12:45 pm - Why We Use Adobe® Photoshop®

 

Adobe® Photoshop® and Lightroom® Plugins 101

 

Lesson Info

12:45 pm - Why We Use Adobe® Photoshop®

Hopefully, in the last two segments, we've gotten the idea of what these plug ins khun do and kind of how they are put together. What I don't want to do in this workshop is going to every my news should detail about what this plug in does and how to work on this, things like that because they're all fairly self explanatory. But it was important for you get the feel of how they work and the different styles of plug ins, but they all try and mimic light room to some degree, but you saw with alien skins software, it was the the exposure five it was really trying to mimic light room when we really trying to memogate, but when you dealt with something like rad lab, it wasn't trying to mimic it at all, but it did a good job. They found a nice way to present what they were trying to do, and so they all have kind of their own field. But now, now that we have the ideas to what they do, what we really wanted accomplished today is teach you howto automate those things so that they're useful to yo...

u, not only in the power of what they create, but in the time that they save and getting you around all of the all of the clicking and the choosing and this and that so let's let's go there now but my my favor if nick is is silver facts but that's because I'm a really black and white lover I love black and white yeah so cool thank you okay so why do we go to photo shop so photo shop is that massive plug in that does a lot of stuff but I still treat it as a plug in and I think that's a big difference it's between what the way I feel about photoshopping the way other people feel about photo shop most people come from a perspective that photo shop is the place you edit photos and light room is this ancillary thing that helps you choose them I don't see it as that I see photo shop as a plug in delight room light room is the hub remember we talked yesterday how light room is a hub and we showed you that schematic where everything centers around light room and light room everything emanates from light room and goes back to light room so light room is the hub photo shop is just a plug in to light room it's a very important and big crazy plug in but it's a plug in to light room and if you treat it is that you'll always organize and you'll run your workflow correctly if you think of photo shop is the ultimate place than you you end up spending more time on what you're doing then you probably should so light room is the hub and now we're going to go to the plug in a photo shop bond the reason we choose to go to photo shop rather than going tio plug and so instead of going from light room directly to nick software directly to rad labs or something like that is we want to take the image and we want to do something that those different plug ins can't do completely on their own in a one touch type operation once we realize that there's something else that has to be done retouching et cetera if we realize there's something has to be done, then we go to photo shop and then from photo shop we go to the plug ins that will help us, but we have to kind of it's a weigh station we have to get to photo shop first and the other option or the other reason we might go to photo shop is to use photo shops ability to automate the plug in because then we won't even have to touch photo shop all right, so let's choose an image really quickly and I'm going to go for say, you know, I'm in a I'm gonna head out of this wedding and I'm going to go to a completely different wedding ok? So let's go find a portrait down here at the bottom I really we had this moment this is an interesting wedding it was very, you know, small wedding most weddings up there are but there was a time at which we were we were doing portrait pse and so we're doing portrait's here and then she the bride got a little weak, you know, like weak kneed or whatever because she hadn't eaten all day as most brides tend to stop eating, they forget or they're you know, whatever and so she was woozy and you don't want to be woozy up here, so we immediately took her down over just just hear there's kind of like a little seat see that see how it steps down so she just sat down there and we got her some crackers and some trail mix and whatever and we started to we just rested and so I just took a picture of I love this picture because you like what he wasn't really saying that it just looks like you saying that so anyway, so while she's sitting I had my assistant with soft box that we were using and he was still on and I just happen to snap a picture and it turned out that just the lighting was perfect and so this is what we s so then I had to move the light right? And then as soon as she was done being like a soon as she had gotten kind of some color back and she was you know, about fifteen minutes later she wanted to get out she's like, ok let's take some more pictures and I was like, no, no stay right there and then that's when we got this shot and we also got that shot, so these air some fantastic shots I'm really excited about these shots, but I'm going to and I think they're pretty much finished as they are think I look great, but I want to re touch him and then if I'm re touching him, I might also have, you know, some other things that I could do to them in the process as well. So there's a couple things that we have to pay attention to the when we retouch the first thing that we do before we go to photo shop for any image this is an absolute must is that we zoom in and make sure there's no grain because the grain inside of light room is perfect if you're just gonna put brain on it and send it out, but if you're going to retouch it, you have to turn the grain off first before you go to photo shop and then when you come back you could turn the grain back on or wall eun photo shop you can add the grain with the priests are plug in but don't take a grained up light room image and take it to photo shop it's not a good idea, because what happens is