Photoshop Mastery: Fundamentals

Lesson 5 of 12

Adjustments

 

Photoshop Mastery: Fundamentals

Lesson 5 of 12

Adjustments

 

Lesson Info

Adjustments

I'll start with some of the same images we use previously saying see some of the differences in those adjustments and so I'm going to open some of these images usually I would end up adjusting them and kamerad I'm going to bypass camera in use photo shop instead sometimes I need to use what's in photo shop because whatever it is I have is already incorporated into a more complex document it's on a layer that's in a multi layered complex document it's just a little too bright or too dark or needs some contrast or something and unfortunately photoshopped doesn't offer an adjustment called camera within photo shop I can't just click on a layer and then goto a menu and say do camera on this layer I really wish they did but they don't sometimes we have to rely on other things and so let's take a brief look now if I go to my image menu and I got onto adjustments you notice it's not very many choices there the reason why they're not very many choices there is I had a lot of my menu commands r...

emember at the very beginning to the course I said get rid of all the ones you don't use or you don't know how to use and if you did that you would have a very short menu now if I choose show all menu items you'll see that it's usually a much longer list but the ones that are highlighted in red in this one down here should be highlighted in red as well are ones that were not really going to talk about today. We're gonna talk about another date, and when we get into talking about those other adjustments, I'll give you a much better feeling for how all the adjustments relate to each other. That won't happen as much today because we're working on to limited of a set of adjustments. So first, at the top of the menu when you choose image adjustments is brightness and contrast. Now just see know that historically, if you look back maybe six years ago and photoshopped, this was not a good adjustment to use. It was one that was so basic that it was stone age when it came to technology, and it just wasn't a good one to use, but they improved it quite a few versions of thunder shop ago and now it's a perfectly fine adjustment to use. So if I used brightness and contrast, all we have is two sliders and you could think of these is being like the exposure slider that was in camera and like the contrast slider. So if the image is too bright or dark overall, you could use brightness to darken it up. And if there's too much contrast meaning too much of a difference between the dark areas and the brighter is you could come in here and lower contrast, if you wanted to, uh, or you could increase contrast, but still it's a pretty basic adjustment, which just two sliders there's, a check box in here called use legacy, and that means make this adjustment act like really old versions of photo shop would. If you ever read a book or magazine article that says never use brightness and contrast there, usually talking about the old version for many versions of photo shop go. And if you want this to act like that version, turn that thing on. And now this is not a very good adjustment with this. Now, if I darken the image, you will never have any white in it, because it'll dark and everything an equal amount. And so the white darkens along with everything else. If I bring this up, you'll never have any black in the image because everything is brightened, unequal amount the entire brightness range, including the darkest area which is black, but with that use legacy checkbox off that's, not the case now aiken, brighton and darken the image white stays, white, black stays, black it's just the stuff in between that suggested sometimes it is useful to look at a simple image, so I'm going to go to bridge. Remember the keyboard shortcut for bridge is the same as the one for opening a picture command o control alone. Oh, in windows, you just add the shift key. I'll be used not all the time, but sometimes I find it simpler to look at something like this when talking about adjustments a little easier to understand what's going on. So starting off with brightness and contrast if used legacy has turned on. This is why a lot of people said they'd never used this in the past. You might have that in your brain watch what happens to black when I brighton. You see, it's brightened up with everything else, which means it's gonna look kind of dull in the dark part of the image. When you're done watch with happens to white when I bring this down, everything it's darker but so does white. If you turn off that show legacy and you get the more modern version now when I brighten, look at black sea, it stays black, white stays white when I dark and you see white stays and what that means is you maintain the overall contrast, meaning the if you had white and black in your picture when you're done, you're still have white and black in your picture, it still gives you a lot of the contrast he started with with that off it allows the adjustment, then we have contrast, which is how big of a difference there is between bright stuff and dark stuff. If I bring contrast up, you see the darker things getting darker, brighter things getting brighter the same time bring it down and those things will become more similar, so everything across there will be a little more similar, but brightness and contrast is a fine adjustment to use, but what I find its brightness and contrast often isn't enough. So if this image is too bright overall, I might need to come here to brightness and contrast bring down my brightness a little bit too dark in the images a hole but then when I'm done, I think the image looks fine except for the dark portion I want more in the dark money, so with who during camera we had two sliders, we had one called highlights and we had one called shadows. Well, if you're doing that in photo shop, you have to go to the image menu, choose adjustments and you'll find shadow and highlight it's a separate adjustment when I choose shattering highlight this is what comes up and it assumes to begin with that you want to get shattered detail. So brings that up. But if you bring it down when these air zeros, you haven't made a change your image yet, and you can either darken your highlights with this one. Or you can brighten your shadows with this one. Looks pretty simple just to slaughters similar brightness and contrast, but this was much more sophisticated. There's a lot more going on behind the scenes here, and you can get more control over what it's still in by turning on a check box called show more options. But when I turn it on, remember that in essence, there's just a slider for shadows and there's a shadow ah, slider for highlights. When I turn on show more options, it lets me do more, but still there's a slider for shadows and there's a slider for highlights. So within this let's, take a look at what we got tonal width. That means what should it considered to be a shadow from black to what black to eighty percent gray from black to sixty percent rate, how far should it extend into the medium brightness areas of your picture? If you limit the total wit like this it's going on ly work on the really dark parts of your picture? Frightening them up as you bring this over further it gets further in towards the mid tones or brighter areas of your image might be easier to see on a simple image I think it has zoomed in to four on that thing okay with this now let's see what happens here we have the shadows that's working on you see what it's doing to the dark part of the ocean of the image it's brighten it up but notice it's not changing the bright part of the image it all right so then let's see what total with does tall with means how far should it extend over here into the bright areas so if I bring total with down it's going to really limit what it's working on so now if I move this you notice it's only work on on the really really dark stuff right yes I bring up total with it says ok let's make it wider so you could get into brighter and brighter shades within mike picture now it's working all the way up to here I think so if I change my amount you see how much of the image is changing so tunnel with means how much should we limit it into the deepest darkest shadows as this is lower it means on ly the really dark shadows as this is higher it means extend further into the lighter and lighter areas now we have the same choice for highlights s o this slider for highlights is going to darken the bright part of the picture, so if I bring it up, you'll see that bright area getting darker. It doesn't really dark and white because if it did we would macon image that looks kind of dull you'd lose the really brighter, really dark areas, so we try to leave the absolute extremes alone and notice how much of the image is changing when I move this it's quite a bit of it if I want to limit it mohr to the absolute brightest part of the image again, I have total with and as I bring total with down it's going to limit my change more to the absolute brightest part of the image. So now if I move it, you should see that it's on lee working on that really bright stuff not extending quite as far into the mid tones. But then after I've adjusted by image, lightened it up or darkened it up in this case darkening the highlights we have a setting called radius and radius determines what the transition is like from the bright or dark areas that we've isolated into the rest of the image. How does it make that transition look? And just in general, how does it make the overall change look? Bring it up and down you'll see a little bit of a difference in your image the hired is usually, the more smooth it is, the lower it is, the more you're kind of kind notice a little bit more of the details, so radius total with esso let's work on a normal image again and see how we might use some of those controls. So in this image, she was the dark portion of the image that was a bit too dark for my tastes, so bring up my amount until the dark areas, so where I'd like him to be, maybe about there and then we'll see how much do I want to limit that into just the really dark parts of the picture? I'll take total