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Photoshop Mastery: Ultimate Mastery

Lesson 17 of 26

The Little Stuff: Printing Prep, Red Eye, Panoramas


Photoshop Mastery: Ultimate Mastery

Lesson 17 of 26

The Little Stuff: Printing Prep, Red Eye, Panoramas


Lesson Info

The Little Stuff: Printing Prep, Red Eye, Panoramas

Here is a little graphic that I created my wife's name's, karen so ben and carrie were trying to make a little badge for a website or something, and I came up with this one let's say, I want to have this printed on uprooting press or let's say instead, I'm gonna have this printed on a t shirt and I need to supply the t shirt printer with graphics or possibly I'm having a sticker made that's going to use this well the problem, khun b if I just supply them this and they don't do any extra processing to the image after I give it to them, there could be some issues. If you want to see what the issues could be, I'm going to simplify this image by flattening it, and then I'll just show you what kind of issues I can run into. This image was created in cm why came out because I was thinking about printing with thanks, the channel's panel shows me the various thinks that would be used, and if I click on the individual channels, it will show me how much science inc would be used, how much magent...

a, how much yellow and how much black and I thought about printing when I constructed this notice that the red area that's used in the graphic uses on ly magenta in on lee yellow at one hundred percent each that means there's no little half tone dot pattern that will be used or anything like that the black is a solid black that's in there and then there's just a little bit of science added to the black that's what's known as a rich black uh but the problem khun b if I tell somebody to print this image in the registration is off between these inks if the when they printed let's say they print black, the black doesn't line up with the other colors let's see if I can simulate that I'll click on the black channel to make it active and I'll turn on the eyeball next to the full color image of a top sort of viewing all the colors of ink but we're only working on this one all then select all with command day and I'll use my move tool I'm just going to move this it's not something I actually need to do to the file I'm just simulating what could happen on a printing press now if I move this down look at what happened in the bottom at the bottom the sigh in ink that I used to still showing up in that little gap there but the black no longer lines up and it creates this gap right here I'll choose undo to get it back up to where it wass and let's see how what I could do to try to prevent that from happening? I'm gonna go back to working on the full color image, so I work on all the channels by clicking up here and remember, I'd flatten the image so it's there's no layers in it. I'm going to go up to the image menu and that's where I'm going to find a choice called trap now, if trap is great out that's because you're probably an rgb mode r g me mode is not thinking about ink. If you seem like a mode, you should have the choice called trap available. If your document contains layers when you choose trap, it'll ask you to flatten your image because this is kind of like a final step you would do to a picture, and I mainly uses for graphics, not photographs, but if I have text and graphics, I might consider this if I know that whoever it is, I'm going to give this to is not going to do further processing so trap here we haven't setting called with and what this means is we're going to push let's say this red color out into the blacks of the two overlap, and therefore if the black it's out of registration, the red is larger than it needs to be and therefore you're not going to see a gap eso here it tells it how far it should move it and we can do it in either pixels points or millimeters, I'm just going to say ten pixels to make it so I can visibly see it and I'll click okay now you might notice a slight change around the edge of this and I believe that was it taking the scion and break making it smaller teo fit in here, but let's see if we can see what's going on I'm gonna click between my various channels and let's see if we can see what's happening. I'll click on the magenta and then I'll turn on the eyeball for the for the science anytime you view more than one of these at a time, it shows him in color. If you've you just won, it shows it black and white, but can you notice now that the science comes in and overlaps the magenta so that if the science on when you print out a printing press was off a little bit in registration, it moved? You wouldn't notice a gap in there because you have enough overlap if I go over here and turn on the black it's, be hard to tell, but if you look close enough on this edge, I can see it I can see that on the feed, but there is an overlap between the two, where previously there was no overlap whatsoever, so if there was a little list bit of a problem with registration, you would have really noticed it if I go back and just look at the black to make that active and I turned on the eye ball next to the top most channel to make everything visible now let's, try the same activity where I move it to get it out of registration and see if you can really tell I'll select all and used my move tool move this down a little bit and I don't notice a gap where I see white paper down here where's before I did. Instead, this red extends far enough down that the two are still overlapping the little dark rim that I'm seeing is the science. I didn't move science itself, but that is so you could prepare this for printing on a button for pretty, not a packaging thing for printing on t shirt for doing anything else like that, if you know the person you're going to give this to is not going to do further processing, maybe you're going to do the printing yourself, that kind of thing you find that under the image menu it's called trap, and if it's great out, you're probably an rgb mode you need to be in something like seeing white came out where you're thinking about inc the number you type in is how far it's going to move or in large, each one of those to create a little bit of overlap. All right, we're looking at the little stuff so let's. See what else we can find? All right. Here. I have a