before we took our break I think I had an image up on screen where we were talking about adjusting color and I mentioned that here was one that was kind of bland looking and that I could adjust using white balance and I happen to find the end result of that image so if we show what's on my screen right now this is the end result of the image I showed before break and if you remember the original it had more of a gray sky to it in the buildings were dark and all that kind of stuff and this was done purely and camera it was actually done in light room which is the equivalent to came a raw and that's what I'm in right now because that's where I could find the end result even though I don't have the hard drive connected with the image so anyway this theater is also show you what the original looked like just so you can compare it and there's the original so you can see how dramatic of a change you can make using just camera and part of that is if you just look at the sky there's the tinies...
t hints of yellows and things and we can bring that out by making the much more colorful and by pushing white balance towards yellow to get it to really come out so I just want to show that since I had shown it before we got in there so now let's look at localized corrections where we can paint them into various portions of the image and see what we can come up with so I'm going to first get rid of adjustments on some of these we'll be doing that quite a bit just to get back to original pictures and we'll start with this one this isn't the best picture necessarily but I just needed an image to work on this one was convenient but what I want to show here is how we can compensate for some changes we might apply to the entire picture and kind of undo them in certain areas using feature notice the adjustment brush so at the top of my screen we got a bunch of tools in one of them looks like a brush this one here not the brush that has little specks next to it but just the brush that's the adjustment brush in with that I have a limited set of adjust it's on the right side that I can apply it's not the same set of adjustments we had before it's a smaller set of them where I can brush them onto my image so first before I actually get into that let me get out of this tool by going back to the hand tool and I'm just going to just the image as a whole to do some things that might help the sky at the top but in doing so might harm the waterfall and I'll show you how I can undo them using that brush tool so let's say want to gets more shattered detail first off I'll bring up my shadow so I can see a little but mohr of what was in there and I might want to see a little bit more detail in my clouds so I'm going to bring down the highlights and if you watch the cloud do you see that it's uh getting a bit darker but the problem is when I lower this highlights slider he doesn't just think about the clouds that might be what's in my head it thinks about everything that's bright and so the waterfall if you watch it when I'm moving the highlights slider you see it getting darker and I don't think it helps the waterfall might help the cloud though to bring a little bit of detail in so what I'm going to do is I'm simply going to remember what setting was applied to the highlights of the image overall so if you look right now the setting for highlights is a negative sixty I want to try toe undo that on lee from where the waterfall is and keep it at negative sixty everywhere else so here's how we do it I'm gonna grab my brush and the brush is going to remember the last settings you used and remember if you want to zero out any of these settings you khun double click on them so I can come in here and zero out whatever I need and all I'm going to do is set the highlights to the opposite of what supplied to the entire picture so went the highlights set to negative sixty so I'm going to bring this one to positive sixty and when I paint on my image with this setting jane it's going to in effect undo what's been applied to the entire picture that makes sense negative sixty and a whole image positive sixty right here is going to cancel it out so now I can come in here and just paint where the waterfall is and as I paint it should end up hold on one sec he have to turn up we'll talk about that setting a few minutes it's called flo and it kind of means how much of the adjustment should I get when I first paint and I needed to be turned all the way out so it can apply at full strength now we have a preview checkbox in the upper right and remember that the previa check boxes going on ly preview what you've done in the currently active tab you were tool not everything you've done to the entire picture but just what this particular function I'm using right now it's done so I'm going to turn that off and you'll see that before this is what it looked like when we had negative sixty on the highlights than the waterfall was more dark when I turn this back on you can see how by painting I've kind of undone those dull highlights that air in there the other thing that I could do in this particular image is instead of just compensating for what's been applied to the entire picture I could do other things I can come in here and maybe bring up the clarity to get the detail in the waterfall to come out more I could say maybe I want more shadow detail in that particular area but I can dial in all of that and it's on ly applying where I've already painted and I can see where I've painted if I simply move my mouth over the image there will be what's known as a pin on the image wherever I first clicked to start painting and right now it's a green pin with a little black dot in the middle the black dot in the middle means it's active so that if I move the sliders around I'm affecting that pin and if I move my mouse on top of it watch what happens I'm not gonna click on it I'm just gonna hover in usually