within turned all the way down, and then I slowly bring it up to say how much do I want it to affect? Maybe up into about there for bringing any further it's going to start lightening the rest of the picture so I usually start with it all the way down after I've done this slowly bring it up to see how far do I need it to extent? And then with radius, I mainly moving around and see what gives me the best looking image really depends on the image as far as what setting is going to be best here up there and like it, then down below that you have some additional controls. The one called color correction is somewhat mislabeled. It really means saturation. If I bring it up, the image will be more colorful. If I bring it down, it'll be less so. I bring it down versus bring it up. Do you see it when I bring it up? The color in the face of this sculpture becomes more pronounced if I bring it down, it's less so what can happen is sometimes you brighten up the shadows within your image in the areas that used to be in the shadow areas might look too colorful because you're not used to seeing a lot of color in there. You could bring this down, or sometimes it's the opposite of that in a normal photographic let's, say a photo of someone's face. Usually as you get into the darker tones within the face, less and less color shows up. Just look at any picture of a person, or just look around the room here, or anybody see looking the sockets of their eyes. You'll see it's, not a colorful, usually is thie areas that are well lit on their face, but once you brighten that up, it's not going to change the amount of color that's in there, you might need to bring up color correction a little bit to force a little bit of extra color into those areas that you I've now brightened then we have mid tone contrast and that just means what should it do with the rest of the picture? It might need to change the rest of the picture to make it look like those newly brightened shadows really fit in and so if I bring this up it'll add contrast to the rest of the picture for bring it down it'll reduce contrast not always necessary but if it doesn't quite look right on the rest of the image sometimes midtown contrast will help now sometimes when you go into shadow highlight even if you have the amount sliders turned down on everything, your image can often just look better in the reason for that is there's an automatic adjustment that happens the moment you get in shadow highlight to make sure the brightest part of your picture is near white and make sure the darkest part of your picture is near black and adjust that by itself without any input from you and if you had an image that looked rather dull it looked like it was taken on a foggy day. Usually your image is going to look rather gray as a whole and the bright areas they're not going to be all that bright the dark areas won't be all that dark but the moment you get into this dialog box suddenly the image well look like it pops because the brightest there you got close toe white, the darkest area close to black and the reason that happened is right down here. There are settings called black clip in white clip this means what percentage of the total number of pixels and your picture should it forced a white and this means what percentage of the total number of pixels should it, um, forced to black tio give your image more contrast. If you set these two zero now, it wouldn't do that automatic adjustment that automatically makes the bright areas go close toe white automatically makes the darker is close to black because we told him not to. I believe the default is point one for both of these, but if you ever noticed that suddenly image boom changes, it has more contrast that's, why? And if for some reason you didn't want that let's say you had an image that's supposed to look like it was taken on a foggy day in the moment you go into shadow and highlight, it looks like a normal day instead of a foggy one. Well, right here's where you could change that set these two zeros and it wouldn't do that automatic adjustment, so when I'm in here, I can turn off show more options and all I got is two sliders sometimes that's enough where you just come in here and say how much shattered detail, though I need but if too much of the image changes that's when you want to turn on show more options and you're mainly going to come in and say total with I want to limit it more just to the deepest, deepest, darkest shadows or I needed to come out a little bit further into the mid tones and then you're just gonna mess with this not knowing exactly what setting you need to see what setting makes it look best the other settings are optional but if you found that the darkest part of your emissions and colorful enough you could both bump up color correction, that kind of stuff so shadow highlight can be a nice adjustment if the brightest our darkest parts of your image are really where it needs help but then we have other adjustments we need to get into if the color in your image doesn't quite look the way you'd like it to, there are many different adjustments we could use to attempt to fix that let's say in this case I didn't want this rock to look like it was taken near sunset or we had warm light on it when we talk about adjusting color and tone in a future seminar, I'll give you much more detail on how to think about this for now we already know about using white balance in camera remember two sliders one was called temperature and the other was called tent and that if something looked like it was two yellow one of those sliders went between blue and yellow remember when the shadows and one of my images look to blue and moved it away from blue well in this case I could move it away from yellow and it would lessen it but if I need to do it and photoshopped one of the choices that I have is to come over here and use color balance every color has an opposite and in here it lists the main three colors that photoshopped thinks of when adjusting an image usually are rgb mode which means your image is made out of red green and blue or you can convert your image to sigh in magenta yellow and black mod scene why came out ah and here it shows you that those are opposites of each other and that means that if I move something towards red to make it appear more red that is automatically going to make it look less science it's like you have a seesaw or teeter totter whatever you call something balances in the middle pivots in the middle and you have one color in one hand and the other color in the opposite hand let's say have science and the sand and read in the sand find chrissy amount of red it's automatically going to decrease its opposite or I could increase this side and it's automatically going to decrease the other side and so in here, I look at the image, and I say, well, this might look to yellow. So I find yellow, and here I simply push it away from yellow towards blue. And if I push it far enough that I absorb all of the yellow that was sitting there, it'll suddenly start looking more blue. But it's, never going to start looking more blue until I get rid of all the yellow that was there. Now here I can also see other colors. I might see a little bit of red, and there could move this away from red as well. That kind of stuff. The only thing about this is this is going to automatically limit it so it can on ly work on a certain portion of your image at the bottom. See these choices of shadows, mid tones and highlights. Well, that's, all it's going to be able to work on. So if the area of your image that doesn't look good is in the dark areas, you'll need a tree shadows. Then I could push the dark areas away from yellow. I could push them away from red. Maybe I need to push them away from a jet, whatever colors you see, but it's only going to work in the shadows if it's the brightest parts of the image I'll have to goto highlights, and I could move them away from yellow if I wanted to, you know, that type of stuff, the highlights might be the sky. Maybe I want to get that more blue, pump it really farther in there, and then there's a check box in the bottom called preserve luminosity. If you didn't have that turned on moving things towards red, green and blue is usually thinking about light so it can brighten things, moving things towards sign magenta and yellow, or thinking about ink, so my darkened thing so you'll usually want that turned onto the brightness of your image, means relatively consistent. But this is one way of shifting the color within your image, which is nice to know about color balance. Just remember, you have to first choose if you want to work on highlights, mid tones or shadows, and you can have adjustments for each one of those just switch between him. It will remember the settings you had when you had each one turned on, so you could adjust all of them. I personally find it's much easier to make that kind of adjustment in camera, so if an image as a whole has that kind of a problem, I'm going to be doing it in camera, rob, before I opened the image as I'm opening the image he could say, but if I've already created a complex document that has many different layers, I might use that too. Um work on the images a whole one thing that's nice about it that's better than camera raw in many ways is it will allow me to isolate the brightness of the image so let's say I just had this image a little bit you make a little more colorful and I had open image well in kamerad didn't have the choice to only work on the shadows because it's only the dark part of the image where looks to blue to my eye so I can come over here, though, and use color balance and as long as I tell it to work on the shadows I have to figure out, is that really a shadow? Our mid tone it's hard to say without trying and I could say, move this away from science you see how it's the dark part of the picture is the main part that's moving I gotta mid tones I could do the same thing. The problem is, so far we haven't talked about howto isolated areas so that if it affects the whole image, it could be kind of annoying when only a small portion needs to change so later on today we'll end up talking about, um different kinds of selections and by selecting various areas, it's going to