then you start re touching the grain and you get these little circular, almost ringworm looking things because it's copying the grain and then it's placing it over mortgage rain. And so you get these weird rings of grain and it's like soft rings of gray in the middle of the ring looks great and then the edge is kind of where the two grains merge and it becomes a soft bring of grain. It's not it's it's bad, so you can't play around with that. You've got an ad, the grain after retouching, not before good, all right, so on if we go to the developed module in going to the effects, you can see that this has no grain to it, so this is perfectly acceptable to go out to photo shop it's not you can't go to photo shop until you have turned off any grain options. The other thing that you want to pay attention to is make sure, especially in a image that's got a lot of contrast to it is that you don't have any fringing happening so fringing half fringing happens on areas where there's a lot of brightness and then darkness. There's a line so like on the edge of a jacket on the edge of hair on the edge of a cliff like this, you'll see like a little green fringe that happens, and so you want to get rid of those green fringes or those magenta fringes, and so in this case, I'll just go over to my presets and I'll click on my sirius d fringe and that's just going to remove that friend so just removed that french I don't know if you could see that or not, but it just got rid of that green kind of magenta and green fringe right there on the edge, so because you don't want to go in and retouch a photograph and find out it's got fringing on it because then when it goes back to light room light rooms not gonna do is good a job different jing something that's not raw, so you want to do fringe in the raw and then go to photo shop. So those are the two things that you want to pay attention to. Obviously you're going to read, you're going to just the image as far as you can inside of raw before you go somewhere, but once you've done that, just make sure if I'm going to go to photo shop two rules d fringe if needed, remove any grain no grain until we get back from photos show came on go so now I'm going to right click this and I'm going to edit in, but instead of editing in one of my software's in one of my plug ins, I'm going to go directly to photo shop creative cloud or c c so that's the photo shop six and then there's photo shops sisi so I'm going to photo shop, cc and by the way, you can also click on command e and that will do the same thing command he will always take you to your primary photo editor, which is photoshopped so high command e it's just going to automatically take this image and go to photo shop with it uh, a large wants to know if if light room is your main hub, do you use photo shopped for all the plug ins that you own that's a good question and the answer is it depends on whether or not I am going to photo shop to retouch or if I need automate filler shop. So if if if I can accomplish whatever I need to accomplish by going quickly to a plug in applying it and coming back, then I'll go directly the plug in but in most cases that's not actually the case most cases I go through photo shop either because I need to retouch it on the way and that's a one image per you know one of the time image thing or because I want to automate if you want to automate the best way to automate is to go through photo shop because photoshopped has the ability then to run in action open up the image do something closed the image save it back to the light room and that's what we're going to go through now and are you in there as a smart object tell us not right now okay I'm just here as a normal object right so there's two ways to do this and that's actually may be a good spring point right now a smart object can run in a lot of different ways you can open a smart object from light room so when it opens up in photo shop opens up as a smart object on balmy may let's just start that way so let's let's go backto light room if I open as a regular open up in in photoshopped it just makes a photoshopped document or tiff document and then when it's done it sends back that tiff document and whatever I done in photo shop is baked into it it comes back however if I went and right click this and I went toe edit in to the edit in menu and I open it up is a smart object and photoshopped it's it's opening it's the same thing it's opening up that document a tiff document inside of photo shop but now you can see that this layer the first layer is a smart object that little weird page looking thing as a smart object and when you open up in a smart object you can do a number of things there's only there's not a lot you can do to the actual smart lot smart object layer so for instance if I wanted to go into the smart object layer let's say you know zoom in all the way and I wanted to do some retouching see that theirs were on the bank of the little band aid tool which is your retouching so when when I go to try and re touch this see that little sign it looked it was see that it's a no go and the reason it's a no goes because in a sense this smart layer is still a raw layer so I can't go retouching the raw layer so what I have to do then is I have to create another layer on top of it to do things to that layer so now I could go in and say all right now I'm going to do you know some retouching now see the retouching is available and I have to tell it up here in these areas of here to sample all the layers so in the options for my brush tool here I need to tell it to sample from all of the other layers so that then when I come in to do a little work on this thing, and I want to retouch, say her scan or something like that, I can read touch it like this, but it's doing it to this layer see that it's actually a clear layer with a bunch of skin on on top of it. Now the problem with doing retouching to a smart layers that then if I went back to the raw toe, work on it and turn it to black kind, and have these like blotches of colored skin on top of the black