when I do that it would show me an overlay but right now it doesn't want to so at the bottom there is a choice and that actually amount so usedto light room which is where I'm used to that happening a tte the bottom of this set of sliders there's actually a check box where I can force it to show up in that check boxes called show mask if I turn it on it will show me what portion of the image is being affected by that brush and I can change the color of that overlay because if that area had painted on was green grass might be hard to see in a green overlay so if you click on the little rectangle to the right you could choose any color you want for that overlay it would just bring up a color picture so that's for that particular image where the main thing you learn there is that you can undo some of the other settings by using the opposite setting just painting it in so let's try this on a few images and just see what kind of changes we might want to make to an image and what might want to do overall I'm gonna open a few images and if there's already any painting on them I'll remove it because I've used these images before for many different uses and you never know if I've used this tool before or not okay I know this one hasn't been all right so let's take a look uh first off with your open a picture and you see an exclamation point do you see in the lower left of where the picture would show up right down here that guy with that usually means is this was adjusted previously with an older version of photo shop and since that version of photo shop they've updated the kind of sliders that they have available in photoshopped to make them more sophisticated in what it's doing is showing you the old sliders here that you would usually get with the old version of photo shop because it's trying to keep it looking consistent with what you had last time you had it and that's nice because if you had it where let's say you make prints of this image and you want to make another print open the image to do it you'd want it to be consistent but if you want to get to the newer sliders just click on that exclamation point and it will update and give you the more modern sliders the image will look slightly different though because we have different kinds of slaughter in applied but well it will somewhat attempt to um reproduce what you had just so you know if you ever for some reason want the old sliders back there's any image and you just know that in the older version of photo shop he would have been better if correcting this particular picture with the old sliders usually they're less sophisticated old sliders but if for some reason you're nostalgic and you want it back here's how you can get them back with any picture you ever open uh if you look at the various tabs that go across here one of them is supposed to look a bit like a camera it doesn't quite look like the camera's doesn't have much of a view finder hump on it but if you click on that that's called camera calibration and at the top of the list of settings that air there it's called process and you can switch between the kinds of sliders that they invented in two thousand twelve introduced them instead you could change to the kind of sliders they had back in two thousand ten version of photo shop or back in the original version of camera I think that's what this one would be although it might not be quite original two thousand three and therefore when you went back to the adjustment sliders you would have a different set of sliders available so if I go back to two thousand ten you see the exclamation point shows up again saying you're using old version of the sliders and if I go to the left most tab thes air old sliders he see don't have things like highlights and shadows and all that so just so you know if you ever see that exclamation point that's what it means this thing was adjusted with an old version if you want to use the more modern ones click on it another thing that can show up when you're opening an image is you might see a yellow triangle appear right up here and let me see if I can get that to show up I'm not sure if we'll be able to or not I'm just going to open any picture and it only show up for a moment so watch the upper light upper right corner why double click you see right there and then it'll go away and just so you know what that means means it means this hasn't fully loaded the picture yet there's a low resolution preview that it has stored and it's just quickly pop that up and then it's loading the rest of the file in and once it's done loading that goes away saying now we're working from the actual image data not just a lower rest preview so what people ask you about it if you see it you'd be like what the heck is that thing I wish that would tell me so okay so let's start working within our adjustment brush and see what we can end up doing with it there's all sorts of things we can dio but one of them is a nice stuff we could do with skin tones and faces in general all right well when you working on the images a whole let me update this one to the current process one of things that a lot of people will end up doing is they will end up coming in and applying clarity to the image to emphasize the details are in the image and in this case clarity might make the hair that's in here look more interesting in fact it's already turned up let me turn it down here's what it looked like before it's been turned up and it really emphasizes the detail in the hair to see that the problem is that that also emphasises the detail in the skin and most people don't want to see the fine details of their skin you have little imperfections in the skin and bringing up clarity is going to exaggerate a mall going to make anybody that you apply that to look older so first let's try teo get this clarity do not affect her face so all I have to do is remember what is currently said teo and