become much more powerful when you work on the images a whole, it could be a bit of a pain, another adjustment that I I like to use, and I use frequently, even when I know all the adjustments that are available in photo shop is one that's called human saturation with human saturation. When this little menu here is set to master, it means work on the entire picture, and these sliders below won't be as useful when you're working on the whole picture. So first, let me describe what they do, then we'll mess with that menu so we can isolate areas. The hugh slaughter is going to change the basic color of everything that's in my picture and when I changed the basic color, it's not going to make the image look more warm or cool it's going to shift it in weird ways wash he's, going wild like it could leave that going back and forth is like a little display somewhere or something, but what's happening is it's working with a rainbow of colors, the rainbow of colors that you see in this little bitty bar in this bar right here, and if I shift this to the left, look at where the slider started it started pointing at science didn't if I slide it over here until it points to green it's going to shift everything it used to be science to green, but the same time it's going to shift all the other colors to make up your entire image in the same direction by the same distance. And what that means is things that used to be this color will move the same distance and direction over here, it will become this color whatever used to be this color will move the same distance and direction, but when it gets to the end, if it runs out of space, it just goes over to the other side it's like a conveyor belt like one continuous loop. Eso when I move this to the left, every color is sliding along this bar towards the left and equal amount. And so it's kind of weird when you're working on the entire picture, unless I want to really psychedelic looking effect with my image it's rare that I would move hue when working on the whole picture, then we have saturation, which controls how colorful the images I bring that up it's going to make the image more colorful, bring it down is going to make it unless and this is where you'll see why we didn't use saturation much when we were in camera. Because it treats all colors equally in some of the colors within this image, or pretty close to his colorful is they should ever become like the red that's in here. Or maybe the bluish purple that are down in here in other areas haven't reached their full potential yet. The color of the wall over here, the color of other mellouli colored areas. If I bring up saturation, though, everything gets an equal boost, and what happens is if you push something beyond its maximum, it just starts losing detail. You see, if I show you that I'll zoom up on this red item that is right here, could it nice and close put my saturation down to its default where it used to be? And just watch the detail in here and notice that you used to be able to see detail in this kind of area up here? But what I pushed saturation too high watch what happens. Do you see it starting to lose it right in there? It's like nothing if I continue mike at other areas within the image also losing detail, you see the kind of pinkish purple that's behind it, and suddenly it will start losing detail that's what can happen if you push it too far? So saturation is more useful once you've learned how to isolate a color then working on one small area it could be a fine adjustment to use then we got lightness and with lightness if I bring it out will brighten the image bring it down will darken it the problem with lightness is it works just like the old version of brightness and contrast remember what the old version when you had used legacy turned on that it didn't leave whites and blacks alone it shifted those along with everything else so the problem with this is the moment I move it up we no longer have any black in the image the image starts looking pretty dull the moment I move it down we no longer have any white in the image and it just doesn't help so looking at this adjustment just my first glance it doesn't look to be all that helpful because the top thing does weird stuff to your image the middle slider can easily start throwing away detail in the most saturated areas in the lightless slider is two basic of an adjustment the main thing that's useful in here is to lower the saturation if in images too colorful where you wanted to look a little more vintage you could say but now let's make this much more useful to make this more useful we play with the menu that's up here where we play with the hand that's down here I'm going to click on the hand symbol now all that does is it makes it so if I click on my picture photoshopped is going to do something related to this adjustment, I'm going to move my mouth on top of my image and I'm going to click on this red ob shit when I do watch what happens to the pop up menu right here the one that's usually set to master I got the hand tool active I moved to my image I click on a red thing that changes to reds so now all photoshopped khun do is change things that would be read in the picture not going to affect blues not going affect green's not going affect, you know purples, that kind of stuff and in fact if I click on my image I congratulate left or right and you see the slider that's moving it's a saturation so now I can quickly saturate the reds or d saturate the reds. I could then move my mouse over here to maybe the blues and the moment I click watched the menu that's near the top of human saturation it's currently set to reds. But when I click here changed to science and now it could make the science more colorful or less colorful. Heck, I could make in black and white of her bring it all the way down and so I could find tune all the colors that are within here once you've clicked on a color so that that menu has changed, you don't have to click and drag within your picture. You're more than welcome to come over here into human saturation and manually dragged these sliders because that will cause it's so you've already isolated the color and then you can move these but just remember you can click and drag your going to adjust saturation if you want to adjust basic color instead, I want to change the reds toe oranges, changing mortar, yellows, that kind of thing, then you'll have to hold on a key and your keyboard. The key you'd hold down would be the command can a mac controlling windows I have held down right now? If I click on this now on a drag look at which slider is changing, you see it's the huge slider, so if I want to find tune the colors, maybe I want to get these bluish colors in here hold on, the command can drag, I could make it a deeper blue I could make it more of a scion ish blew all that kind of stuff. Unfortunately, I don't know of a key to hold down to get it to adjust lightness, so if you want to adjust likeness, just click on the thing you wanted to adjust and manually move your mouse here and adjust your likeness. When you do this and you click on your image all photo shop is doing is creating some little bars that appear in the bottom of human saturation these bars here that the dark gray and the light gray ones weren't there until I clicked on my image with a little hand tool in these little bars or what's isolated in area what happens is photoshopped looks for the colors that appear above the dark bar anything that has these colors in it is what's going to be changed right now the light colored bars or where it's going to fade out into the surrounding colors internal applied less and less and less as it gets across that lighter gray bar so it means completely change the stuff that's above the dark bar and then apply less and less and less as he could across the light bar and that's why some of the surrounding color is somewhat changes well you're welcome to grab these things pull on him and say hey limited more only do the reds that kind of stuff and then you could adjust the hue or basic color adjust how colorful those areas are and just how bright or dark there and this will become vastly more useful once you learn how to isolate areas with selections or masks uh but hopefully this gives you some of the basics of it click cancels try one more time I'll just use image adjustments human saturation and just remember if you want to isolate a particular color and you need to click on the hand tool, then when you click on your picture, it will choose from this menu. If you don't feel like using the hand tool, you're more than welcome to just click on the menu yourself. It'll list six colors red, green, blue, sign magenta yellow in there, and you can choose them. Choosing them from this menu, though, will be a little bit more generic than clicking on your picture. All this is going to do is choosing one of these will center these little bars down here at the bottom on whatever the name of the color is you chose, whereas using that hand tool in clicking on your picture is a little bit more precise. If you watch these little bars, see if they move off, click on something that's yellow within my picture. Now let's, try this area, you'll find that on occasion they're going to move around like see there jumped over. They're going to be centered on the exact color you click on, not just generically reds or yellows or her blues, so I find it more effective to click on your picture, and it affects too much your image than pull in these little outer bars to say don't affect the surrounding colors quite so much but that's human saturation I find it to be overly useful when I would need to adjust individual areas within my picture individual colors becomes much more useful once I know how to make selections and things which will do later to that before I move on to a different image in a different adjustment are their basic questions about using human saturation I'm sure there are because I hear a lot of typing and things over there probably taken back and forth any questions you guys have by chance question from kim photo from norway haibin is their temperature, slider and photoshopped like in camera if not how can you talk back and forth between cameron photo shop can you open a psd file