the popular and comprehensive series Photoshop CS6


The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.
Topics include:
Adjusting the color settings in Photoshop
Placing and blending Smart Objects in a scene
Transforming and warping vector objects
Correcting for lens distortion
Mitigating halos and enhancing contrast with Shadows/Highlights
Adding and editing points on a curve
Editing multiple images in Camera Raw
Creating a pro-quality sepia tone or quadtone
Colorizing with blend modes and opacity
Reducing and smoothing over noise
Creating depth-of-field effects with blur
Selecting with Color Range and Quick Mask
Perfecting a mask with Refine Edge
Drawing paths with the Pen tool
Converting path outlines to vector masks
show more

Calculating with the Add mode


We are having problems maintaining color consistency for digital output (as well as color shifts on proofs) due to the recent CS6 Pantone Plus color library update.
We have had to remove the updated libraries and replace them with the previous versions due to the unexpected color differences on output.
Has anyone else been having problems with the Plus update?
Is there a good explanation of why it was changed in the first place? We want to make sure we're not missing a good reason for the revised color libraries.
Chuck
Pantone Plus (Solid) color libraries are now based on Lab value compared to previous one using CMYK as default in Illustrator And InDesign.
Lab values help to keep consistency between Photoshop, Illustrator and InDesign when you want to convert to CMYK.
Each application are doing a color transform like this: Source (Lab) -> Destination (CMYK or RGB) using the related working color space defined in the color setings preferences.
This make sure that when you convert to CMYK for example, the best match will be made for the current CMYK working space you are using.
If you set all your color setings the same within each application, you will get the same CMYK values.

Can you tel me more about the problem you have with the new Pantone Plus libraries?

I jumped to get AI CS6 as soon as it came out- and now, honestly, I'm regretting it.
We do large digital output, and PMS spot colors are critical. I'm finding that anything I copy into a new doc, converts to lab- and I have to manually plug in the CMYK mixes for the spot colors. It's taking a ton of time that I wouldnt otherwise have;
If you find the magic bullet, please share it with the class.


Using the Scale and Offset values


If you find that your whole animation is a bit too long or too short, or you just want to offset it by a few frames, you can do so with the Sequence commands. These commands give you control over animation by offsetting or scaling (stretching or shrinking) the motion of all or selected objects, or even just the marked parameters of selected objects.
You can offset, scale, or retime function curve animation, including fcurves in animation layers.
TipYou can also use the dopesheet or select all keys in the timeline to scale and offset animation for the whole scene or for selected objects. Using the dopesheet may be useful if you encounter some problems with animation not scaling properly with the Sequence commands. For information, see Scaling Regions of Keys.
You can choose to either scale and offset using explicit values, or else you can retime an animation by fitting it into a specified frame range. For example, you can easily retime an animation that used to go from frame 1 to 100 so that it now goes from frame 30 to 50. You can also reverse an animation easily: for example, instead of going from frame 1 to 100, it goes from frame 100 to 1.
To offset, scale, or retime animation
Do one of the following, choosing the corresponding Animation  Sequence Animation command from the Animation panel:

To offset, scale, or retime animation for only marked parameters, select the objects and mark the parameters whose animation you want to change, then choose Sequence Animation  Marked Parameters.
For information on marking parameters, see Marking Parameters for Animation.
or
To offset, scale, or retime all animation for selected objects, select the objects whose animation you want to change and choose Sequence Animation  All Parameters on Selection.
or
To offset, scale, or retime all animation in the scene, make sure that nothing is selected and choose Sequence Animation  All Scene.
In the Sequence dialog box that appears, select the appropriate Input Method:

A
Select Offset and Scale as the Input Method to either offset or scale the animation. Then follow the steps in Offsetting or Scaling Animation.
 
or
B
Select Retime (Before/After Range) as the Input Method to retime the animation.
Then follow the steps in Retiming Animation.
Tip
The main timeline's start and end frames are not updated automatically if the resulting scaled/offset/retimed animation goes outside the current frame range.
To view your entire animation, you must either reset the start and end frames on the timeline or open the animation editor to view the scaled or offset function curves.
Offsetting or Scaling Animation
Select Offset and Scale as the Input Method in the Sequence dialog box.
With the Offset, specify the number of frames by which to offset the animation.
Enter a Scale value by which to stretch or shrink the animation.
This value is the number by which the current length of the scene (or frame range) is multiplied. For example, using a value of 3 here makes a 100-frame scene 300 frames long.
When you scale you can also choose to Pivot the animation at a certain frame, which lets you reverse an animation at that point.
Specify the frame range you want to affect by setting the Start and End Frame values for the Affected Scale & Offset Range.
Select the Affected Items you want to scale or offset from the Sequence Mode list. You can choose from function curves, clips in the animation mixer, or all animation sources, as well as a combination of these types.
As well, you can scale or offset the fcurves in either all or just the current animation layer.
In this image, the Selected fcurve has been scaled to twice its size. The ghosted fcurve in gray shows the original fcurve's size.

