The Adobe Photoshop CS5 Book for Digital Photographers part 8 ppsx

ptg Deleting Multiple Images While Editing in Camera Raw If you have more than one image open in Camera Raw, you can mark any of them you want to be deleted by selecting them (in the filmstrip on the left side of Camera Raw), then pressing the Delete key on your keyboard. A red “X” will appear on those images. When you’re done in Camera Raw, click on the Done button, and those images marked to be deleted will be moved to the Trash (PC: Recycle Bin) automatically. To re- move the mark for deletion, just select them and press the Delete key again. Get a Larger Preview Area If you have multiple images open in Camera Raw, and need more room to see the preview of the image you’re cur- rently working on, just double-click right on that little divider that separates the filmstrip from the Preview area, and the filmstrip tucks in over to the left, out of the way, giving you a larger preview. To bring it back, just double-click on that divider again (it’s now over on the far left side of the Camera Raw window) and it pops back out. Constrained Cropping Is Here In CS5, they added the ability to crop while keeping the same aspect ratio as the original image. Click-and-hold on the Crop tool in Camera Raw’s toolbar, and from the pop-up menu that appears, choose Constrain to Image. Rule-of-Thirds Cropping Is Here This one Adobe borrowed from Camera Raw’s sister program Photoshop Light- room, because now (like in Lightroom), you can have the “Rule-of-Thirds” grid appear over your cropping border any- time by just clicking-and-holding on the Crop tool in the toolbar, then choosing Show Overlay. Jump to Full Screen Mode in Camera Raw If you want to see your image in Camera Raw as large as possible, just press the F key, and Camera Raw expands to Full Screen mode, with the window filling your monitor, giving you a larger look at your image. Shortcut for Viewing Sharpening The best zoom magnification to view your sharpening in Camera Raw is a 100% view, and the quickest way to get there is to just double-click the Zoom tool. Help with Fixing Chromatic Aberrations If you have an image where you have more than one chromatic aberration (which is quite common), this might make things easier: when you’re fixing the first color, press-and-hold the Option (PC: Alt) key before you start dragging the slider. This isolates that color slider, and lets you focus on fixing just that one color for now. 51Chapter 2The Essentials of Camera Raw The Adobe Photoshop CS5 Book for Digital Photographers Photoshop Killer Tips Download from www.wowebook.com ptg Photo by Scott Kelby Exposure: 1/400 sec | Focal Length: 20mm | Aperture Value: ƒ/8 Download from www.wowebook.com ptg Chapter 3 Camera Raw—Beyond the Basics 53 When I searched The Internet Movie Database (IMDb) for movies or TV shows containing the word “Raw,” I was pleasantly surprised to find out just how many choices I actually had. However, I went with the 1994 movie Raw Justice, but I don’t want you to think for one minute that I was influenced in any way by the fact that the star of the movie was Pamela Anderson. That would be incredibly shallow of me. Like any serious movie buff, I was drawn to this movie by what drew most of the audience to this movie: actor Robert Hays (who could forget his role in 2007’s Nicky’s Birthday Camera or the Michael Tuchner– directed film Trenchcoat). Of course, the fact that Stacey Keach was in the movie was just the icing on the cake, but everybody knows the real draw of this flick clearly was Hays. However, what I found most puzzling was this: in the movie poster, Pamela Anderson totally dominates the poster with a large, full-color, ¾-length pose of her wear- ing a skimpy black dress, thigh-high boots, and holding a pistol at her side, but yet the other actors appear only as tiny black-and-white, backscreened headshots. I have to admit, this really puzzles me, because while Pamela Anderson is a fine actress—one of the best, in fact—I feel, on some level, they were trying to fool you into watching a movie thinking it was about Pamela Anderson’s acting, when in fact it was really about the acting eye candy that is Hays. This is called “bait and switch” (though you prob- ably are more familiar with the terms “tuck and roll” or perhaps “Bartles & Jaymes”). Anyway, I think, while “Raw Justice” makes a great title for a chapter on going beyond the basics of Camera Raw, there is no real