on camera? Uh there is not in general a temperature intense slaughter in photo shop that's where you use something like color balance instead or you can use adjustments like curves but you have to know how to think about them something we're not going to cover here it will cover during the total in color session that I'm really next month if you need to open something in camera it can't in general open photoshopped files meaning photoshopped file format usually those files have layers and that's a limitation as to what camera rock and open usually you have to save the dimensions that j peg or a tiff file and those two file formats that can open just fine kameron so if you need to do white balance on an image you could choose save ass, save it out as maybe a tiff and then go to bridge and open it in the camera and you could use the white balance that's in there and within the camera preferences at the very bottom it says what should it do with jay pagan tiff files let's say it really like camera a lot and you want to use it for any image that it's capable of opening well usually double clicking in the file it's only gonna be raw files that will cause came around open and if it's a tip for j peg you'd have to go to the file menu which is opening camera well down here at the bottom of the camera preferences you could say what to do with che pegs and tips the default settings would only open those if they've already been adjusted with camera on the past it would bring him in through camera again in the future. But if you click here you can tell it to either disable j peg support so you'll be incapable of opening jpeg files in camera or you could say automatically open all those j peg files so every time you open a j peg file now it's gonna launch came around so if you like camera a lot you could set both of these toe automatically open him in iraq so quick follow up question from shade k what is the difference between temperature intent it's just the colors that they control? If you look a temperature intent what I'm in on image if you look a temperature it's going to bring you between a bluish and a yellowish so if your images to blue or two yellow that's a slaughter you want to go to and tent is going to go between a greenish in a magenta and so if your image has too much magenta or too much green you want to go to the tenth slaughter and if instead it has let's say too much red red would be a combination of magenta and yellow put together so you have to adjust in both you know that kind of thing um but that's the general difference all right, we have a couple more questions I'd love to address on this one is from kathy shoal so you khun d'oh one color balance adjustment for highlights shadows and mid tones or do you have to do the mid tones and save it than shadows et cetera? Now you can adjust all three of them in a single adjustment you would click you can click on shadows first and say I want the dark part of my picture to look less blue let's say then I can go toe highlights and say I want my highlights to look more blue you know but you can adjust all three of them in a single adjustment when you switch between them it will simply show you the settings that you had for each so when I switch back and forth you see those sliders moving around to show me which settings I applied to my shadows my mid tones of my highlights you don't have to click ok in between each one okay let's look at another general brightness adjustment on so far we've mainly covered brightness and contrast in shadow highlight there's another adjustment though that I find to be essential for anybody who really wants to learn photo shop in that is levels this's what levels looks like and usually there'll be a history graham and hear a bar chart that looks similar to the bart you might see in camera this is an unusual one and that you see single bars going all the way to the top that would be overly unusual um but for now we can ignore the history graham and mainly look at the five sliders that air here and see what they do the upper right slider is going to force areas toe white so watch what happens to this image is they move the upper right slider in more and more in my image will become solid white what's really happening when I move this in is if you look straight down below it at this horizontal bar he looks straight down anything that is this bright in my image war brighter has become solid white that's all this slider does his as you move it in if you look straight down from it whatever used to be this bright or brighter in your image is now solid white to make it look like those shades belong with the rest of your picture when you bring this in the rest of the image brightens up along with it so that whatever is now white blends in with the rest of the picture it looks like it belongs with the rest of the image the opposite side on the left side is going to force areas to black as I pull it in war and more my image will become solid black all it's doing is if you look in here and you go straight down from wherever that slider is it takes whatever shade has found directly below it the shade right here it forces that shade to black along with all the shades that are darker than that so just says, hey, what point should we have black in our picture and everything darker than that's going to become black over a cz well when it does that it also darkens the rest of the image just so that whatever becomes black and my picture blends them with everything else it looks like it it belongs with everything else that's in the image then we have two sliders in the bottom. This is going to take what's already white in my picture. Watch what happens over here. What it does is it says, hey, let's, take things that used to be white in your picture and let's make them whatever shade this points at. So if whatever it was white in my image, I didn't need to be white needed to be the little is bit darker than white right here I can say, hey, don't give me white in my picture is the brightest shade. Give me this one, it's pointing at instead, slider on the opposite side is going to take the black parts in your image and change them, so they become whatever this slider points at. So if the darkest part of the image, if he didn't want it to be solid black, you could bring that up and it's going to end up being exactly what that points at what could happen is some printing technologies can't handle an image that contains black and white. If I end up giving a printing press an image that has solid black and what happens is thie black ink absorbs into this sheet of paper it's being printed on and as it absorbs in it's, just like taking a piece of paper towel in putting it over a coffee spill, what happens to it as it touches the paper? Tall? Doesn't it spread out as it absorbs in? Well, the way that your image is reproduced when you print it was with a bunch of little black circles, and to get black, you make the circle so big there's just tiny little gaps in between them to say, this isn't quite black, but it's really close to it, and when those circles get bigger as they absorb into the sheet of paper, it makes it so what used to be ninety nine percent gray, or ninety eight percent grade turned solid black? You see, if I can show you I wasn't planning on doing this, so I have to see if I can find this filter quick, taking just a moment actually should set all these two forty five this is somewhat how your images reproduced in a printing press on a printing press. We can't really make shades of gray because you only bought blank ink and you have white paper. You didn't buy fifty percent, gray incan seventy three percent gray and all these other shades you'd have to use to get true shades of gray, so when you reproduce your image, it turns it into dots and the bigger these dots are, the more space they take up in the darker it ends of looking in the macon area look like it's, almost black. These circles are so big, they're bumping into each other. And all you see is the gaps in between them and right there would be the darkest shade that we might be trying to print. That's not black that's nine. Nine percent great. Right there. Well, if this ink is going to absorb into the sheet of paper and the bring press and spread out just like when you put a paper tall over a coffee stain in the liquid, absorbs in and spreads out well, what's gonna happen in those little specks where you're trying to get ninety nine percent gray. Well, what's gonna happen is this. They're going to spread out. All I'm doing is spread not all these these dots. And when I do things that used to be ninety nine percent gray gonna go black things that used to be ninety eight percent grey are going to go pretty much black. And so what we can do on her pictures is if it was a gray scale picture and I'm gonna have it printed on a printing press, I could go toe levels. I could ask my printing coming to say hey what's the darkest you can print without losing detail and they can tell me and I can bring this up to make sure the darkest part of my picture uh isn't any darker than what they can print same thing happens in the bright part of your image in the bright part of your image what happens is there's these tiny little specs like the's indicating that area isn't white instead it's one percent gray let's say we're two percent gray well, those tiny little specks could be difficult to reproduce interpreting press because there are multiple rollers on the printing press they have to be transferred between there's the printing plate there's something called a blanket and then there's a sheet of paper and each time it transfers between those surfaces it can lose the tiniest thoughts and that dot might disappear and suddenly you lose the detail where you used to have some and so you could again ask the printing company what's the brightness range you can print and you could pull this in until this point set the brightest shade they could reproduce and this points in at the darkest shed they can reproduce usually the more least expensive I should say the paper is the closer it is to acting like toilet paper as faras it's very absorbent and uh, things spread out a lot and the more coded the paper is, the more of shiny, like a magazine or