photograph, and if I look at it, we have some red eye. We look at a few different ways of reducing red eye. If I open the image using camera, I'll just go to the file menu and choose opening camera. We have some choices there. Zoom up here singing cr red eye and at the top of my screen there simply an icon that looks like an eyeball with a little plus on next to it. If I click on that, I have my red eye tool in what you want to do with the red eye tool is click and drag like this to make a rectangle that surrounds the entire eye, and therefore it could look within that area for the red part and it's going to try to find it up a little box on it. If you find that box to be distracting there's a check box called show overlay you could just turn that off so you see your end result and then we have two sliders. Darken is how much is going to dark in that area? If you find that it looks like just a black blob there and has absolutely no detail, you could turn down the darkened setting and you'll find it's going to look more like a shade of grey in there. If you turn up the dark and setting it's going to get it towards solid black, so you have to decide with that you could do with more than one area, so just click on another. I'd draw a rectangle around the entire eye and it's going to try to find the area that's red now if for some reason it doesn't find the entire area that's red, there is a choice called pupil size, and if you bring that up, it will try to search a larger area. And if you find it's changing too much of the image, there's something else read just outside the eye that's changing this well, you could try to bring proof pupil size down to try to limit it. Uh, further eso this isn't camera. It is theory. Red eye tool looks like a little eyeball with the cross here and just make sure you drag across the entire I so that I can try to see search that for that. Now if you don't feel like doing it in camera because maybe you've already opened the image in photo shop, you already have a layer called retouching it you already have some adjustment layers in the image we can do the same thing when we're in uh photo shop itself over there on the left side of my screen where you'd usually find the spot healing brush over here just below the eyedropper and such if you click in the hole there's actually a bunch of tools, one of which is the red eye tool the red eye tool and photoshopped works a little bit differently than in camera with it. You can just click on the eye if you'd like you don't have to draw a rectangle and at the top of your screen is where you have darkened amount in pupil size. The only thing is the darkened amount is not interactive, meaning you have to choose it before you click. You can't necessarily change it after, so if you don't like the end result chews on do adjust the darkened amount of pupil size and then you can come into a different, uh area and click again just remember that that's hidden underneath the spot healing brush now let's talk about a feature and photo shop that I use most frequently when I have a panorama and I want to actually turn into a movie uh, what happens is sometimes I have humongous panoramas. I mean, panorama is that are ridiculous. Um, let me see if I might be able to quickly find one in here. Like, for instance, here's a panorama try to show that on your iphone, you know, is anybody gonna be able to see anything you know, try to show this just on your screen? You know, people have to come up and really inspected close, and even then you really can't see the detail that's in it. So I find that oftentimes it is better when I have an image like that to instead of showing the whole thing, what I want to do is turn it into a movie where it scans across the panorama so that, for instance, I end up with instead of showing that little bitty sliver I can show this kind of a view of the panorama. And therefore if I save this loaded on my iphone or showed on my laptop it's much easier to get an idea for what kind of panorama I have compared to seeing that tiny little slice. So I want to show you how I can do this and in the process show you ah feature that makes this much easier to accomplish, even though the feature is not specific to creating a video so let's take a look here's the panorama I'm going to use and the first thing I want to do is use the crop tool in with the crop tool I can set up a width and height if I'd like at the top of my screen I can if I have the newest version of the newer versions of federal shop like cc, you can finally again type in a with hyde and resolution they'd kind of remove some of those features previously, but I'm just going to type in a width and height I'd like to use maybe I want this to be like an old school video six forty pixels by four, eighty pixels with the resolution of seventy two well, what I want to do is just type in the size that I want for my video and I want to take this and make it to the left edge of the picture is what I'm viewing and at the top of my screen there's an option called delete cropped pixels. If that's turned on, then this information outside the cropping rectangle is going to be discarded. I needed to keep that asians so that I can pan across this panorama in a video and that stuff still there, so I'm going to turn off the delete cropped pixels checkbox, so in essence I'm just cropping the left side of the photograph to whatever size I want my video to be and I have delete cropped pixels turn on I'll press return a renter to complete that so here's what we got left side of my photo now I'm going to go to the window menu and I'm going to open the timeline now if you have an old version of photo shop, you might not have the timeline feature available, but if you have, I believe it's photoshopped see a six or c s five possibly you you'll have the choice of timeline the video features used to only be in the extended version of photo shop, but now if you have photoshopped cc it's in there regardless where if you bought photo shop is part of a package within design an illustrator and stuff, you probably have the extended version so this would be there. I mentioned that just some of you that have older versions or not the extended version might not see this feature, so when I have the timeline I'm going click on the button that's in the middle it says create video timeline and now it gives me