right now it's that plus twenty three so I'll just remember that number I'll go to my brush tool and I'll just see what it's dialed in with right now it looks like they're all zeroed out which is good and I'm just gonna bring clarity down to negative it was a twenty three so negative twenty three and I'm going to paint that on to her skin and it's going to remove the clarity that in applied to the rest of the image from her and therefore it will smooth her skin out mohr and just to see if I covered all over face I'll go to the bottom and turn on show mask and you see I'd actually extended into her hair so what I might want to do is refined that but we haven't really talked about how you can control your brush yet so we'll get into that a little bit where I show you how to refine it so anyway applying negative twenty three and clarity just undid the clarity that's being applied to the rest of the picture but it can actually be good to apply negative clarity to faces because it's going to soften the face it's going to make its of any imperfections that the camera captured are lessened and so I could simply take this and bring it further into the negative because negative twenty three endo's would supplied to the rest of the image bring it even further down is going to smooth out our skin more I'll just bring it down and bring it back up a little bit to see you get a sense for her face changing if you bring it down too far she'll just look artificial it'll look kind of odd actually but just a little bit of that on faces could really help now if you learn how to be careful with your painting you could make it so that that negative clarity does not affect things like her eyes her teeth and other things where you do want to see the full detail so let's talk a bit about how we can control where we end up painting I'm gonna open an image that's already been done and I'll show you what it started out with see here's the result of my image this image has both some photo shop applied to it and some camera wrong so I'm going to just get rid of what was done in photo shop I'm going to turn off some layers and photo shop so you can see how much of it was done in photo shop before photo shop it looked like this after photoshopped it looked like that so just some subtle changes on the edges to get rid of distractions and photo shop then I'm gonna dial down a little further and we'll see what was done kamerad and we'll get to that adjustment brush and you'll see what it has done okay so this area out here has been affected by the brush and also the area at the bottom and will use this emissions to figure out how to get control over our brushes some I just deleted the changes that have been made the way I deleted them is you click on the pin which makes it active puts little black dot in the middle and then you hit the delete key get rid of that I'll also update this for the newer version of photoshopped okay so here's what we had when it was just justin and camera but I want to find tune it where I don't affect the entire picture on only affect isolated areas so let's look at how we get control over our brush the first thing I want to do is dark in the area that surrounds thes kids s o that the wood is much darker that should help to make them pop out because your eyes usually directed to whatever is bright in the photo and that way it'll be drawn directly to them so I'm just going to guess at what settings I might want to use to accomplish that and when I moved these sliders it's not going to affect the image it all yet because this is what we're going to be brushing onto the image and I haven't brushed on the image yet so I'm just telling it what would I like to brush in I'm going to bring the exposure down a little bit and I might also bring the shadows down a little and that's what I'm gonna end up rushing then I move my mouth on top of my image and there's a couple settings aiken changed to control what this brush looks like if I scroll down to the bottom of the list of adjustments they'll be settings for my brush one of them is a size setting so if I want a much larger brush I could do it there or a smaller brush but I never changed that slider instead I used my keyboard you can use the same keyboard circuits that work in the main part of photoshopped change your brush size one of the most common things for doing that is to use the square bracket keys they look like just two half squares there right above the returner in tricky and mo keyboards and I can use that to make me brush larger or smaller then we can control how soft the edges with the setting cold feather and again that's one where I never adjust the slider itself because I could do with my keyboard and it's something I'm so used to doing in photo shop that you get used to the keyboard shortcut because he uses so often and what that is is just hold down the shift key and use the same square brackets that used to change the size of your brush and instead of changing the size you're going to change how soft the edge of your brushes you can tell how soft the edges of from how much of a gap there is between the two circles that represent your brush if there is less of a gap like this you're getting a harder edge brush and if there's a larger gap between the two you have a softer edge brush so I might come in here and get a semi soft brush get to be a bit smaller so brackett keys and shift bracket is what I use the most there then before I start painting on my image there's a check box down here called auto mask we'll talk about that in a moment but for now I'm going to turn it off auto mask will try to prevent you from getting over spray onto surrounding objects on we'll turn on a little bit when it becomes useful so now I'm gonna click on my image and start to paint and this is when I start seeing the changes that I've asked for where if I look at what I dialed in I doubt in lowering the