Plugin Preset Profiles


Adobe® Photoshop® and Lightroom® Plugins 101


Lesson Info

Plugin Preset Profiles

So let's go back and they're totally route and and you can see that there's a lot of black and whites that we could go through I'm not a riel I'm not real keen on you know, stuff like that I know it's interesting and in some cases it might work you know, if you wanted it's a ten type look it's like an old faded ten type or something I I don't know in what instance I'm going to use that so those kind of things they're just going to go away now occasionally you'll run into some that are really, you know, funky like that but you think wow, I could really use that like it could be something cool so then you need to put that into a folder called funky cool things that I may never use but you know would be nice to have the ones that I think while I would be cool because then if you have an image that's totally weird and you think I could do something freaky too that go to the freaky folder and and look at that one so as I go through the totally rad effects there's you know they've got a lot ...

of interesting colorations that they're doing and you can see what's happening here so if you go to the hs cells you can see what they're doing so so you go here's here's what we know having black and white if we turn this back to color you can see that there's no saturation changes no luminous changes and no huge changes but if we click on boogie nights then you can see that the luminous has changed the reds have been increased the saturation of change has taken the blues out and it's increased the reds so they've done a lot of work inside of here okay the where I think we really come into an interesting a set of presets is visco where they have visco has done something even more unique andi I'm goingto let's let's let's do that right now let's go into visco so visual supply company has done an amazing job at what they've done is they've looked at films and they've printed those films and they've analyze the films on dh I don't know how scientific it's not like I've been there to see their process or whatever but they have analyzed films and prints and things too to get a feel for what the that particular film does to color and how it records color and how it shows it and then they've created what's called a profile for a given film on a given digital camera so noticed in here we've got nikon fuji cannon standard look at that so each one of their film packs that they've got a film pack one and that's for cannon fuji nikon or standard standard is basically there relying on no camera whatsoever so they're just assuming it's any camera but if you're using a cannon a fujiwara nikon they've actually shot an image with every single one of those and create a profile to match what they think that film looks like for that given camera so we're going to click on the cannon because that would be our camera and then look at this we've got food jesus one sixty psi and then you've got a plus and a minus on every single one of them so if you come up here as you go over these so here's the one sixty see what it's doing so that's without and then with gets much more contrast e and then minus the shadows start to brighten up a little bit and plus say that changes so every single one of these so as you do this so as you go plus the shadows start to get really milky because it looks like you're over basically you're pushing the film so if you're to push you know fujii one sixty film then this is what it looked like and here's a real push so if I zoom out here and I click on one of these so let's push a four hundred speed film watch how that changes so here's the normal and then when I pushed the film see that see although the blacks get kind of open tell let me do that again four hundred plus plus gives you that and it feels almost like you're looking at an old magazine, you know, um but I want you to see what's happening here. This is the real tricky part and and it's not that you can't do this either it's tricky because they're doing it, but you can do it too if you go here to adobe standard, you've got looking all of these films they've thrown in there, so when you installed the presense, it also installs a bunch of profiles for any given camera. Those profiles were stored where right on your fucking, your finder in your camera raw all right, and you remember the full oh, yeah it's in that camera raw folder because camera ross, where it stores all of these profiles, so any profile you want available in here needs to be in the camera raw and is that this is on ly going to show anything that's available to the canon camera because this file is a cannon file, it won't show nikon ones because nikon isn't showing if I showed you a nikon picture than the night con ones would show up here. All right, so that's the first thing that they've done is they have gone through and they've taken a picture with the camera and then they've gone in and they've created a custom profile, changing the way the the image reacts in that file so they can change all sorts of stuff with the profile of the camera and how do they make that you ready? They use something called d and well, I don't know if this what these, but this is what you can use. It's called the d n g profile editor say that it's free just google dmg profile editor or it's actually on my downloads as well, but the d n j g profile editor allows you to open up a d n g so you have to turn something to a d n g so you would go toe file open a d n g and we just need to find any dmg, so I'm going to go my travel mytravel drive and I'm going to search for a d n g there, it doesn't matter what the n g I'm opening up the first d n g I'm seeing if I open up that d n g it's going to show me the d n g so here's the dmg and now I can change tone curves, I can change the colors on it. Does this look familiar? This color metrics right here that color is also right here see that so I can change the colors on it, I can change the tone curves for that specific camera, I can also change colors so I can say you know this issue is going to be this color aiken I can change it I mean I can do a lot of stuff to it and then once I'm done look at this I can even tell it like if I if I were to photograph a color checker then I could photograph the color checker and then I could put these points on the given given points of the color checker and that would then register that color checker and say ok, I know what color this should be and it will adjust it for it and then once you've adjusted it you can then go in and tweak it so in this case if I wanted to change this I could say okay, I'm gonna start with camera faithful and then I'm going tio go to the tone curve and I'm gonna kind of create a really contrast e version of this photograph like that and then I'm going to go to the color matrices and I'm going to make the reds less saturated and I'm going to make the greens mohr saturated and the blues more saturated and maybe I'll change the primary blue hue from a purplish to more of a blue and then I'm going to take the temperature and I'm gonna warm notice it's not doing a temperature to a certain kelvin is doing plus or minus which means that I could create a camera profile that warms everything up just a little bit so I could create something that makes something warm or I could have cool or I could have right I have all those options so I'm going to take the temperature up a little bit so it's kind of a warm or feel to the image so whatever it is that I want to accomplish with this with this photo and how I want the image to look then I'm going to go and change the profile name we're going to call this um pop colors actually let's let's call it land scape uh vibrance and aiken copyright this of I'd like so a copyright my dmg profile so two thousand thirteen jared platt and then in bed if used or never embed so I'm gonna embedded if it's used and then I'm going to file