brochure, it is usually the easier it is to reproduce these things, and so it would change with what kind of paper you're printing on, but right there's, how you would be able to limit it with color photos it's less necessary because something else happens with a color photograph, usually when you convert it between modes, um, where it automatically compensates for part of that. So anyway, you get an idea for output levels could be useful to some people if they need to prep some images for pretty matter putting press if it's pretty out on a chat printer it's not so important, but you could if you find you had a difficulties printing your images and your blacks or way too dark that's where you could limit it. There's one slider we haven't talked about in levels, and that would be the middle one. The middle one is going to adjust the brightness of your image. What it does is it if you just move it around, you'll see it darkens up my image, but the other way it lightens it. But what it's actually doing? If you look close it's going to take whatever is directly below this, whatever that is and make it fifty percent gray it means where do you want your mid tones do you want to take things over here that used to be really dark and make him your mid tones or do you want to take things over here that used to be really, really light and make him your mid tones but in general it's an overall brightness control darken brighton it's not actually a cz good as the one in brightness and contrast you're going to be able to move the one in brightness and contrast much further than this one before you're going to be losing detail for instance let's say a darken watch this part right here and notice when you can no longer see the difference between it and what's next to it can you see the difference anymore at least on my screen I can't write about there it goes away wasn't able to move this very far before that happened but if I was in brightness and contrast I'm guessing I'd be able to move it even further about there but I could move it usually a bit further in this without losing the detail in those areas so levels is something that's I think essential learn not always just for adjusting normal photographs sometimes this is overly useful when adjusting other things like masks we haven't got into masks yet but this uh if you don't know how to use it you're going to limit what you can do with masks so this forces areas toe white, this forces areas to black. This takes areas that used to be white and changes them to the shade. This point at this takes areas that used to be black and points into the shades thiss points at in this adjust the brightness overall, but what it's really doing is making whatever is directly below it. Fifty percent craig. So, as I say we, as we get into other adjustments as we learned to isolate an area with a selection or a mask, all of these adjustments become more useful. But let's, look at one more. There are many different ways you can convert an image to black and white. One of those methods is to go into a dialogue box we've already been in, which is called human saturation inhuman saturation. You remember you had a saturation slider that could make your muchmore colorful as you move it to the right. Well, if you move it towards the left that we become less colorful and if you move it all the way to the left, you should get black and white that's one of the worst ways to convert to black and white. The problem with it is if you have overly colorful areas, aa lot of those colors will start looking identical if I get to even a simpler image. Let's, try adjusting this and remember how much you can dramatically see the difference in these colors when I come over here and choose human saturation. If I just do this to make it black and white now can you easily see where those colors used to be? It doesn't terrible job when it comes to planning you see the difference, especially where things are colorful and that's the exactly the same is coming to the image menu, choosing adjustments. And if you show all of the menu items there's, a choice in here called de saturate in the choice called de saturate down here is exactly the same is going to human saturation and bringing it all the way down a terrible way to convert to black and white. There are many different ways of converting the black and white. I just want to share with you one that I think is good to know if I choose image sh adjustments black and white, that one is going to be much more useful when I start off. You notice that already we can see slight differences in those colors that were in our picture, but now we have sliders for six colors in general it's, red, green, blue, cyan, magenta, yellow, and by moving these slaughters, aiken brighten her dark in areas that used to be those particular colors. So I could make it so areas that used to be red end up darker there isn't a yellow maybe end up being lighter greens and usually it's not going to be as sensitive it's with this particular image this is artificial image where it's ah, making a small change to these sliders will make a dramatic change to the image with a normal photograph it's going to be more of a subtle change so let's try with a normal picture he won saturation first noticed that you can't really see how different things were you khun sell? This is a little darker than that, but other than that it loses a lot of it go to black and white instead and now let's see how we can find tune them the problem with this is right now I can't remember what color certain things used to be, so if I want to affect how bright this is, I'd have to guess maybe it was yellow if I turned preview off over here it's a little check box I could see oh it's not I assumed it was yellow uh and that I could find which slider here closely matches it and say I want that little darker control it but there's something in here that's hidden it doesn't make it readily apparent and that is if I move my mouth on top of my fisher and I click on something within my image watch what happens when I click on this object and start dragging left to right you see it moved the red slider for me if I click on this object oh that must have been yellow in the past by good under this object that's magenta because it looks at what color those areas used to be and it grabs a proper slider for it so I just need to come in here and fine tune any areas that I don't like, so this is just called black and white you don't have to click on anything special too be able to click on your picture just move your mouse out there click and start dragging left or right to brighten her dark in various colors within your image. Sometimes though I find that a straight black and white image could be a little bit boring in that it doesn't have all that much personality to it I like having the image feel just a little bit warm or a little bit cool and if I want that in here there's a check box near the bottom called tint if I turn on the tent checkbox now it's going to introduce a little bit of color back into the image not the original color that was there instead of going to generically add a color like make it look like a c p a toned image and I can control what color that isthe with the two sliders that are below. I can change the hue, which is the basic color, and I control the saturation, which is how colorful so usually keep the saturation down pretty low. So it's not overly obvious that the color has been in there, there's just a slight hint of it, and then it will be easier to be able to use colors like blues and all that if you make sure your saturation is low enough, there's another way of changing the color that's there as well. And that is there's, a little square that's here that squares trying to show you the color that you're putting into your image. It'll be easier to see if I turn the saturation way up. You see that that square its color is, and if you rather choose it from a color picker, just click on that square. And instead of working with those two sliders that we're at the bottom, you could just pick a general color you want from this vertical bar, and then you could choose how colorful it is by choosing within the big square area in all that's going to do in the end is changed these two settings for you, it's, just a different way of choosing the same two settings. If you find settings that you really like, maybe you have a certain color that you like to apply to all the very images they look like they belong together, you can create a pre set up at the top, it says custom, meaning that this does not match any the presets that air in here. But if I click here, you will find some general presets and you can create her own by clicking on the little gear icon to the right of that menu. Then you could save this is a preset if you save, you know, five or six versions of it, then you might have a good starting point, especially for adding that color to your image. If you decide you later on don't want the color, just turn off the tent checkbox it'll be back to a pure aah! Black and white look and there is an auto button in there. I don't know if it'll do a great job on this image or not, but if I go to black and white on the right side was a button called otto, so instead of just having a generic set up here when you click otto, it will move it based on the picture you have uh and it might do a slightly better job just to begin with the auto is really useful just as a starting point I just mainly it's nice that it's there in that I could use it maybe start off with an ok adjustment, but if I want things to look consistent between a bunch of images that I wouldn't want to use auto because auto would make it different for each image based on the picture but that's not the only way of converting things to black and white, you can convert things to black and white within camera raw, which will give you similar choices. You can also convert things to black and white using a variety of other adjustments and photo shop. There isn't one choice that's always the best for every image but that's one choice where if I want to know the fundamentals of father shop, I definitely want to know that one because it is dramatically cem superior to using d saturate, which is the same thing is