exposure and making the shadows darker so I'm just going to come in here paint this around and I'm going to get some over spray on him so I could fix it later and for now I'm just gonna paint across this whole building where I want it darker okay then I confined to the slaughters because now it knows where I want to apply it on and I could just find two of them go my exposure decide exactly how dark I'd like that to be see if the shadows is actually helping or not I don't know that it's doing much there bit down and maybe I'll make it a little bit less colorful because there's just little this hint of yellows near the top brownish yellow's so I'll bring the saturation down like that and so I think that really helped to make the kids pop out because there's nothing else that's bright to compete with them and usually if you mouse over one of these that would show you an overland not sure why I'm not seeing it here you saw it on a previous image didn't you what I most over on a green over life showed up but if it doesn't show up just by mousing over it I can turn on a check box called show mask and that tells me where I've affected the image now you can see that I have over spray onto the kids that are there and I really would not rather not darken them so what I can do is at the top of the right side you have three choices you can create a new adjustment where if I paint on my image the area that is adjusted is independent of other areas other areas have already adjusted you can add to the occurrence adjustment that's the default that's so you can let go the mouse button click again and again and you're just adding to the same adjustment or I can a race which is what I'm going to use right now if I use a race you get a different brush it will have separate settings for racing versus adding so often times when you race you end up using smaller brushes and things so it just remembers whatever setting you used last when you uh erased I could come over here paint and you notice that that green overlay disappears wherever it is I paint so I can get that over spray off of these guys but the problem is I need to be pretty precise about it because if I just generically come over here I can easily go over here onto the rest of the image it be nice if photoshopped could help me somehow to make it so I don't need to be quite as precise and I could do that when I turn on a check box called bottom ask what auto mask is turned on if you look at my brush closely you see the cross here in the middle will auto mask pays attention to the cross here and it says let's get paint on lee on the stuff that is the same colors what's under that cross there so if the area that I want to get in this case erase things off of if I get that cross hair to touch it and I never let the cross here touch the background the area surrounding it as long as that backgrounds different color it should be able to isolate it me zoom up a little bit saying see this little better click and you see how even though my brush extends onto the background area it's not a racing stuff from the background area now if I get the little cross hair to actually touch the darkest shadow in his outfit where it's going almost solid black that might be similar enough to the surroundings that it would actually start the leading let's find out okay this dark shadow right here actually it's doing ok but on occasion if I get into something like that the deepest darkest shadow it'll get the deepest darkest shadow outside of that object as well because they're so similar in color how did that come down here see if it doesn't good job but I just need to make sure the cross hair never gets onto the background otherwise it would pick up colors from the background and start leading the adjustment from areas of that color so let go click again on his hand there I saw a teeny bit of the background coming back over here you know if you noticed it or not that I can always go on the right side of my screen where I have the choice of new ad or a race and say I want to add back a little bit and I'll turn auto mask office I don't want to do anything where it uh tries to limit where I paint and I just get a real small brush and I say okay fine I'll bring back those areas where it took it away manually although there's areas probably aren't critical in this particular case goes darn near black in those areas and so you're not going to notice what I've done all that much in those areas here I see a little bit over here on the right and if you can see it we're talking tiny bit off the background I want to be precise I could come in there I can try it without a mask but it's going to limit where I'm painting and therefore I might have to teo paint him or areas in order to really get it back I'll choose a race once more turn auto mask on and let's get it off his head is here that kind of stuff so autumn asking me overly helpful it works also when you don't have the colored overlay turned on I have the colored overlay turn on with this check box called show mask it works the same way with show mass turned off it's just harder to tell what's happening and now let's zoom out just so you know when I'm zooming in and out uh using standard keyboard shortcuts in fact of the same keyboard shortcuts I used in bridge to make the thumbnails larger or smaller which is command plus and minus control plus amount of some windows on if you ever see me scrolling around standard keyboard shortcut for moving around your document both in photo shop and here in camera is press the space bar the space bar temporarily gives you a hand tool and that just means let me move my document around on dh so if you're wondering how it is I zooming up and moving around it's command plus and minus and the space bar to access the handle temporarily one final thing about that zooming around and moving around when I'm done working on a small area and I want