The Adobe Photoshop CS5 Book for Digital Photographers part 8 ppsx

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

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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

The Adobe Photoshop CS5 Book for Digital Photographers

Photoshop Killer Tips

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Photo by Scott Kelby Exposure: 1/400 sec | Focal Length: 20mm | Aperture Value: ƒ/8

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ptg Chapter 3 Camera Raw—Beyond the Basics

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 holdwear-ing

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

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54 Chapter 3 Camera Raw—Beyond the Basics

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

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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

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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

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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

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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

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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

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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

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