RAW Files and Split Toning
Okay, so let's make a run, and now let's start working with raw images as smart objects so that we can close this file. Now we're in folder number eight, and I'm going to show you what we're going to create, and they will create it together. So this is actually one of my images that I shot in malley and so if we look in my layers panel to see what I've got going on over here, we've got a smart object, and we have an oil paint filter that's been run on it. Well, if I control, click or right, click to the right and my smart object name, I can choose to edit the contents of that smart object and what's gonna happen when I do this, hopefully is camera raw is gonna open, and we're gonna be able to see what I did to this photo on camera. Okay, so what I've done here is I did a little bit of color correction, and then I came over here to the h es el grayscale panel in camera, and I converted this image to grayscale simply just by clicking that check box right there, and I didn't really mess w...
ith these sliders much, and then I came over here to the next panel, and I made this image into a split tone. So let's say that I now want to adjust the colors in my split tone and I can do that, and when I click ok, this image is going to automatically update itself over in my photo shop document, complete with that filter already on top of it, so raw images are great to work with that smart objects in your photo shop document cause you can quickly get back two camera in order to edit that image further make color changes so let's, go ahead and come back over here to our grayscale pale, and I'm just going to turn this off for a second so you can see the original operating colorful here. So just as a tip, a little teaser for the camera rock class we did back in gene is how to create a dual tone or in split tone. Rather so we turn on the convert to grayscale button that we're going to come over here to the split toning panel, and it actually looks like two little bars of color, and if you point your cursor at these little tabs and camera raw footage shot will tell you with what they are. So we're going to give that a click now with a split tone, I'm gonna go ahead, drag my saturation sliders all the way back, so we're dealing with are grayscale image right for a split tone the way I like to pick these colors for is what town is really you're applying to different colors you're mapping the shadows to one color in your highlights to another for really visually pleasing results in a split tone you can use opposite colors on the color will ok, so for example I can map one I can map shadows to blues then I could match the highlights toe orange because blue and orange er opposite each other on the color will okay, I could also map shadows to rid and highlights to green if I want his red and green are opposite each other on the color will, as are yellow and purple you have to know a little bit about color theory, but let's, just give that a shot. So the trick to figuring out which color you want to start with because it's all subjective, right? You're trying to introduce a creative color effect let's hold the option key down on the mac are all on a pc while we drag the huge slider. Okay? And we can go all through our spectrum of colors here to try to find the hue that we want to start with. So let's say we like the way this flower looks um with its highlights mapped to blue so we can then release our modifier key and our mouse button and nothing changes we did that just to pick the color. Now we can come down here to the saturation bar and we can slowly began to drag that rightward to sit the saturation value of that color tint. So you're just finding something that you like and again there's no right or wrong settings for these now let's, come down here and let's do the same thing for our shadows. I'll go ahead and undo what I did earlier we're gonna option are all on a pc click the huge slider, and then we're going to be again to drag it around to see what looks good. Well, if you know a little bit about color theory, if we've mapped our highlights to blue, then we could try to map our shadows to the opposite color, which is going to be orange, so it looks pretty nice, I think so when you get the huge slider in the right position, you're producing the color that you like, then you're going to let go the mouse button and the option or all key? And then you're going to slowly drive that saturation slider to the right to produce the effect that you want are like, ok, so let's say that was good to us, we're going to go ahead and click ok, and when we do these changes going, update right here and photo shopped till pretty amazing and then the only other thing I did was run the oil paint filter on it and if I wanted to get in here and continue to edit the oil paint filter, what do I have to do? Double click it then it opens right back up and you can continue to experiment with the sliders to produce creative effect click ok to close that filter again and you all know by now that we can double click toe open are blending options for just the filter itself so if we want to back off of that oil painting effect just a little bit we can lower opacity and then we can also experience with with them blend modes so let's create that from scratch together so we'll go ahead and close this document will pop open our mini bridge panel once again and this time I'm going to come over here we're going to double click our camera raw file okay? So we're starting in camera raw with not open to photo shop document okay so you can create smart objects straight from camera so here we are we've done our little split tone and then we can come down here to the bottom of the camera raw dialog box and if we press and hold the shift key the open button here at the bottom changes from open image to open object saul zoom in so you can see that it's way down here so see how that button changes when I press and hold the shift key so while you're holding shift key and you click that button, this is going to open in photo shop as a smart object, which means you can't of course control clicker right click come over here to edit contents and that will just pop them and right back open and camera for youto continue your it it's okay, so it's already a smart object, we don't have to worry