this little lot timeline that we have and there's a little scrubby bar do you see this little kind of bluish that's like the play head you khun scram across and it show me what my animation would currently do my video and it's not doing anything because we haven't anything special with this image what I'm going to do though is it's gonna list all the layers of my document over on the left and I only have one layer is called layer zero if I expand this there's little triangle next it it shows me what I can track what I could keep track of in my video and here's the choice called position I'm just going to click on that little watch symbol next to the word position which means keep track of the position of this layer over the time of my video so after I've gone down here and expanded the name of that a player and I clicked on the little watch symbol next to position then I'm going to move the play head the little blue thing to the end far and now if I need this to be a longer animation I could pull out uh edges and there's all sorts of features you khun dude teo edit your video and other things for now I'm just gonna use the default pull it out here to the end now I want to now move this layer so instead of viewing the left edge and viewing the right edge and here's what I'm going to use a feature that I find to be overly useful I'm going to select all then after selecting all I'll go to the layer menu and there's a choice here to align the layer that I'm currently working on to the selection I have and so if I tell photoshopped to align the left edge or the right edge it's going to take the entire layer even though it extends beyond the bounds of this document and if I say hey align the right edge is it means take the right edge of this panorama and move it over until it lines up with the right edge of the selection so shouldn't that pop me over to the opposite end of our panorama that makes sense then I come over here and choose d select cause I don't need the selection anymore I just needed to make sure I did that when the play head was all the way at the end so that it knows at the end of the animation you should be there now if I scrub across this do you see what it's doing and if I hit the play button I'm going across my panorama now if it's not perfectly smooth here that's just because your computer's processor is trying to do a lot when it's attempting teo to create this if you actually render the video and save it out as a video file it should be smooth to say that I was a video file I believe you go to the to the file menu and there's a an export command and you have rendered video and that's where you're going to be able to choose various video formats I'm not an expert on video formats whatsoever I don't do a lot of video so I couldn't tell you the best here but you can choose what kind of format you would like like a quick time for matter or age to sixty four what kind of quality you want if you want to resize the image again, that kind of stuff and if I come over here and just select a folder maybe selecting my desktop I just hit the select for folder button I could render this video and now is when it's using my processors too calculate all that and I should end up with a file in my hard drive right here that I can open and now playback. So the feature I really wanted to talk about was just the feature when I went up to the layer menu and I said a line layer to selection you know, sometimes I could say a line the left edge, the right edge or center the image, that kind of stuff but I just had to come up with what would be an actual use for that. And so I figured why not throw in how to take a panorama turned into a movie so uh hopefully you enjoy that I'll go to the side menu of the timeline and choose close tab group to get rid of that so I no longer need teo be staring at and now it's even get back to the folder were in so I find that to be really useful anytime you have a really long pan around for an average panorama that's just a little bit wider than normal not so much but if it's ends up being twelve shots that you're stitching together that I'm really happy that I'm able to do that within photo shop just know that if you try with an older version of photo shop there's a chance you don't have the feature available called timeline because you don't have the extended version of photo shop if you happen to upgrade the photo shop cc the creative cloud the new version then it includes thie extended features uh within it so you should have that right now I have three images to look similar didn't have a great example for image to this just a readily available so I used an hd are set but I'm going to just grab these three images and I want to show you an interesting feature and photoshopped this feature I would usually use let's say if I'm shooting portrait ce in maybe I'm doing high school seniors or something and I'm taking a bunch of pictures that are relatively similar as faras the position of the face in the photograph and I might be taking five or six shots of each person and I want to try to figure out what's the best one which one's has the eyes and focus which one has the best smile and other things I just don't have an example image like that because I don't shoot a lot of people so instead I'm just using here kind of three random images that are similar to each other uh these image just happened to be raw files I'm going to choose opening camera and since I have more than one image selected have a select all buttoned at the top here I'll click that because then at the bottom and set a saint open image which had only opened the image that's currently active uh since I hit select all we have all the images selected and therefore it says open images and it will open more than one okay, we got three images open and I want to be able to view these three images at the same time side by side so I can compare them so let's say they were portrait so I could say which one is the best smile well if I go to the window menu there's a choice called a range and at the top of the arraign change menu we have these choices I can say let's tile all of these images vertically or horizontally so let's see what happens if I do that if I tie them tiled them all vertically you see what it just did it ended up making the windows smaller so I can see them side by side now I could go over here instead