and white so might not work out all that well, but the concept of a smart layer you, khun make decisions that you don't have to live with that's really the concept it za great great concept you khun, you don't have to live with the things that you're you're doing, so let me delete this retouching area here, and so then if I decided that you know what? I I like what I've done here, and I can put some let's say I put, you know, a curve over the top of it, so I made a curve layer and if you don't know what I'm doing here, basically I'm just adding layers the ad curves instead of going up to the image a just and then adjusting the image itself I'm going and putting a layer of adjustment over the top of the image so I could do a whole bunch of adjustment layers on top and then if I take this underlying smart image smart layer and rita and double click it I get camera raw opening up so then I could go in and readjust camera raw inside of light room are inside of photo shop but it's it's it's functioning as raw okay now very rarely do I ever do this opening is a smart layer because I don't necessarily need to go back to the original raw all that often and in addition to that I'm doing retouching in there and so if I'm doing retouching it's not always advisable to just have the raw image like why go back and read do the raw image if you've already got retouching over the top of it it's not gonna matter cash, right? So so my advice would be do the image the way you want it first inside of light room and then send it for retouching as a tiff so in keeping with that we're going to go backto light room and this time we're going to write we're gonna sorry gonna right click this and we're going to and we're going to edit this in photo shop so now we're going to edit this and photo shop in a normal in a normal way so we've got a normal layer here, which means now we can go in tow work on retouching now retouching I can retouched to perfection if I want to, but oftentimes perfection is not necessary and of no financial value because your client will love the image that's almost perfect as much as they love the one that's perfect and so the idea is to figure out what what do we need to do to make this look great but not spend so much time doing it that I can't make any money doing it? I mean, that's that's where I come from because I need to be making money, I know I'm not just doing this is a hobby if you're doing is a hobby, then how much time can you spend on an image without wasting all the time that you have to spend on your other images? It's like, you know for me if I'm working and taking time away from my kids and I'm not making enough money to make that worthwhile for you? If you're just a if you're a single artist that just likes to play with images, then you're taking time away from your kids which your other images you know it's like think of your other images as kids too, and they want your time, so you know, like you want you want face time with them as well so the first thing I'm going to do is I'm going to go into a person and I'm going to look for things that are big okay, so I'm looking for areas of skin need to be retouched that are big and I'm using a content aware sample all layers retouching brush so this is the healing brush and I'm just going through and grabbing anything that's big so things that will show up from a distance because no one's going to be looking at this this closely on lee mi so there's a couple things here on the neck that I'm going to get rid of so I got that and that and that's it that's all he needs if there's some kind of a skin like shine you can see there's shine here and here on his face and there's a little bit maybe of bead of sweat there and there so I can get rid of those but that's all that he needs for retouching I can come over here to my brushes so I'm going to go to the stamp tool stamp tools where you would get rid of facial shine and I'm going to go over to my brushes so see these right here these air presets just like in light room you have presets we have presets inside of photo shop and those presets are specific settings for all of your cloning so if you're cloning and you click on this cloning one hundred percent brush small and I click on it, it sets the opacity to one hundred percent. It makes the brush kind of a small brush and it does all of those things that need and it sets like the brush sets how how much softness there is on the brush house large the brushes how much capacity sets everything up about that brush. So I can pretty much guarantee you that you have five brushes that you use on every tool pretty much it maybe five and there's no reason for you to go running around changing the opacity, changing the brush size and stuff like that. All you need do is click here. So if I'm doing something that's needs to be, you know, I need to retouch something I need to clone something or whatever. So, for instance, this one says clone, lighten and clone darkened let me zoom in on that so you can see so there's our brush presets I just want to say there you go, keep me awake that's just for you, we're zooming in they love that. Oh, good, yes, I love it. I'm glad we figured that out first thing so so I have clone darken and clone lighten now the best way toe work on skin if you want a light nor dark and a piece of skin is this what you're doing is you're setting up a brush, so if I click on clone because we want to darken up that little facial shine so I click on clone darken and what's happening is it's setting my a pass it e to thirty percent on the brush and it's setting it it's a it's, a clone brush and it's, I'll show you the brush sizes here, so the brush is a forty pixel brush and it's softness is pretty soft. You can see it's pretty soft there, so I've set up the brush. I've set up the opacity, but then I also set up the layer mode to darken, so if you can set the layer mode up to normal and it will do pretty much the same thing, but if you set it to darken, what it does is it avoids making the skin too soft because when you start cloning thirty