about converting it, so we contract right up to the filter, mini and she's all pain and have a good old time playing around with those sayings. Isn't that fun? I think it's pretty here we go and of course, if we edit the contents pops right back, open and raw, we can come back over here to our split toning panel, and if you want to create a deal tone, all you need to do is put the same the same hue value for your shadows and highlights. So since we've been playing around with the orangish realm has come over here to blues, click ok, we don't have to hold down shift or anything teo trigger photo shopped to make smart object because we've already done that, we're editing it from within that smart object so I can go ahead and click ok and then for shelby updates it so that's good stuff that's really handy when you've done some edits and raw on your say you're creating a collage or what have you ever info to shock and you decide to change the very exposure settings or what have you ever in raw? You don't have to start over from scratch if you have imported it as a smart object so let's, go ahead and close that one painless look at the same thing again um and hearing and the exercise files I have given you my layer file as well as the raw files, so we're going to go ahead and double clicked open where the raw files this is one of my stock images that actually does pretty well believe it or not it's not what it looks like in the original I'll show you this is another great tip for you right here. If you've done some anything and camera raw and you want to get back to the original, all you have to do is click the little fly out menu here and cheese camera defaults so that's the original so now we can come back in here to a grey scale panel going to another split tone so we can choose convert grayscale drops out our color you can play with these sliders to just the contrast if you like and we'll come over here to the split tone panel and we're going to hold down the option. Chiana mac are also on the pc as we drag that hugh slider along that color bar to something that looks visually pleasing to us case let's say the green is looking pretty good to us right now, so then we can release your mouse button and the modifier key and remember, no color change is gonna happen because that saturation slider set two zeros, that color is completely de saturated right now, so you can't see it, so we're going to slowly dryer saturation, slider to the right until it looks good to us and we'll say that looks good. So now we'll come down here to the shadows. Hugh slider pressing whole option on amanpour, altana pc and if we used green for our hi lies, if we're trying to go for an opposite color on the color will, then we need to stop somewhere in the red range of colors and you can purchase color wheels on the internet. Just do a google search for color will, or your local art store probably has them and there's digital versions. I made a digital version to include and photoshopped the missing manual because believe it or not, in the painting chapter, we can't we cover a little bit of color theory. So I want to stop with my huge slider over toward the right side of that bar where the reds are, and then we're going to slowly drive the saturation up until we get a look that's pleasing to us that's pleasing to me, so we're going to stop there and now to make photo shop open this as a smart object, we're going to press and hold the shift key so that our open image button changes to open object give it a swift click, and here we are back over and photo shops already a smart object so we can experiment with filters just by trotting straight up to the filter menu can choose oil paint for creative effect again, I really do think these are great products for you to offer in your photography business you know it's tough to be a photographer right now, everybody's doing it so you need things to set your business apart and this definitely could be one of them it's now let's, go ahead and change the opacity of that oil paint filter just by double clicking little icon to the right of its name and the layers panel for an even different creative effect, and then you could experiment with blend modes if you would like there's just no end to the creativity, I will say that if you load up a photoshopped document with twenty smart objects that include raw files your photo shot document is going to be massive it's far as uh size on your hard drive you know and if you've got a slower computer you may experience delays now just a little note on that recently I have a laptop that I work on all the time so when I'm home because I travel a lot so when I'm home I popped that baby and into a plug with an external monitor external keyboard mouth and all that kind of good stuff so I remember a dual monitors and it was cia six it's running pretty slow you know and it's not the last version of the mac book pro but it's the one before that so it's only about a year and a half old something like that to new for me to want to buy another laptop just yet so what we did was we took out the optical drive of my hard drive case with cd rahm driver dvd drive because I never use it I got to thinking when is the last time I use that thing and it had been a year so we put an s s d drive in their stance for solid state drive they don't have any spin idiots so they go really really, really really fast so then we watch the other internal drive and we installed the os and all the applications on the sst drive photo shop opens in under three seconds. Yeah, I just think about open and photo shop, and it goes compound, so that has really changed my photo shopping world and things like that if you buy a really big one. Now, those sst drives are expensive, but let me tell you it's worth it. I'm going to get a whole nother year out of that laptop, a guarantee. So by really big drive, the biggest one you can afford loaded up with memory. And then you won't have to worry quite so much about how many smart objects containing raw images you've got in a single photo shot file, because these raw files, or what about fifteen twenty megabytes each. So you're plopping all those into smart objects into different layers. So you do want to be conversant about how many smart objects containing raw files you've got in a single photo shop document.