and say thailand horizontally and it's just going to change it so we're looking at him as horizontal slices or I can say now four up isn't available simply cause I don't have four images but you have all sorts of choices for how to do this so let's say I did that where I said tile all vertically and then I took one of these maybe the image on the left and I zoomed up on it I just type command plus to zoom up is one method and I used the hand tool and I scrolled over to a particular area that I wanted to inspect I would like the other images to be looking at the exact same spot so the fortress this might be people's faces might be wanting to inspect to see if the eyes are in focus. Well, once I've zoomed up on one of these three views, I can go back to the window menu before I'd gone to arrange to get them to tile like this below that though I can match the zoom or match the location, the part were revealing or in my case I'm going to say match all which means zoom up to the same amount and show me the same part of the picture so if I match all now do you see how I'm looking at all three images in that you know, same magnification same location within the image when you do that though it be nice if I move this one around if the other one's moved too well in order to get the other ones to move too if you're in the hand tool hold on the shift key bye if you hold down the shift key you're going to be affecting all of the images that you currently have open if you're gonna zoom in or anything just know that if you mess it up you start a view a different area different zoom factor you want to get the others again and saying go back to your window man you go back to arrange and just say match all and you could get the others the same position but if I want to scroll around off over the place I'm just going to use my hand tool I'm going teo uh hold down the shift key and then I'll be able to scroll all those windows at once once you're done with that you've decided what you the images you think is best you could just close the images you don't like by hitting the little x of the top in the little title bar to close your images or you could go back to the window menu and choose a range and you khun sake consolidate all two tabs and that pretty much means get back to normal the way you usually have those uh those tabs but it could be rather nice if you want to compare things between a bunch of images well, you get questions comments way little stuff it is the little stuff and the questions air coming through as kind of little stuff right? Because but that's the kind of neat to have this last day so we can cover this type of stuff about you know because like you said in so many workshops a lot of this stuff just gets myth because you know the stars like you know, layers and objects and exactly our kind of taken the the high road on that you're not really a master of photo shop unless you know the little stuff that they fill in the gaps between all those big features yeah exactly and I think we had a we had a comment from john in black hawk who said ben just ain't old enough to know all this stuff wait I got it he's an alien from the planet bacon I'm just saying so john you're you're probably right yeah, it just goes super deep end so so thank you very much so yeah let's let's maybe bang out a couple of questions de heating would like to know I used to monitors how do I get the images toe open? Um don't get the images to open on one screen while photo shop is on, the other is there you and that sort of a mack potentially a macro pc? Yeah, it could be a macro pc thing and unfortunately I don't have a lot of experience with it because I either used this laptop screen or when I get to my bus, the laptop screen gets closed and I use an external monitors so it's not something I do day to day, but you can use more than one monitor and you khun drag your pound panels, which used to be called pallets to the other screen but the exact small little details of doing that I'm not overly versed with simply because I'd only have the space to work on one screen. I live in a bus, you know, homeless wanderer, so I don't know that I'm going to be able to give the best advice there just because it's not something I do every day okay, cool and then you know you have the perfect file open right now for this question that bottom layer is thie is a solid color layer yeah, can you apply a lens flare to that as per yesterday's course and then move it around uh not to a solid color layer because a solid colored layer is something you can't in general? Grab the paintbrush tool with let's, say and paint on because it wouldn't be a solid color layer anymore. Ah, solid color layer is special because you khun double click on the left side of it do you see here in my layers panel this left side that represents the color and if I double click there I get a color picker and I could change it. Well, how can it still have that functionality? Where could change the color if I change the pixels that make up that layer by putting lens flare on it? So not really you could cheat if you really had to and that issue take that layer and you would first take the layer goto through your filter menu and say convert for smart filters then after you do that, you'd be able to go to the filter menu and render yourself a lens flare and it would be able to apply to it. So yes, I mean, if you can see it's behind the bus no, yeah, but you see a little hint of it there s o it is applying to that. But now, in order to change the solid color layer that's in it, I have to double click in the thumbnail for this layer to see the contents of the smart object and it'll show up is a separate document, and then I could double click on that and change its color and if I save and close this, it'll update the other document and reapply the lens flare. But you'd have to use that smart object. Functionality do that. So it takes away some of the ease of changing that that color, what I would usually do instead, if I wanted a lens flare, is I would just create a brand new layer that's, full of fifty percent grey. I think I showed this. Yeah, we did here, and I just have that sitting above you're solid color layer, and therefore you can change the solid color layer all you want and your lens flare sitting on its own layer above it's kind of independent, right? But, yeah, very cool.