to see the entire picture I can double click on that hand tool that's a shortcut which means fit in window same thing works and photoshopped to double click on the hand tool and it just means fit everything in my window that's the kind of stuff all list in in little in the guidebook is essential keyboard char cats and again I'll give you in little squares where I think this is an absorbable amount of them toe learn at once so that you can kind of progress into remembering all those your question or coming yeah quick quick question from a cm eighty three wondering is does it matter if the preview bun is on or off when you're trying to show the mask by hovering over the pen of the preview mask if the previous honor off let's find out if I get over here well the preview if you don't have it on the problem is it's not going to preview the adjustment that you put in so if you turn that off the adjustment would go away got it so I don't believe us that but it seems like if I don't have the pin active like right now it's not active there's not a black dot it works the way expect yeah if they pin is active then the only way to get it to turn on its with the show mass checkbox nice so that seems to be what it is but I thought it would even work when the pain is active at least I think it doesn't like from some overly used to that yeah right thank you when you're fine tuning would be better to zoom in on the pictures you sure do mean whatever you find it to be useful so it's a it's a combination of whatever preference you have a ce faras that goes and just how precise you need be so yeah so let's get back into this so first off just so you know this is what the original image looked like as it came out of the camera he and so we transformed it from that image which you know is an interesting composition necessary with interesting subject but I think the end result which is this is something where my eye knows where to go you goes to the area that's brightest and most colorful and it's not distracted by too much else and I personally like the end result better if I wanted to make changes like this in person and the scene I would have watered down the building because that was really dry wood and it would have soaked in some stuff but I couldn't quite have control like that so let's get back look and see what other features we might want to think about here's an image that I've already adjusted let's look at what it looked like from the beginning look over here to k moradi false there's the original capture so every transformation was done here in camera raw choose undo and theirs are my end result it's quite a bit different right some of that transformation was done with the adjustment brush if I choose the adjustment brush you see all the little pins that are on it and so let's take a look at what areas of the image were adjusted and what was done with each pin just remember after I was done adjusting one area all I had to do is choose new in the upper right and then click on the image again and I applied a brand new adjustment that could have completely different sliders applied to it and so let's look at each one sometimes I used the exact same adjustment on different pins I just find it easier to sometimes deal with them a separate units so I can add two and take away from the mask in different ways but let's just take a look here is my mouse over at the top part of the image something was done with and if I click on it then I can see the adjustment sliders that were applied and I did quite a few sliders that were there I probably started off with just one particular slider when I painted it in and then I find tuned it but if we take a look at what it's happening in that particular area the highlights are getting darker the exposure is getting a little bit darker the shadows air getting darker I'm not exaggerating the detail as much because that's what clarity does and I'm making it less colorful clothes in the main things that are happening there um and I'm also making it a little bit less warm all sorts of things and doing there but what it's doing is I mainly trying to make it to your attention is not drawn to this area instead you're drawn to wear those little areas of trees are right where I want you to be look go to the next area c it's a tiny little spot I don't know what I was doing there but if I click on it I'll be able to see what I applied on the right side if you look at it you see the highlights were turned way down and the clarity was brought down so we're not emphasizing the highlights quite as much if I hit the delete key I should be able to delete that pin and I know if you saw just a little bit of brightness came back into their well what was happening I think he is my eye was drawn up there a little bit of a bug me so I said well that's little bright area showing up why don't I go paint it in and just say bring the highlights down just a little bit I'll choose undo so it brings it back I hope and it's just toned it down a tiny bit I get picky in a lot of those little things to see another one this is paying little watching areas if I click on it what it's doing is making the highlights stand out making them brighter uh and then making it a little bit more colorful and let's see what happens if I delete it choose undo you see this little areas hey I get picky like that go to the next one this is another bunch of little areas it's also bringing the highlights up if I delete it I can't okay it's a little bit right in the middle but it's uh it's very subtle this little area here what bugged me about oh I wanted it less colorful because I don't like your eye being drawn to the edge of the screen over here whole bottom area what's it been doing less colorful a little less warm I get rid of it see how colorful was at the bottom now it's less because what I was trying to do and what I often do with my images is I try to direct