justice in that this finely crafted classic of modern cinematography wound up going straight to DVD. Raw Justice camera raw—beyond the basics Download from www.wowebook.com ptg 54 Chapter 3 Camera Raw—Beyond the Basics The Adobe Photoshop CS5 Book for Digital Photographers Step One: Open the photo you want to double- process. In this example, the camera properly exposed for the foreground, so the sky is totally blown out. Of course, or goal is to create something our camera can’t—a photo where both the inside and outside are exposed properly. To make things easy, we’re going to open this image as a Smart Object in Photoshop, so press-and-hold the Shift key, and the Open Image but- ton at the bottom changes into the Open Object button. Click that button to open this version of the photo in Photoshop as a Smart Object (you’ll see the advantage of this in just a minute). As good as digital cameras have become these days, when it comes to exposure, the human eye totally kicks their butt. That’s why we shoot so many photos where our subject is backlit, because with our naked eye we can see the subject just fine (our eye adjusts). But when we open the photo, the subject is basically in silhouette. Or how about sunsets, where we have to choose which part of the scene to expose for—the ground or the sky—because our camera can’t expose for both? Well, here’s how to use Camera Raw to overcome this exposure limitation: Double-Processing to Create the Uncapturable SCOTT KELBY Download from www.wowebook.com ptg 55Chapter 3Camera Raw—Beyond the Basics Continued The Adobe Photoshop CS5 Book for Digital Photographers Step Two: Your image will open in Photoshop as a Smart Object (you’ll see the layer thumbnail has a little page icon in the bottom-right corner). So, now we need a second version of this image—one we can expose for the sky. If you just duplicate the layer, it won’t work, because this duplicate layer will be tied to the original layer, and any changes you make to this duplicate will also be applied to the original layer. So, to get around that, go to the Layers panel, Right - click on the layer, and from the pop-up menu that appears, choose New Smart Object via Copy. This gives you a dupli- cate layer, but breaks the link. Step Three: Now double-click directly on this dupli- cate layer’s thumbnail and it opens this duplicate in Camera Raw. Here, you’re going to expose for the sky, without any regard for how the foreground looks (it will turn really dark, but who cares— you’ve already got a version with it prop- erly exposed on its own separate layer). So, drag the Exposure slider way over to the left, until the sky looks properly exposed (I also increased the Recovery, Blacks, and Vibrance settings). Now, click OK. Download from www.wowebook.com ptg 56 Chapter 3 Camera Raw—Beyond the Basics The Adobe Photoshop CS5 Book for Digital Photographers Step Four: You now have two versions of your photo (as seen here), each on different layers—the brighter one exposed for the foreground on the bottom layer, and the darker version on the layer directly on top of it, and they are perfectly aligned, one on top of the other. TIP: Always Opening Your Images as Smart Objects If you always want your RAW-processed images to open as Smart Objects, click on the workflow options link at the bot- tom of the Camera Raw dialog (the blue text below the Preview area), and when the dialog appears, turn on the Open in Photoshop as Smart Objects checkbox. Download from www.wowebook.com ptg 57Chapter 3Camera Raw—Beyond the Basics The Adobe Photoshop CS5 Book for Digital Photographers Step Five: Next, we’ll blend these two images using a layer mask. Go to the Layers panel, press-and-hold the Option (PC: Alt) key, and click on the Add Layer Mask icon at the bottom of the panel. This puts a black mask over the layer with the photo exposed for the sky, covering it so you only see the lighter image on the back- ground layer (as seen here). Now, press the letter B to get the Brush tool, then click on the Brush icon in the Options Bar and choose a medium-sized, hard-edged brush from the Brush Picker (this helps to keep you from painting outside the lines). Press the letter D to set your Foreground color to white, and start painting over the areas of the photo that you want to be darker (in this case, the sky). As you paint with white directly on that black mask, the white reveals the darker version beneath the mask. Below is a before/ after of the