Class Description

Part of the Complete Photoshop Mastery Bundle.

Throughout this series, we've covered many huge topics (retouching, adjustments, collage, etc.). In this final installment, we fill in the gaps between big thoughts with the more subtle concepts that are essential to taking full control of Photoshop. This is the stuff you rarely see taught, but true experts use on a daily basis. I'll start by revealing a bunch of hidden and hard to find features that you probably don't know exist because you have to type odd keyboard shortcuts or go through other loopholes to find them. I'll then show you how far you can push your adjustments before they start to lower the quality of the image. We'll do that by popping the hood in Photoshop to reveal how those adjustments may be harming the underlying integrity of your image.

I'll then show you how to manipulate Photoshop's features to get them to do things they were not designed to do. This way, you can extend Photoshop further than even the programmers envisioned. I'll also talk about many of the little features that never get covered in classes but are overly useful. Finally, we'll dive into a few geeky features that are not for the faint of heart like variables, apply image and calculations.

Whether you're still fairly new to Photoshop or you're an advanced user, there is sure to be techniques in this class you will want to add to your mental toolbox.

Software Used: Adobe Photoshop CC 14.0


RDM Photography

I have always enjoyed watching any of Mr Willmore's courses, engaging and entertaining with a gentle professionalism, with a good pace of delivery for the target audience. What I so enjoy is that the underlying theory is 'correct' with obvious care and understanding of the terms used and this speaks volumes as to the instructor's commitment. I have always learnt something from these courses and this was no exception.

Jose A De Leon

This is by far the best investment I've made. Ben is a qreat teacher. I watch repeatedly the videos over and over until the concepts become second nature. Since I bought the complete bundle, I can go back when ever I want and watch again. My Photoshop skills have improved exponentially. I'm extremely happy I made this purchase.

Lemmi Kann

I just started to get familiar with Photoshop and know the basic. After watching just first three lessons I am totaly blown away - I can see how much far I can go with editing my photos, what possibilities I have. I edited some of my photos and they look way better now! Ben Willmore is excellent lector and I encourage the beginners to buy this class too. It's easy to understand and follow if you already know what is layer and mask.