going to human saturation and bringing the saturation all the way down any questions about black and white? We do have a few questions about black and white, but right we can start in the studio audience if there are any. I was just going to say about six or eight times in that last segment I had a question, I wrote it down and then within thirty seconds you answer the question, so I had them but you've answered them so thank you that's why we like to bring back ben no more way we do have a couple of questions so the first one see from void source in los angeles can this black and white selection method be best for making selections for masking purposes when we have a color image say that again it can this black and white selection method be best for making selections for masking purposes when we have a color image so maybe it's just saying to turn it into black and white just for the purpose for making a selection I don't find that using the black and white adjustment is usually all that helpful if I want to select one particular color within my picture of that happens to be what you wanted I would usually go to the select menu there's a choice called color range which would allow you to select a particular color but I find that removing color from the image makes it more difficult usually the selected area because it becomes more similar to its surroundings if there's no longer any color data in it instead it's all gray scale there's less information for creating selection so it all depends what kind of selection you're trying to make but it's not something I'm typically going to for for that purpose thank you paula p would like to know how could I more successfully changing image to black and white when the original is flat if the originals flat before you adjust or before you convert to black and white I would adjust the images the whole what I would do is if the image is looking rather flat you could come into one place that will make it very quickly not look flat is just go to shadow highlight and if I go to shadow highlight you don't need to move the slider it all just leave it all the way to zero in just coming in here with the slider set to zero which you would think usually wouldn't fly any adjustment bringing up the tiniest bit so these air not at zero just bring it up to like one and you'll find that you're going to get a dramatic increase in contrast, if your image was overly flat, let me show you what happened in this image I'm gonna turn preview ofthe here's before here's after you see it pop and the only reason why it's doing that is that if you turn on show more options, there was a choice down here called black clip in white clip that is making sure the bright part of the image becomes white in the dark part of the image becomes black that isn't being applied if these air zero so you need to have this at something even if he didn't want to brighten your shadows or your highlights you could just bring it up a tiny amount and then look at your image is a whole and decide now that it added that contrast I need more shadow detour are there more highlight detail in this case might need a little bit of my shadows an alternative to that is if your images looking overly flat go to the image menu and you're going to find auto tone auto contrast and auto color and either auto tone or auto contrast is usually going to help your image pop uh here's before here's after if I dio auto contrast before after but all of those things will help I just find being in shadow highlight is convenient because oftentimes after getting that additional contrast, you're going to need a little shadow detail or you going need to darken your highlights you're going to fine tune a little bit so being right in uh shadow highlight I have the slider sitting right there to help me so now let's start talking about a different way of applying our adjustments and start talking about the history graham panel a little bit so when you go into levels you will find the history ram which is a bar chart and history rams were overly useful in photo shop is a hole but I just want to make sure you understand how to think about him in general history graham is simply a bar chart that tells you which of these brightness levels are in your picture if you look at any one of these brightness levels and levels and go straight up from it, if there's a bar on the bar chart than that shade is found within your picture, if, on the other hand you go to any one of these shades and go straight up and there's a gap, then that means that that particular shade is nowhere to be found in your picture. Then you'll find one of the bars on the bar chart usually goes all the way to the top. I shouldn't say usually I should say always one of them will go all the way to the top and that's whichever shade it's, the most prevalent or most common in your picture. So this one here that goes all the way to the top if I go straight down from it, keep going down and down is telling me this shade here takes up the most space within this picture within this picture compared to all the others. Then compared to that shade, all the others take up less in that these lines are shorter and that's. Why? When I had the simple document open and I went to levels, we had an unusual history. Graham all the lines are exactly the same height, that's because each shade that makes up this image takes up exactly the same lot of space but if I were to look at each one of these lines, you just go straight down from it. It'll tell me this lines tell me of white, this line here is telling me I have the shade directly below it. This line is telling me I have the shade directly below it and so on. But with a normal picture, italy usually look a bit like a mountain, a mountain range. Most of the time when I have a history, graham I mainly looking at the ends of it. I don't care about the overall shape because that's going to be determined by what's in the picture. If I have a picture of polar bears and the snow, they're going have really toss parts of the history, I'm on the right side, meaning that these shades over here towards the right side take up a lot of space because we're in a white snow in slightly darker polar bears, right? If I take a picture at two o'clock in the morning of the stars in the sky, we're gonna have really tall part of the history graham over on the left side because we're going to a lot of dark black sky in the picture, and we're going to a tiny little spikes somewhere over here where the stars are because the stars will be brighter. If I have a foggy day where everything looks gray and black this history graham is not going to go all that far assed faras how wide it is it is going to mainly be somewhere here in the middle because it's all going to be a great day boring stuff but what I'm mainly going to be looking at when adjusting my pictures would be the ends of the history and what I want to see is are the gaps there or other spikes on the end when I talk about gaps I just mean does the history graham go all the way across the width that was available on each side when I talk about spikes I mean on lee at the absolute ends of where it could show up meaning right here right there or right over here so if there are gaps on the ends that means we don't have black and we don't have white it is the gap is on the left you have no black if the gap is on the right you have no white and if you would like to change that you congrats on the slider that forces areas too why are sorry forces areas to black pull it in until it touches the history graham and now the darkest area is black if there's gap on the right side you grab this pull it over until it touches the history graham and now the brightest part would be white if I click ok and open this again watch what happens to the history and we'll get an updated one see now it goes all the way across it gave us an update so levels could be overly useful. The history graham though, really relates to it a lot in some looking for gaps or spikes on the ends you can get a history graham when using other adjustments by going to the window menu and choose history graham and there you'll find it up here in the upper right of your screen and when you're evaluating if you have black or white in your image, ignore the colors just look at the great part of the history and see is there gap on the ends or not? If their gaps than pulling in the end controls and levels could help? So so far we've talked about applying our adjustments directly to the image most of time when I'm applying an adjustment, I don't go to the image menu and choose adjustments to apply it. Choosing it from this particular menu applies it directly to the layer that you're currently working on and in general it's a permanent change if you choose save and then close your image and open it six months later there's no way to undo that adjustment there's no way to look at what the image used to look like before the adjustment and that could be a problem if I end up making some sort of change to my image and I don't get around to printing the image for a while and then I go on prince it and I went, well, wait a minute, it's too dark or I took out too much of the color when I adjusted it. If I'm going to this menu to do it there's no way to get back to the adjustment later to fine tune the settings I could always go back and re adjust the picture in hope I can remember what kind of change would like to make but let's say one of the changes I made is I went toe levels and I pulled in the slider on the left side of force areas to black, and I pulled it in way too far and I forced a huge area to solid black and just didn't realize it until later on when I made a print, maybe this was a background element like a tree in the background or something? Well, if I saved and close this image opening a month later, what's adjustment could I go into to try to take areas that are solid black right now and suddenly magically bring back detail? There isn't an adjustment and photoshopped that could do that, but if I apply that adjustment in a different way then I'll be able to find tune it later in any time, the way I usually apply my adjustments is instead of going to the image menu and choosing adjustments, I go over to my layers