Here's the good news: when the Levels options appear in the Properties panel, you're not actually going to adjust the Levels. We haven't really talked about the Infinite Light the third light style , so go ahead and create an Infinite light click on the third Lights icon in the Options Bar , and then hide the other three from view in the Lights panel by clicking on their Eye icons. Renaming Multiple Layers Fast Want to rename a bunch of layers? It often actually makes a pretty decent starting point for editing your image, especially if you have a tricky image and you're not sure where to start. In this case, go ahead and drag the Exposure to 0. Now, keep in mind that these are two sliders that will change some from image to image. Go under the Filter menu, under Sharpen, and choose Unsharp Mask. Press-and-hold the Shift key to keep the photo proportional , grab a corner handle, and drag inward here, I've grabbed the top-right corner han- dle and dragged inward to shrink the image.
When you're done seeing this full-screen preview, you can either press the Spacebar again, or press the Esc key on your keyboard. Most of the time, I wind up lowering the Highlight amount either a little or a lot depending on the image , and raising the Shadow amount to keep the shadows from getting too dark. What's nice is, since your selection is still in place, you can choose a different op- tion from that menu and it will re-render your move. You can use the Left and Right Arrow keys on your keyboard to move through the pho- tos or the arrow buttons in the lower-left corner of the screen as a photo comes to the front, it becomes larger and brighter. He does not dwell on tech behind the tool but focuses on the settings and how to achieve a certain look. Lastly, add an S-Curve see page 183 earlier in this chapter for more on this to add more contrast to your image.
Thanks to my friends at Adobe: Bryan O'Neil Hughes, John Nack, Mala Sharma, Terry White, Cari Gushiken, Julieanne Kost, Tom Hogarty, Scott Morris, Russell Preston Brown, and the amazing engineering team at Adobe I don't know how you all do it. Bsa-i layer style applied to a layer, like a drop shadow or bevel. If you have something on a layer and you apply a drop shadow to it, then lower the Opacity amount, the object and its shadow both fade away, right? There is no skimping on the instruction so you won't have any surprises. Thank you for teaching me to always take the high road, for always knowing the right thing to say at the right time, and for having so much of our dad in you. Here's how: Let's say you have five or six simi- lar photos, or photos of a similar subject in this case, a football player , and you want to find the single best one out of those. Anyway, ignore those for now, and just know that, instead, a lot of your editing work will be spent find- ing a good balance between the two Edge Glow sliders.
For Amount, enter between 90% and 100%, in- crease the Radius to 1. Still, some photographers insist on only working in 16-bit and that doesn't bother me one bit. That's okay, though, be- cause we're just gettin' started. Now, if you do see a white triangle, don't freak out. Hey, look at that — it worked. It doesn't delete them; it just marks 'em as Rejects.
Finding Your Best Images Fast I mentioned in the last chapter that if you have multiple images open in Camera Raw, you can assign star ratings and labels to photos just as if you were in Mini Bridge you even use the same shortcuts. So, at this point, I'd click back on the far-right thumbnail. It's been my experience that if it's off, more often than not it just needs to be nudged one pixel to the right and one pixel down. Step Four: Let's add a teal tint to the shadows a fairly popular spilt-tone combination by dragging the Shadows Saturation slider to 50 so you can see the shadows hue , then drag the Shadows Hue slider over to 215, and now you see that teal tint in the shadow areas. We like to keep things fresh. This action cannot be undone.
This checkbox is so important that I leave it on all the time if you want it al- ways on, as well, just turn it on and then turn on the Remember Settings check- box at the bottom of the dialog. By the way, in my own workflow, if I can do the exact same task in Camera Raw or Photoshop, I always choose to do it in Camera Raw, because it's faster there are no progress bars in Camera Raw and it's non-destruc- tive so I can always change my mind later. Step Two: Luckily, fixing this is pretty darn easy: turn on the Remove Ghosts checkbox at the top right of the dialog it's shown circled here in red. Here's how it works: Select all your 5-star photos, then enter Review mode. Grab one of the side points of the oval and drag it inward to make it a tall, thin oval as seen here on the bottom left.
Then you'll be happy to know that there are a bunch of new built-in presets for the most common sizes of mobile de- vice screens. It is not an exhaustive book and the great thing about it is if you want to work on these projects, he's got it. If you see a set of colors you like, double-click on it to see them as larger swatches in a panel. If you come up with a setting you like, don't forget to save it as a preset in the Preset panel just like you did with your Mega Contrast curve earlier. So, since those pano images are already selected, just double-click on any one of them to open them all in Camera Raw as shown here. Step One: Open a photo that has signs of chromatic aberrations.
Camera Raw — Beyond the Basics Chapter 3 093 - Step Three: Double-click on the thumbnail for this duplicated smart object layer, and it reopens in Camera Raw. July 31, 2012: We have encountered issues with the binding in our initial print run of this book. If the image looks softer after resizing it, apply the Unsharp Mask filter see Chapter 10 for settings to bring that sharpness back. Click it, and it brings up a dialog where you can name and save your images to a collection. Photos with lots of detail, texture, along with anything metallic, and lots of contrast seem to work best it also works great for sports portraits like this one, cars, and even some landscapes.
When other authors reference Scott Kelby, you know you have the real deal. Step Eight: Lastly, to make your subject look more like she was shot on this warm-colored background, we're going to warm that photo of her up a little bit, too. To instantly update to the latest ver- sion, just click directly on that exclamation point and it's updated. With your Foreground color set to white, get the Brush tool B , choose a medium- sized, soft-edged brush, and paint over his face to add the high-contract effect there. You'll gener- ally have to drag this one farther to the right than you did with the Color slider, but that's normal. That way, you can view them as slide shows, post them on the web, send them to a client for proofing, or prepare them for printing.