In this image, the Selected fcurve has been offset by about 20 frames. The ghosted fcurve shows the original fcurve's position.

Retiming Animation
You can retime an animation by fitting it into a specified frame range. For example, you can easily retime an animation that used to go from frame 1 to 100 so that it now goes from frame 30 to 50. You can also reverse an animation easily: for example, instead of going from frame 1 to 100, it goes from frame 100 to 1.
Select Retime (Before/After Range) as the Input Method in the Sequence dialog box.
Specify the Retime Range Before values, which are the frames of animation you want to use for retiming.
Specify the new frame range in which you want your animation to fit by setting the Retime Range After frame values.
Select the Affected Items you want to retime from the Sequence Mode list. You can choose from function curves, clips in the animation mixer, or all animation sources, as well as a combination of these types.
As well, you can retime the fcurves in either all or just the current animation layer.
Below, the selected fcurve has been retimed so that a range of 125 frames in the middle of the sequence has been compressed to into a range of 80 frames. The ghosted fcurve in gray shows the original fcurve's size and shape.


Subtract blending modes



The Add and Subtract blending modes are available only for the Apply Image and Calculations commands.

Add

Adds the pixel values in two channels. This is a good way to combine nonoverlapping images in two channels.

Because higher pixel values represent lighter colors, adding channels with overlapping pixels lightens the image. Black areas in both channels remain black (0 + 0 = 0). White in either channel results in white (255 + any value = 255 or greater).

Add mode divides the sum of the pixel values by the Scale amount and then adds the Offset value to the sum. For example, if you wanted to find the average of the pixels in two channels, you would add them, divide by 2, and enter no Offset value.

The Scale factor may be any number between 1.000 and 2.000. Entering a higher Scale value darkens the image.

The Offset value lets you lighten or darken the pixels in the destination channel by any brightness value between +255 and -255. Negative values darken the image; positive values lighten the image.

Subtract

Subtracts the pixel values in the source channel from the corresponding pixels in the target channel. As with Add mode, the result is then divided by the Scale factor and added to the Offset value.

The Scale factor may be any number between 1.000 and 2.000. The Offset value lets you lighten or darken the pixels in the destination channel by any brightness value between +255 and -255.

1. Calculating a Hair Mask




1. Calculating a Hair Mask
Introducing the hair masking options 4m 18s
Calculating with the Add mode 5m 58s
Using the Scale and Offset values 3m 47s
Calculating with the Subtract mode 5m 19s
Enhancing a mask with Apply Image 4m 42s
Traditional blue screen masking 3m 7s
Painting in the missing details 4m 23s
Compositing dark hair 5m 47s
Creating an in-text reflection effect 4m 1s
2. Masking Dark Hair41m 43s
Creating a contrast mask 4m 34s
Cleaning up a base mask 5m 55s
Reinstating missing details 5m 12s
Building a second-pass mask 6m 30s
Bringing back the most fragile hairs 5m 17s
Smudging bad transitions 5m 19s
Painting in missing hairs 5m 6s
Matching the light source 3m 50s
3. Masking Light Hair51m 12s
Calculating blonde hair 4m 50s
Creating two contrasting iterations 3m 27s
Merging two iterations inside a mask 4m 44s
Performing selective edits with Dodge and Burn 5m 19s
Painting in Airbrush mode 4m 30s
Repairing details with a warped ellipse 6m 18s
Pulling a background with Apply Image 3m 57s
Blending clipped layers independently 6m 42s
Building a flame mask 7m 25s
Compositing and coloring the flame 4m 0s
4. Masking the Tough Stuff48m 16s
Making a first-pass calculation 4m 54s
Making a second-pass calculation 4m 32s
Refining and combining the two passes 5m 28s
Painting and editing the third-pass mask 6m 16s
Merging channels inside a mask 4m 5s
Cleaning up with Dodge and Brush 7m 41s
Adding the earring to the mask 4m 16s
Tweaking and integrating the hair 6m 1s
Restoring the mask's focus with History 5m 3s
Conclusion1m 17s
Next steps 1m 17s