panel and at the bottom of the layers panel, you're going to find a half black and half white circle right there that's where you can create an adjustment layer, you can either go to that icon or if you go to the layer menu, there'll be a choice of new adjustment layer, and you'll also have a list there. If I come in there and apply my adjustment via this menu, then I can always change it in the future because when I choose let's, say, black and white, I could do my black and what adjustment and I could make changes to the settings. But it's not permanent, because if you look in the layers panel, the original picture will be sitting here underneath, and then we'll have my adjustment on top it's a ziff, we're standing at the top of the layers panel looking down in order to see our picture. We're looking through this adjustment just like you might look through a pair of sunglasses when you see stuff outside if you take this out of the way by either dragging into the trash can or just turning off the eyeball that's right there then you're going to get it out of your way. So now you can get a direct view of what's underneath it, which would be an original picture. Turn the eyeball back on, and then it affects your view of it. But it's a ziff, you're at the top of the layers panel looking down, and you have to look through that to see your picture with an adjustment layer. I can make changes at any time if I close this image, save it as long as they say that in the file format, the supports layers, I can open this image six months later, and if I click on that layer that contains my adjustment right up here, I'll see the adjustment and I could find to the sliders is if I never left the adjustment in the first place and that's how I usually apply my adjustments because it gives me a lot more versatility. I can make changes at any time, and I can do a lot of other function ins. For instance, sometimes I make an image look black and white, and then I try to bring back some of the colors within the image, the way I can do that is to my layers panel you haven't opacity, control, this means that what strength? In this case, should this adjustment applied in my picture? So right now we're getting one hundred percent of the adjustment. If I click on the word opacity and just drag left or right, I can reduce it, and now we're on get it get eighty five percent of that adjustment that means it's going to bring back some of the original colors within the picture so let's, see what it looks like? You click on the word opacity start dragging to the left first I could drive way to the left to get it to zero this is what it looks like, one zero of the adjustment, then I can slowly bring it up higher and higher. You get it closer to looking black and white, and so sometimes I want just to hint to color in the picture and I do that by doing a black and white adjustment layer and then lowering the capacity so it lets some of the original show through that's true for any adjustment that you can do it is adjustment layer, but you're going to find that certain adjustments are simply not available is an adjustment layer to remember the one we used earlier that was called shadow highlight shadow highlight is not found in this menu where you created adjustment layer. And there are a couple other things that you won't find there, but there's a reason why they don't show up there's a limitation to how adjustment layers work on adjustment layer needs to be able to figure out what to do with any part of your image without having to rely on what surrounds it within your picture, so that it could figure out what to do if you gave it one single pixel that makes up your image in with shadow highlight, it needs to know what the surroundings look like in order to know howto work, because there is a slider, and they're called radius and there's one called mid tone contrast that effects what the rest of the image looks like in a way where it needs to know how the area you're adjusting relates to its surroundings, and it just makes it so technically, it can't be implemented as adjustment layer so unfortunately there's some of the adjustments that won't be listed there. Most of them are, though, and so most the time I used the adjustment layer. When I'm not working on a complex image, I will often have ten, fifteen, even twenty adjustment layers working on various areas of my picture, I'll have one adjusting somebody's eyes, all of another one touching up their forehead, I'll have another one working on their skin tone overall. I'll have another one adjusting the blue sky to make a darker and deeper blue and I'll have a whole bunch of them but they become much more useful once she learned how to work with masks whenever you have an adjustment layer, if you look in the layers panel, you'll find that there's an icon on the left which represents what type of adjustment you're applying and then there is a thumbnail over here on the right, which is your mask this icon right now is looking generic usually that icon will reflect the type of adjustment you have, so a curves adjustment layer will look different than a levels adjustment layer the icon will change each time right now it's looking this way because my thumbnails that air showing up in my layers panel are so small it just doesn't have room I'm going to make these thumbnails bigger just so you can see what that would usually look like one way of making the thumbnails bigger and your layers panel is to go to the empty area right here impress the right mouse button on your keyboard and then you'll be able to choose how large those thumbnails are if I make him larger now you see the normal icon that would be there that's what a black and white adjustment layer usually looks like let's add a few other adjustment layers just to see what they usually look like levels looks like a little history, graham human saturation usually looks like that but each one would usually have a difference um icon if you ever see a generic icon there it just means you're thumbnails or too small to have room to show those choose undo a few times to get rid of those all right when it comes to an adjustment later you have the mask you just need to glance the mask and make sure it's active by active I mean the corners are highlighted you see this little brackets around the corners if you don't see that instead if it looks like this where the brackets or not there then the mask is an active we needed to be active now let's see what happens if I go to my tool panel in the tool pan on the left side of my screen? I'm going to choose the brush tool this tool right here with the brush tool active I'm going to go to the bottom of my screen bottom left and here we have my foreground color which is the color I'm going to paint with in my background color I need this foreground colored here to be black if it's the opposite of what I need where black is on the bottom instead I can click the celera all that does is switch these two colors the top color is always what you're painting with any black to be at the top now I'm gonna paint and watch what happens to my image when I paint when I'm painting it's bringing the image back to what it used to look like before I applied that adjustment when I let go of the mouse button watched the layers panel because it's gonna update to reflect the changes that have made you see where the black paint went if you look in the layers panel, it actually went in a little mask that's here the way masks work when they're attached to adjustment layers is any area the mask that is black prevents the adjustment from changing your picture any part of the mask with its white allows the adjustment to do whatever it would usually do, and so if I don't want this adjustment to affect the entire picture, I just make sure the mask is active so it's little corners are highlighted if they're not I click anywhere within the mask, it'll make it active and then I grabbed my paintbrush tool and with the paintbrush tool active, I make sure black is on top so that's what I'm using to adjust and I paint wherever I didn't want the black and white too apply to the image if I paint in too large of an area, then I clicked that little double arrow icon to get white on top and that I can paint and it puts white back into the mask and white is what allows the adjustment to apply. And so now wherever I paint with white it's going to apply my adjustment and so I very frequently do that I often want to control where somebody's going to first glance in a picture usually it's going to be the most colorful area of the image, and so I might add a adjustment layer that makes the image less colorful all paint with black on top of the areas where I wanted to remain in full color and then if I don't want it to feel like these women are just pasted on top of a black and white photo background, I can lower the opacity of this layer remember lowering the opacity lessons it as a whole, so I'll click on the word opacity and lower it and slowly bring it up and I'll bring it up until I noticed that it's been messed with and then I'll bring it down a little bit until you find the highest setting where I can't really tell I've done something to the image, maybe somewhere in there where I can tell that I've applied anything weird to the image I want to see before and after I turned off the eyeball in this layer that's going to hide the adjust mint before and after and you see how I made the background less colorful made it so they stick out more because they're the most colorful area the image now so when you create an adjustment layer you do it at the bottom of your layers panel you click on the half black and half white circle that gives you a list of all the kinds of adjustments you could apply when you choose one of these your adjustment will appear in its own little panel over here so you confined to in the settings for any particular adjustment and when you're done you can paint on the mask or lower the opacity toe lesson where how much it applies to the image or where it applies to the image questions about the basics of adjustment layers when it comes to working out a simple image like a single image in it on that should not an overly complex document you talked a little bit about capacity