save the recipe so let's just say that recipe as landscape vibrance and we'll put it on the desktop for now they're so we have just created a profile that can then be used here that's that's it's not difficult to make a profile now the difficult thing is spending a week messing around and making the profiles you want to use so is it is it valuable to make your own profile? I don't know because visco made some pretty cool profiles so I don't know that you need to go make your own profiles you can use theirs um one one interesting thing to note if for some reason you were to lose the profiles so remember, all of these profiles are in the folder for camera if you were to delete that and lose it, if you clicked on these, it wouldn't be able to use that profile so the file will look very different. So when I click on h when I click on wilford hp five and I let's just do kind of a just normal hp five, which I think they actually did a really good job with that hp five really looks pretty good. So if I click on h p five it's actually going here and using ilford hp five to see as a like that's their profile that they've made if I don't have that with me if it's not in that file it's not going to use this and what the files going to look like then is this do you see the difference? Okay, so this is without their profile that's with their profile so without the the actual camera profile that they've used the preset looks very different, so the preset requires not only itself, but it also requires the camera profile and it requires the tone curve look at this look at all these tone curves they have now in this in this case I don't think they've actually activated the tone curve on it like this one this one specifically they didn't use it but in some of them they do so if you some of them if you go uh like down to these like number four they use it quite a bit I think see, they don't even need they I think here's where they could have done better instead of naming him visco film won this go film too they should have named them this go film uh polaroid you know or whatever because there's one of them that's very instant instant polaroid type effects and I always forget which one it is because I you know it's not like I've lived with him for a long time either, but maybe it's the sx seventy okay, watch this if I do this one do you see that curb? Wow so they're messing with the curve and they've actually used see that they've used a different curve. Now you can go in and change the curves and still keep the rest of the effect that they've been using so you have the ability to go in now I like that better. So now here comes the really fund part if you purchased one of this goes sets yeah, I mean, you can purchase all for you can purchase, but if you purchased one and you so you would have all of these the's curves and you would have all of these calibrations that they've been putting together, and you would have their presets click on a preset, then start screwing around with the curves and start and it's endless what goes on you just like that? We just made that and it's just random no one would ever expect that we just came up with a new one, right? So now what you do is you make a new folder, so you right click here and create a new folder and you're going to call this the c o fix so visco fix I have just made a folder that can now be my visco fix and I don't know how you wantto see that either I'm fixing the viscose set or it's my fix of this go either way, I can add stuff into the visco fixed. So now at this point I would right click here and say, oh, instead of that, I could just go up here hit plus and I'm going to put it in the visco fix folder see, look at all these is now granted you you shouldn't have this many because I'm a cannon shooter, but I left them so that you could see that you have a cannon, a fuji and nikon and a standard the standard file is without the profile so they've done presets that don't require the profile that get you in the ballpark there not quite the same, but they look generally the same and so those standard ones or so if you had a camera that didn't have a profile to it or if for some reason you didn't want to use the profile, you can use that and it's minus the profile basically, so what I'm going to do is I'm going to put this in the disco fixed folder and I'm going to call it the same way. What was it? I don't remember what it was let's just say it was visco uh, mystery film I don't know what it was but take notes when you're doing it take take real accurate notes as to what we're pushing so that you know, ok? And then you study it to see what it did and figure out where it was that it was messing with things. Now, one of the things that you're going to find with all this go is that they may mess with a lot of stuff they played with the contrast curves they play with all of your basic settings so, like they don't they don't mess with your exposure, so your exposure knob stays the same, but your whites, your blacks, your shadows and your highlights go go all over the place but they're trying they're they're doing a pretty dad drastic thing to your images so in general that doesn't usually destroy things that usually creates the effect that they want but sometimes it does and so sometimes you are okay with that and other times you're not and so my advice would be to make a set of this goes that don't mess with it so if we were to do that I would say turn off the basic tones and then add the tone curve back maybe keep the clarity definitely leave the the effects the post crop vignette ing in the grain make sure you keep the process version and the calibration you want those you're gonna want any color treatments that they add to it because generally they're messing around with that kind of stuff and we could study this out and like really you know say what was in this effect but in general they're using split toning they're using and you could figure out what it is what did they use? What didn't they do? It is just by going undue do undo do and just keep going through all of the panel's until you figured it out and then once you had kind of come up with what they had done just hit create and sharpen I know these are some of the things that they generally use in these and hit create and now if I go to say if you know this image of the squirrel and I click on it, we were about right as to what it did yeah do you find that you it's easier to start with zero with visco checked or all checked and work your way back star always start with zero checked ok, so what what we're talking about for those who by the way, if you're any in any place and you're working, you don't have to scroll up and hit that little plus button to make a new a new preset you can just hit shift command and grand that's a new present so generally speaking it's always well generally speaking, it's always that's kind of a weird way to say it is always a good idea to start with none because it if you start with all check you're inspired to keep too much got you ok start with none and build up because really the least number of check marks you can make the better your preset is ok, perfect quite frankly, I think that if if this go if I if this guy would come to me and said, hey, we're building all these presets what do you think? Because we're going to change him based on what you think I would say go back and get rid of all your basic adjustments and figure out how to do it without the basic adjustments then they would have hit the nail on the head. Yeah, alright, did a great job, but they would hit the nail on the head. If they were willing to get rid of those basic adjustment, they can always be better. That's thing. You and I can change him. Exactly. You have that ability, which is not trying, and then make your own and make it your own. So now did you go now? The stratos various is perfect for right, right, brilliant.

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