colors, the rial telltale sign is go up into the blue sky, where you've monkeyed with it and look at the transition in the clouds. Look at the transition from, you know, darker blue, the lighter blue, and see if there's any weird, funky, stair stepping. So there's, any kind of, and there isn't, so we can say that is a good plug in.

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