and adjusting capacity but you didn't talk about phil yeah is that something going to get into or can you talk a little bit about capacity versus phil and how that affects a layer like an adjustment layer? Sure at the top of the layers panel are two choices one is called opacity and the other is called phil I will discuss the more later but just to give you an answer so it's you know answered in your head is when it comes to an adjustment layer the two are identical when it comes to most layers, the tools do the same thing. The time that it will be different is if you've ever gone to the bottom of your layers panel and clicked on the letters fx and applied any of these if you've applied to drop shadow a bevel in boss or any of these effects to a layer then what happens is capacity will lessen all of what's in that layer like the picture that's there as well as the effects that phil will leave the effects at full strength it will take the picture that's in that layer or whatever else is in that later let's say it's text in it a lesson in it so you can see through it but whatever effect is applied will stay at full strength so you could bring phil all the way down to zero and if you had let's say some text in that layer the text would just disappear but whatever effects were applied to the text, the drop shadow or the bevel in boss would stay at full strength cnc where the text used to be because the effect is there uh and so once we work with layer styles which is what this menu ads, then those two will start feeling different from each other and thanks sure you mentioned that highlights and lights and shadows or not available is adjustment there would you recommend using if you want to adjust those adjusting them via straight adjustment or doing in cameron rule well, if my image needed it and I from the start with any of these adjustments I would usually do him in camera rock to begin with it's on lee when I need to apply them to a more isolated area like I need to paint on the mask to say don't affect the whole thing that I would do it here in photo shop instead of doing something in kameron there is a work around to get shadow highlight to apply to a layer in a way where it is not permanent um since adobe couldn't implemented it is an adjustment layer just cause it doesn't fit within the technology of an adjustment layer here's what you need to do to get it to apply in a way that you could change later the first thing you need to do is click on the layer contains your picture so that's what's active the second thing you need to do is go to the filter menu and under the filter menu is usually a choice called convert for smart filters convert for smart filters that's one of the menu commands I had hidden remember when we hit a lot of menu commands that's one of my head so I had to hold on the command key to see it but convert for smart filters watch my layers panel look at the little thumbnail image for that layer and you'll see that an extra icon will appear on top of it when I choose this do you see little extra icon, that thing that's the only indication that you did something that made this layer special it turned it into something called a smart object, not something we're going to talk about all that much in this foundation's course we'll talk about it a lot more and of course when we talk about collage creating collages in general which is a future class but if you do that then you can come over here and apply shadow highlight and it's applied in a special way let's say come in here and adjust it I want to bring out that shadow detail a little bit tongue contrast adjustment and I click ok if you look in my layers panel now you will see that it looks a little different the setup that's there now we have that layer it's in some weird mode called a smart object in them. The shadow highlight is kind of attached to it right here and if I wanted disable shadow highlight I could turn on the eyeball that's right next to that and it would disable shadow highlight turn it back on and it would turn it if you want to change the settings I double click on the name shadow highlight and it'll show me the settings again so I could find to him and say, no, I want to limit it more to the shadows like that, but what I had to do to get it to work that way is clicking the layer that contain the picture, go to the filter menu and choose convert for smart filters. And then after I do that, I apply shadow highlight, and now it also has a mask, which is this one right here. And in order to paint on the mask, I just need to look at it because it wasn't active by default, the little corners weren't highlighted, I did click on it, and now I can use my paintbrush, and if I paint with black, I could say shadow highlight don't apply over here. I didn't want you to bring out shadow detail there don't apply out here to these other areas only apply to where those women are standing or sitting. I should say, um like that so that's the special instance when it comes to shadow highlight it's kind of an oddity, but they wanted to implement it in some way, and they just figured out of kind of weird method for doing so then question from enrique mallika what's the difference between moving the history ram sliders and output levels uh, good lives, okay? Meaning how does the output levels affect the history? Ma'am, I think I think it's the difference between yet the difference between moving the history ram sliders in the output because there are no sliders relationship history rams that's why I'm saying so let me just show you what happens in case this will answer his questions if I go toe levels and I pull in the bottom slider it's going to mean that the brightest part of my image is going to end up being exactly this bright right here, which means if I click ok and open this a second time so it gives me an updated history graham the history graham is going to end exactly right there I mean directly above where this slider is placed if I pull this one in when I opened this again to get a new history ram it's going to end exactly right there. So watch what happens out click ok and just remember approximately how far these were from the ends I'll go back in the levels and now do you see it starts right where that one was set dens right where that one was set so that's how it affects the history and but there are no history graham sliders, so I don't know what he was referring to when it comes to that, so I'm not sure if that answered his question or not absolutely okay, this is from void source. Can you tell us how blending modes will change the adjustment layer blending moses the menu that you find at the top of your layers panel? If you click on an adjustment layer, then you could change the menu that is found right here, the one that says normal two different blending month. I find the most useful blending modes to use with adjustment layers are two of them. One is called color in the other is called luminosity. They're the opposites of each other in what they do is color will make it so an adjustment khun onley affect the color of your picture and therefore cannot affect the brightness of it. So if you ever applying an adjustment where you like what it does to the color of your picture, but you don't like what it did to the brightness, then you could center to color mode, and then it will only be able to change the color in your picture. It will not be able to change the brightness. I'll show you an extreme example of that. I'm gonna create an adjustment layer called invert invert will turn this image into a negative of itself, so bright areas will become dark, dark areas will become bright, and we'll see the opposites of all the colors that are in here. Well, maybe I like that the sky turned yellow in the tree turn kind of purplish the background turn kind of bluish but I don't like what it did to the brightness, so I changed the pop up menu to a choice called color and then it's only going to be able to affect the color of my picture it will not affect the brightness and so now the brightness looks normal and I got these weird colors it's the opposite of all the colors that would usually be there looks weird, but sometimes you want something weird but that's color the other choice is luminosity and that is if I ever make a change where I'm trying to change the brightness of my picture but in trying to change the brightness, I noticed the color shift as well. This isn't a great example image, but in general anytime you darkening picture it seems to become more colorful as you do it's not overly obvious in this particular picture but it's a common artifact of darkening well if I find when darkening the image I didn't like the fact that the color shifted around I should come in here and change this instead to a choice called luminosity and then any color changes that happened would be wiped out and you would only get a brightness change with that adjustment those air the two months common blending modes that help with adjustment layers they're overly useful. Color and luminosity. The other ones you can experiment with, but are not as useful for straightforward adjustments.

Class Description

Part of the Complete Photoshop Mastery Bundle.

An expert's view of the basics designed to get anyone ready to become a Photoshop pro. Imagine learning the absolute essentials from someone who has used Photoshop for well over 20 years, is in the Photoshop Hall of Fame and has taught way over 100,000 Photoshop users. We'll start off by simplifying Photoshop's interface to make it less overwhelming and then jump in and learn the absolute essentials. This course will cover everything one needs to know in order to be truly effective with the program.

• Simplifying the Interface • Browsing your images with Bridge • Understanding Resolution • Which File Formats to use • Essential Tonal Adjustments • Essential Color Adjustments • Isolating areas with selections • The fundamentals of layers • Troubleshooting Techniques • Workflow Overview


Software Used: Adobe Photoshop CS6

Reviews

dennis hartman
 

Great teacher. The course is great even if CS6 seems hard to work on. I brought up my CS6 and did on it what he was teaching. What a learning curve. He made it fairly easy. Thanks for the great help.