percent after a while, you start losing pores and stuff like that. This allows you it's basically copying the darkness like the tone and a little bit of the it's not it's, not grabbing the texture was grabbing the tone and it's, putting it over the texture of the other area, and so when I grabbing this tone here so I'm going to bring that down a little bit and also is the size of the brush because usually when I'm doing this brush, I need a brush that's about this size and so I set the size of the brush when I'm doing this so I come here and choose this tone here and then I just go in and darken up see, I'm darkening up that facial shine right there, but because I'm using the dark and tool it's not gonna lighten anything up it's only darkening its job is to do things that air darker now if I want to do lightning, then I would have to go in and change my brush and come up here and click on that go to the light and airy and stuff instead I just click on clone lighten and now I've got the brush set for doing the light stuff so that this this one is when you want to do stuff for like, you know, get rid of shadows under the eyes so I can click here and just kind of lighten up under his eyes like that or if I wanted to get rid of seat it's kind of hard to point sometimes when it if I wanted tio get rid of this see how that there's a shadow on his forehead if I want to get rid of that, I can just do that so I just collect a little bit of lightness here, and I'm just I'm just adding light to those areas I don't want to remove them, I just want to soften that shadow a little bit, so I'm going to do things like that to his face that need to be done and then the cloning one hundred percent brush. I always need that because occasionally usually I want to use the I want to use the healing brush and click on that, but if I do that here, the glasses air getting pulled over and so instead of doing that, I'll do just click on my s key turns you to the stamping tool and in the stamping to all just clone one hundred percent brush and now I can come in real close and get rid of something that is right close to something that I just cannot get rid of with a brush. But again, I don't want to be in a position where I'm constantly having tio go over here, choose a brush, go over here, choose the opacity, go over here and so that's what thes tool presets are all about, so find the brush size that you need and what you're doing with it and then come over here to the tool preset drop down menu and make a new tool preset and name it and I can guarantee you for every tool that you use on a regular basis. S I every time you click on a tool, so if I click on the burn dodge tool here, you can see that there's about five burned dodge tools that are six that I use not said, and then if you go to my retouching brush here, there's only there's only one, only one that I use if you go to my stamp tool there's four that I use so you don't use all that many, but just get them and have them saying so that you're not wasting time. So now that we've done all the big stuff on him will come over to her, and we're looking for big stuff on her that needs to be accomplished, so I'm just going toe, uh, jay is the key for the retouching tool, and I'm just going to kind of go in there and look for anything that's, you know, large that needs to be taken care of, and the rule for retouching on anything is too onley on ly get rid of things that will still keep her looking who she is. So if there's like a mole or a beauty mark or something like that that you see when you're talking to the person, you keep it, you might want to you know, put a forty percent opacity brush on and just kind of soften it up a little bit but you keep it because it's an identifying mark but if my idea is that if you don't see in regular conversation it can be removed because there's a difference between a person in a throws in photograph and a person in the flux of time a person in the flux of time we look at their eyes we pay attention to their mannerisms and so there's certain blemishes that just disappear those could be removed but there are certain blemishes that always are you know there you know beauty marks or whatever so you don't remove those you leave those you might soften him to make them more beautiful but you don't remove them otherwise you're removing the person like removing their ear or something yeah so that's a that's a great workflow tip do you ever have to deal with um sunglasses like a tan line from the sunglasses in this part of the world? Yeah no yeah, you could have to deal with it and so there's there's several things that I have to deal with like sun burns yeah. Yes sometimes you have to deal with that or a lot of the times I deal with a wonder if there's hold on let me see if let me see if he has it ok, that was good this great, this is a total off topic thing, but I think every like it so so if you are doing a a situation where you have someone who has a little bit of a like magenta scan or something like that to them, what you want to do is you want to create what I call home they're so I call this a it's called a color change layer, so I click on this preset so again, back with the presets. So this is an action I click on my color change layer action, and it creates a new layer from his zoom in on it. So what it did is it created a new layer called a color change layer, and it turned that layer to color, so whatever I do to this layer is on ly affecting the color of the image, all other information about the image, like the texture and the brightness and darkness all come from underneath this layer in the background layer. So it's a color layer, I called it color change, and now I'm going to zoom out and I'm going to go in, and I'm going to select a piece of skin, so I click on the I ke, which gives me the color dropper, and I look for a piece of skin that is the right color. So let's say this skin right here is the appropriate skin tone and you can kind of as long as you hold the mouse down you khun are not the mouse down but yeah if you hold the mouse