your eye in the image in your eyes usually drawn to bright things and colorful things and so if there's an area where I don't want your eye to go to I'm usually gonna darken it or make it less colorful and then your eye will have less interest in it so in this case I brought the highlights down brought the exposure down that usually tells me there was some sort of detailed the bottom and it was a tiny thing I don't even know if he you can see it's in the lower left corner tiny little be a little detail on the edge I keep your eyes away from the edge and therefore you spend more time in the middle of the picture now if I come in here there's a button called clear all let's see how much of a change all of those collectively made to the image I'll just hit the clear all button and I'll turn off the show pins checkbox see before the top there's detail for you to explore the bottom corner there was a little detail for you explore it afterwards it's just a little bit more refined where instead of having areas that were more colorful down here your ash I should be drawn mohr up this way because it's where the most color is so anyway I'll do subtle changes like that we share a couple of their examples where sometimes what I'm doing is the light will look rather flat and I'm just trying to make it look a cz if there was more variation so here I'll open another one and you'll see how sometimes I do really uh more subtle things and things to make it so the lighting doesn't look is even so let's go to our to look and you see a bunch of little spots first let's sudden turn off those pins and I'll hit clear all and we'll see what it looked like before I used the adjustment brush see how the lighting looked more consistent across the whole thing and I thought that was a little more boring for my eye I wanted my I didn't know where to look and with this my looks just everywhere whereas in the after version my eye kind of looks at that bright spot where it's more colorful and it doesn't explore the rest for his much time I don't know if your eye does that or not but if you want to see what I'd done sometimes I'm doing this relatively randomly around here but I'll show you the regions that were worked on so that whole region there had the contrast increased this whole region which is very similar had clarity reduced meaning don't emphasize the detail is mine such uh over here different area that had less color applied here the highlights were brought down here the highlights were brought up everything except for that one little uh spot in there I did the white balance a little different to make the color very more the edges of the photo I can almost guarantee you a dark darkened yep I brought the exposure down darken the edges ah this area here I brought the highlights down in this area here about the shadows down but by doing that by just experimenting with it and paying in different areas I could make this uh b muchmore varied compared to the original which is much more flat lighting wise and so I do that with a bunch of images where the lighting just is not that exciting and I think I showed you some earlier when I showed you some boar foreign afters here are some other examples of when I've done the exact same idea you see the lighting in the brightness and the color even various quite a bit more but I'm getting it too very and just not be quite as uh a bland of lighting all right let's see what else we can uh get into with this so couple other ideas sometimes you'll be working on an image and you will play with the slider center in camera raw and you'll get one of them to max out we had that happen a lot on our previous images you remember how we would get to max out you'd either get your highlights all the way up this high go where shadows down as far as it can go you wanted it to go further and I gave you a trick where we could get that tow happen but there are other things we could do using these brushes so in this particular case I just opened an image where if you look at the sliders you see my shadows is maxed out plus a hundred so I could do the trick that I showed you before bring exposure up to bring the entire image brighter and then bring your highlights down and that would give me some of what I wanted but the other thing you can do is go to your adjustment brush this has already had some adjustments applied but we'll apply some more and what I could do here is just bring my shadows up mohr so the shadows air already at plus one hundred on the entire picture but now when I paint I may be adding mohr of the shadows and it all depends if I've already applied this to the rest of the image like these pins that are already existing but you can get your what I would say dials to equal eleven you know how you khun volume now or something that you can push it further than then normal by simply applying it a second time using this brush and in this case I didn't see a radical change which tells me that I already probably haven't applied two parts of this image and therefore there's a limit how far it can move let's see what these pins air doing so there was before theirs after so with this particular image this area here looked rather dark and that's a shadowy areas so I probably bought the shadows up painted it in right there I usually want your attention to be called more to the center of the image than to the edges so I darken the edge of the image you see the darkness on the edge and I even now the sky a little bit because the sky was a bit on the brighter side in this area so you see how it's getting a little darker probably could have done a little less in the sky but those are all with the adjustment brush and these various pins just once you're done with one adjustment choose the choice of new and start another adjustment and keep doing it until there's nothing else that bugs you in your picture so let's look at a few other issues we can