blending modes practice

Blending Mode  Blending Modes in Photoshop and other 
Choosing a Blending Mode from the Layers Palette
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In the screen shot here, you can see my layers palette with the base layer and the blend layer exactly as I have set it up for these examples. The Blending Mode is set from the menu at the top left of the layers palette.
When discussing blending modes, there is some basic terminology you should understand. I will be using these terms in my descriptions of each blending mode.
  • The base color is the starting color of the original image.
  • The blend color is the color being applied to the base image. In the examples I will show, you the blend source is a layer consisting of eight color blocks in varying levels of opacity. The blend color could also be applied with a painting tool.
  • The result color is what you get after combining a blend color with the base color using a blending mode.
In the screen shot here, you can see my layers palette with the base layer and the blend layer exactly as I have set it up for these examples. The Blending Mode is set from the menu at the top left of the layers palette. When a blending mode is applied to the layer above, it will change the appearance of the colors in the layer below.
I have created my blending example image using multiple colors, tones, and opacities in my blend layer, so you can see how these differences change the results of each blending mode in different ways. If you'd like to follow along with my examples in a larger format, you maydownload my layered example file in PSD format (7.33 MB ZIP) and adjust blending modes on your own screen. I would also encourage you to experiment with blending modes using your own images.
There are two blending modes which are not available for layers--Clear and Behind. For these blending modes, I have used different images for my examples.

Learn How to Mask Hair, Down to the Final Fragile Follicle, in Photoshop


Learn How to Mask Hair, Down to the Final Fragile Follicle, in Photoshop

My final video course of 2011 for the lynda.com Online Training Library is now live. Titled Photoshop Masking & Compositing: Hair, it lives up to its name, showing you how to mask and composite the most fragile of all photographic details, hair, in that most powerful of masking applications, Photoshop.

Photoshop Masking & Compositing: Hair
(Yes, I'm aware that the term "follicle" specifically refers to the root of the hair, not the part we see and therefore need to mask. It's all about the alliteration, dammit!)
My goal is to boost both your skills and your confidence. As well as pass along lots of useful, in-the-trenches techniques. All in just 3 hours and 6 minutes! Here's an illustrated outline of the four feature-rich chapters and the fun, challenging projects that accompany them:
Chapter 1, Calculating a Hair Mask. I start by introducing you to the best of Photoshop's hair-identification commands, Calculations and Apply Image. Then we'll review those commands specialized blend modes, Add and Subtract, as well as their refinement options, Scale and Offset. In the end, I'll show you how to hair a person captured against a blue screen or clear sky background, and set her against an aqueous backdrop, as pictured below.
Chapter 1, Calculating a Hair Mask
Chapter 2, Masking Dark Hair. In the next chapter, we'll take a look at ways to mask a dark-haired subject (which includes most people, btw) set against a busy background. You'll also see what to do when hairs and backgrounds interact with each other, as they almost invariably do. Mask in hand, we'll blend the model with a futurist backdrop, match the light sources, and paint in a few missing hairs using a Wacom tablet. The final effect appears below.
Chapter 2, Masking Dark Hair
Chapter 3, Masking Light Hair. Next, we'll focus on the more rare phenomenon of light hair. Specifically, I'll show you how to mask a blond-haired model into a vibrant backdrop. Plus, you'll see how to mask a translucent flame. As witnessed below, so the flame effect is a bit over the top. But I've never been of a fan of subtlety.
Chapter 3, Masking Light Hair
Chapter 4, Masking the Tough Stuff. In the last chapter, we'll take on the tough tough. Not only does the subject of the photo have tons of alternately thick hair---sometimes coarse, sometimes wispy---but she's set against a busy background, and her hairs are at once lighter, darker, and the same hue and saturation values as the details that surround them. Which makes for a daunting project. And yet we pull it off in just 48 minutes. (That's hands-on training time, btw. Once you come to terms with the approach, you'll be able to repeat it in about half that time.) When all is done, we manage to retain just about every last vestige of hair, as illustrated below.
Chapter 4, Masking the Tough Stuff
If you're interested, click the following link to begin your free 7-day trial subscription to lynda.com, which will give you plenty of time to view this course. If you're already a member, click here to start watching Photoshop Masking & Compositing: Hair.

And bear in mind, this is a satellite course for my primer Photoshop Masking & Compositing: Fundamentals, which teaches you everything you need to know about the wide world of general-purpose masking in Photoshop.

Elements Organizer views


Elements Organizer views
Returning to the light-gray interface of older versions, the Organizer sports a toolbar of large buttons at the bottom that let you fine-tune the organization of your photo collection with additional information. A handy Folder view sits on the left, enabling you to navigate your photos based on the folder structure of your hard drive. It’s not new, but enhanced to be faster and easier to find.

At the top of the window, you’ll spot four new tabs that change your view. Media displays everything you’ve imported using the Organizer. People taps into facial recognition technology and people tags to create stacks of photos; point your mouse to a stack to see miniatures of the photos inside (you can choose to see whole photos or faces only, just like iPhoto) or double-click a stack to open it. While you’re in the main People view (not inside a stack), you can create groups of people for quick viewing of friends and family.


Using the new Places feature, you can view photos based on location, as well as add location information manually.
The new Places view lets you see photos based on location. GPS-enabled cameras and smartphones, like the iPhone, assign this data automatically, though you can also add it yourself for cameras that do not have this capability.