down or right now I'm clicking with my with my pen you could find you know, see how that turns more purple and then this turns more skin toned so I'm gonna look for the appropriate skin tone and let go and now that is filled my brush with that skin tone and because I clicked on that action it made a layer changed it to color and it turned me on to the brush and so now I'm with the brush and I can choose know that notice up here I've got a hold on I've got a tool preset called color change brush thirty medium okay, so once I've clicked on that, I come over and click on that tool, which sets my brush up to be the right opacity and almost the right size for whoever and now I'm just going to start painting and I'm painting at thirty percent capacity and I'm painting out the offending color and it's painting in a different color so it's painting in that kind of flesh toned color so I'm just doing this and I can completely even up all of his skin tone see house here is now long no longer kind of red. So this is how I take care care of the dad who has a little bit to read and knows. But the rest of his face looks fine and it's, just this red nose simply go in there now. Looks like he's wearing makeup it's a little tio it's a little too even tone it's, like he had had the makeup artist do a little bit of like a, you know, airbrush to him or something. And so what we do then is and look, I can get rid of the sea, the neckline there, see how it was a little bit kind of bluish and now I'm there we go. Okay, so now what I do is I just kind of go back and he looks too perfect. So then I take this color change layer and grab the opacity and just dial it all the way out to zero and then die alone and slowly, until whatever those colors that I didn't like. Soften up and look better. And now I'm off to the races and then I've got a action down here, a flattened action that will just flatten this so that's flattened into the image, and now I'm back to one image. If I was worried that maybe I didn't do that right and I might you know might be affected by some other things I'm doing leavitt is layer until I'm finished then flatten but I'm happy with what I've got sol flattened but the key here in retouching is several fold number one you only need to do re touching on this small army on the large things that you see from a distance you all and when you do that you should never be changing your brushes constantly as you go you shouldn't be I got thirty percent I gotta go forty percent I gotta do this I've got to change that because if you have to change your brush and put three things in order to change the brush you're pushing too many but so if you can change the brush by way of an action do it so when I make a burn dodge layer for instance if I go here and make a burn dodge layer I clicked the burn dodge where it makes the brush and it selects the burn tool in the process of making the select are making that action so when I make an action if you don't know how to make an action simply go to your little action tool kit here and at the very bottom you create you hit this little plus this little key right here when you click on it it gives you this menu option you name your action if we call that you know, burn, layer and hit record then whatever we do at this point is going to record so at that point I go and I say ok, I'm going to make a new layer so I go to my layers menu and I make a new layer and then I go and say this is going to be a burn layer all of this is being recorded I turned mode I tell it it's going to be a there is a soft light layer I fill it with fifty percent gray hit ok, so now that's the part of the action that made the burn layer and then I come over here and select the tool it's it's not selecting it because accident I already had selected it, so select the different tools, select the burn layer tool and then hit you could also go in here and type in, you know, forty percent hit, enter and then and then hit stop and now you've got a burn layer that makes a layer and chooses that specific tools so all of your layers should always have whatever tool would go with that layer inside of the action so that when you push it you're ready to start doing something as opposed to choose something and then when you need to change your brush that you're using don't go and change your brush going push a preset that changes your brush for you so we're taking all of the workflow ideas that we created inside of light room and we're bringing him in to photo shop and using presets and actions there to accomplish the same things as well but remember we don't get to do any super cool actions we don't get to do in those super cool actions like cambodia's actions which are right here and we'll talk about this in a minute that the dashboard but you don't get to do those until you've retouched so that's why we're going through the retouching first so let's just go through here and make sure that we have all the big stuff taken care of so you can see that she has freckles so I'm going to go in and I'm going to not de freckle her I'm going to just go in and remove any of the large freckles that I think maybe catch the eye too much so I just go through and say ok, we're just going to get rid of a couple of those and one of those and there I think violent month alone there ok? So I've softened up those freckles enough that they're not going to call too much attention themselves but she still looks like her I haven't removed the nature of who she is the only thing I want to remove that right there, there's a little hiccup in her skin. And so in order to do that, going to go to this stamp and go to the one hundred percent brush and just go get that, because I know that if I try and do that with my with my hailing brush, it will still part of her lip. They're much better. All right, so now we're going to go. We congar, oh, full size like this, and look at him. And now we're going to go and use a an action that is running a 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

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