image. Before After Download from www.wowebook.com ptg 58 Chapter 3 Camera Raw—Beyond the Basics The Adobe Photoshop CS5 Book for Digital Photographers Step One: The key to making this work is that the photos you edit all are shot in similar lighting conditions, or all have some similar problem. In this case, our photos are from an indoor basketball game, and there’s a green color cast to them from the lighting on the court. In Mini Bridge, start by selecting the images you want to edit (click on one, press-and-hold the Command [PC: Ctrl] key, then click on all the others). If they’re RAW images, just double-click on any one of them and they open in Camera Raw, but if they’re JPEG or TIFF images, you’ll need to select them, then switch to Review mode, and then press Option-R (PC: Alt-R). Step Two: When the images open in Camera Raw, you’ll see a filmstrip along the left side of the window with all the images you selected. Now, there are two ways to do this and, while neither one is wrong, I think the second method is faster (which you’ll see in a moment). We’ll start with the first: Click on an image in the filmstrip, then make any adjustments you want to make this one image look good (I tweaked the white balance so it wasn’t so green). One of the biggest advantages of using Camera Raw is that it enables you to apply changes to one photo, and then easily apply those exact same changes to a bunch of other similar photos taken in the same approximate setting. It’s a form of built-in automation, and it can save you an incredible amount of time when editing your shoots. Editing Multiple Photos at Once SCOTT KELBY Download from www.wowebook.com ptg 59Chapter 3Camera Raw—Beyond the Basics Continued The Adobe Photoshop CS5 Book for Digital Photographers Step Three: Once you’ve got one of the photos looking good, click the Select All button up at the top of the filmstrip to select all the photos (even though it selects the rest of the pho- tos, you’ll notice that the image you edited is actually the “most selected” image, with a highlight border around it). Now click the Synchronize button (it’s right below the Select All button) to bring up the Synchronize dialog (seen here). It shows you a list of all the things you could copy from this “most selected” photo and apply to the rest of the selected photos. Choose White Balance from the pop-up menu at the top, and it unchecks all the other stuff, and leaves just the White Balance checkbox turned on. Step Four: When you click the OK button, it applies the White Balance settings from the “most selected” photo to all the rest of the select- ed photos (if you look in the filmstrip, you’ll see that all the photos have had their white balance adjusted). Okay, so why don’t I like this method? Although it does work, it takes too many clicks, and decisions, and checkboxes, which is why I prefer the second method. TIP: Editing Only Select Photos If you only want certain photos to be affected, and not all the ones open in Camera Raw, then in the filmstrip, Command-click (PC: Ctrl-click) on only the photos you want affected and click the Synchronize button. Download from www.wowebook.com ptg 60 Chapter 3 Camera Raw—Beyond the Basics The Adobe Photoshop CS5 Book for Digital Photographers Step Five: In the second method, as soon as Camera Raw opens, click the Select All button to select all your images, then go ahead and make your changes. As you make the changes to your “most selected” photo, all the others are updated with your new settings almost instantly, so you don’t have to remember which settings you applied—when you move one slider, all the images get the same treatment, so you don’t need the Synchronize dialog at all. Try out both methods and see which one you like, but if you feel the need for speed, you’ll probably like the second one much better. Download from www.wowebook.com . Download from www.wowebook.com ptg 58 Chapter 3 Camera Raw—Beyond the Basics The Adobe Photoshop CS5 Book for Digital Photographers Step One: The key to making this work is that the photos you edit. Raw—Beyond the Basics The Adobe Photoshop CS5 Book for Digital Photographers Step Four: You now have two versions of your photo (as seen here), each on different layers the brighter one exposed for the. www.wowebook.com ptg 57Chapter 3Camera Raw—Beyond the Basics The Adobe Photoshop CS5 Book for Digital Photographers Step Five: Next, we’ll blend these two images using a layer mask. Go to the Layers