fix using that one is when we talked about color issues before we had this particular image open and we adjusted white balance the problem is there's an area where I can look through to the room in the distance do you see it here in the light in the room and the distance is a different color than the light that's in this room and right now that lights looking rather purple so one thing I can do is grab my adjustment brush and in this case I might turn on that check box that is called auto mask because I don't want to get over spray uh beyond the opening that's there and then as faras the adjustment that I apply I can come up here to my temperature intent and if I look at it looks kind of purplish which really means kind of magenta ish impossibly bluish the to put together might make a purplish and I'm just gonna guess to start with I'm not going to see a change in the image checks haven't painted yet so I just guess that I want to do something like that now I'm gonna move my mouth's onto the image click and that's what it's going to start to apply apply it to that area there might be the tiniest hint of it over here so I got under the bottles too though a little bit there that I missed and I might turn off auto mask in manually painted in just on that edge small brush a little bit in there all right so now let's see what we're doing all I'm going to do is turn off the preview checkbox here's before ciel purple it looked in there and here's after so if you ever have mixed light sources you have little sconces on the wall in an area that have very warm light but the rest of the environment is lit with a different kind of light something maybe more white light after you've compensated for one of the two light sources whichever one takes up the most space I would tackle the one that takes up the most space with the normal white man l setting then we come in here with the adjustment brush and with that tool we're going to dial in the exact temperature intend that we're guessing it needs and painted into your image and when you're done I happen to have guessed pretty good here but I'm going to fine tune it so I come over here to temperature just move it and tell you it's obviously too far if I move it way over here it's going to become way too yellow move it so it's obviously too far the other way where looks very blue and then kind of go back and forth you find the one that looks the most neutral or natural for me somewhere in there too the same with the other way too much that way way too much that way that it's easier to find the kind of in between point and your screen here color wise father looks a little different than mine because not everybody's calibrated but uh it can help to turn that in then when you're done I would come down here and turn on show mask just to make sure the area that you're adjusting is really where you think it is you don't have too much over spray but know that no one else is ever going to see your mask so it doesn't have to look perfect the mask is simply going to tell you where should you evaluate the picture to see if it needs more work so if I turn this on you see the over spree onto the wine bottles that air in this room and I see some over spray onto the arch like right over in here that might not look great there you might not look great here or in this area so I'm just going to turn that back off hope not show pins show mask and then those are the areas I'm goingto evaluate critically I can turn the preview check box off to see what it used to look like and what does it look like now in those of the areas I'm looking at it's where we had that over spray so I see that one bottle at the bottom of this it was like this huge uh area huge object and I see it going kind of do a purplish uh color and then switching back I think it looks okay shifting though because before it looks somewhat purplish but when I look at the arch itself on the right edge I can see it changing and I'm not sure how much I like that so it just tells me where should I evaluate it and if I don't like it I go over here and choose a race and I might come in and erase it off of things like these bottles but just because there was over spray doesn't mean you need to fix it all it just means evaluate those areas where you got the over spray
bonus material with purchase
Photoshop For Photographers - The Essentials Workbook.pdf
Very authoritative and informative class. He commands PS and shares what he knows in concise and precise methods. It was too much for me to keep up with. I am not a techno guy and I decided early on that buying this course, and his next one, was what I needed to do. I watched the whole course and tagged a few areas to review. OK, a LOT of areas to review. Great job and I am looking forward to part 2 in April. Thanks for presenting these courses as you do. I a guy who sure wouldn't gamble on an unknown course, so previewing it is the way to go!! Good luck in your venture. I am looking forward to more great classes from other great photographers. Keep up the great work!!
a Creativelive Student
This is one of the best courses I've taken on any topic, not just PS or photography. Ben is a fantastic instructor. He introduces a new concept and then reinforces it with great examples and with well done repetition of key points along the way. Really really impressive. He does a super job of finding analogies to explain the concepts that underpin key parts of PS (e.g. comparing curves to a series of dimmer switches) and also teaching tons of super useful keyboard shortcuts in the midst of showing larger processes. Excellent.
a Creativelive Student
Hi. I would just like to thank Ben and Karen for the amazing course they have put together. I am pretty new to PS, but I feel like after following and playing again and again the videos I am in a completely different level. I am enjoying a lot more my photography. Great, great course.