Select the photos and click the Add Places button at the bottom of the Organizer and a large map appears. Enter a location into the search field or drag and drop photos onto the map; a red pin appears marking that location. Clicking Done returns you to the main Places view wherein you can double-click a pin on the map and see the photos that were taken there as thumbnails on the left side of the map. Check the Show Only Media Visible On Map checkbox beneath the map and then use the map's zoom slider to focus on a location. The photos on the left then change according to which pins are visible on the map. Clicking a photo triggers the map to reposition itself and zoom into the location of that pin.

Events view is also new and lets you sort photos by events you create manually or those the Organizer makes based on capture date and time (called Smart Events). Use the filtering options on right side of the window to restrict the Events view using a handy calendar. Unlike iPhoto, you can’t create events when you import photos.


The newly redesigned Organizer gives you easier access to the folder structure on your hard drive.
Elements Editor interface
The Elements Editor is also awash in light-gray paint (again) and sports larger, full-color icons. The Edit modes were reorganized into large tabs at the top and include Quick, Guided, and Expert. In Quick mode, thumbnail previews in each correction panel appear automatically when you open the panel. In Expert mode, the Tools panel includes categories that identify which tools are used for what (selecting, enhancing, for example).

A larger Options bar now lives at the bottom of the interface where it’s easier to see and as a result, use. You can open and close frequently used panels such as Layers or Effects by clicking buttons at the bottom of the interface. Lastly, the row of buttons that used to live beneath the Layers panel have been moved to the top.

New guided edits
Guided mode includes a slew of built-in tutorials that let you achieve an effect easily and non-destructively. In Elements 11, you’ll find four new ones including High Key, which adds a white-washed effect to your photo (typically done at capture). Choose between a color or a black-and-white high key effect and finetune it using a slider that triggers the Diffuse Glow filter. Low Key does the opposite and lets you use a Background Brush to turn a light background dark (useful in nature-based macro photography).

The new Vignette Effect adds a soft edge-vignette to draw the viewer’s eye into your subject (great if you’ve got a slightly overexposed or busy background). Choose a white or black vignette and use the Intensity slider to adjust its strength, and the Refine Shape button to change the shape of the vignette. The Tilt-Shift effect creates two bands of focus across your image, one soft (blurry) and one sharp, to mimic the effect of shooting with a tilt-shift lens. Once you’ve finished a tutorial in Guided mode (which feels quite zippy), you can pop into Expert mode to see how Elements created it and/or fine-tune it manually—a great way to learn.


Among the new guided edits is the Vignette Effect, which you can use to add a soft black or white edge vignette to your photos.
Expert mode enhancements
Speaking of Expert mode, the Refine Edge dialog—useful for modifying selections—now includes a Smart Radius option, a Refine Radius tool, and new output options, all derived from Photoshop CS6.

Once you’ve selected an object, open the Refine Edge dialog (click its button in the Options bar) and turn on the Smart Radius checkbox to have Elements take another look at your selection’s edges. Then use the radius slider to tell Elements how far from your original selection you want it to look. The magic happens when you use the Refine Radius tool to paint around the edges of soft material, like hair and fur. Using the new output options, you can send the selection to a layer mask, a new layer with a mask, a new document, and more. These enhancements make it possible to cut and paste objects from one photo into another or to change backgrounds realistically, which was nearly impossible in previous versions if your subject involved hair or fur. (Making selections of any kind is beyond iPhoto's editing capabilities.)

You’ll also find three new filters in the Sketch category, including Pen and Ink, Graphic Novel, and Comic, all of which accentuate areas of high contrast to produce unique hand-drawn or cartoonish effects.


SELECTING SOFT AREAS, SUCH AS HAIR AND FUR, IS EASIER IN ELEMENTS 11, THANKS TO THE ENHANCEMENTS IN THE REFINE EDGE DIALOG, WHICH WERE TAKEN STRAIGHT FROM PHOTOSHOP CS6.
Bottom line
Photoshop Elements is a great program for users who’ve progressed beyond iPhoto, and version 11 is the friendliest yet, though the redesign will take veterans time to get used to.

The larger icons in both the Organizer and the Editor are much easier on your eyes, and the lighter interface makes the program feel more accessible and less overwhelming. Even though your photos look better on a dark interface, Adobe seems to be reserving that for their professional products, such as Photoshop CS6, InDesign CS6, and Photoshop Lightroom.

If you use your hard drive's folder hierarchy to organize your collection, you'll have an easier time locating and thus working with the Organizer. Both the Organizer and the Editor in version 11 zip right along.
The new guided edits are timely and practical, and the Refine Edge dialog enhancements are great for creating tough selections. If you’ve got the money and value your eyesight, Adobe Photoshop Elements 11 is a great upgrade.