Category Archives Photoshop

#TravelTuesday today was supposed to involve some actual travel, but because of the decisions of two national governments, I’m stranded in the UK rather than making some epic new content in Norway. Fingers crossed it all gets resolved soon because I’ve just about had enough now! I’m Dave Williams, here for you as always on ScottKelby.com. Today, I want to lay down a quick Adobe Photoshop tip to save you some time with hot pixels. Let’s do it!

Hot pixels can have a number of causes, including sensor faults. If you notice the same dead pixel from one image to the next, it’s a sensor problem that you need to have repaired. Now that bit’s out of the way, what about hot pixels in general? What are they?

Hot pixels are often the result of a sensor that hasn’t received enough light in exposing an image, so they’re likely to appear in areas of shadow. For one of a number of reasons, an individual pixel or a small group of pixels will appear red or white, as if hot, which often stands out as a negative attribute to our image because of its distracting contrast. It’s common for us to get hot pixels on our images of the night sky, particularly when we shoot with no moon in near darkness.

While it’s true that we can find and remove each of these hot pixels ourselves using the Spot Healing Brush tool, there is a simpler way. Take a look at this hot pixel on the left of this image. It’s halfway up and close to the left border.

This one has fallen within a dark mountain range on one of my aurora images. There’s nothing there causing any light; it’s just a glitch of the pixel. Spread across this image are a few hot pixels, and to get rid of them all at once there’s a simple method we can use, with just one filter.

If we select the Dust & Scratches filter from the Noise menu (Filter > Noise > Dust & Scratches), we simply need to select a relatively low option for the pixel Radius—usually no more than 5—and those hot pixels are automatically removed.

Because this hot pixel was just a single pixel rather than a small group, having the Radius set to 1 has removed it. This simple method has saved time in zooming in and scanning over the entire image, and it leaves us able to quickly deal with technical issues in order to focus more of our time and attention on artistic retouching.

Have a great week!

Much love
Dave

Terry White did an awesome video — around just 14 minutes total, on all the new stuff in Photoshop, and it is so great. If you’re not up on all the new features that were announced at Adobe’s MAX conference, you can catch up on it all really quick (and there is some seriously good stuff in this update). Check out Terry’s video below:

Thanks, Terry! :)

Just 11 Days ‘Till “The Flash Photography Conference”

I can’t believe it’s almost here — very exciting! It’s two days live online featuring two live learning tracks (one for flash beginners that I’m teaching and one for intermediate to pro level photographers featuring the King of Flash, the one and only Joe McNally).

I’m putting the official trailer below — check it out (it’s just two minutes) to see if it’s for you:

It’s Tuesday and Wednesday, November 17-18, 2020 (with a total flash beginner’s crash course the day before — free to registered attendees) — you don’t want to miss it. Tickets and details here.

Have a great weekend, everybody! :)

-Scott

It’s a great day for some ACR tips — let’s go!

(1) Putting a Black Frame around your image preview

This is one of those features that Adobe kind of snuck into Camera Raw while nobody was looking, but you can choose to have a thin black stroke around your image, or not. You choose it by right-clicking on your image and from the pop-up menu that appears, under ‘Background Options’ choose Draw Image Frame (as shown here) to add that black stroke, or uncheck to see your image from now on without it. 

(2) Automatically Resetting the Adjustment Brush Sliders

If you use the Adjustment Brush and you move a lot of sliders (which we tend to do) you can have Camera Raw automatically reset all those sliders when you’re done, so the next time you come you back here, all the sliders are set back to zero. All you have to do is turn this feature on: At the bottom of the Adjustment Brush panel you’ll see a checkbox for ‘Reset sliders automatically.” That’s the one, and now when your sliders are all over the place (like you see below center), and you come back to the Adjustment Brush, they’ll all be reset to zero (like you see below right).

(3) Easy way to brighten your subject’s skin

Just head over to the Color Mixer panel; click on the Luminance tab up top, and then drag the Red and Orange sliders to the right to brighten your subject’s skin. Works like a charm. 

(4) Adjusting Your Histogram

If you know what part of the Histogram you want to adjust, but you’re not sure which slider affects that part of the Histogram, you can click and drag directly within the Histogram itself — right on the area of the Histogram you want to affect, and drag it left or right. Doing this will automatically move the proper slider which controls that part of the Histogram.  

(5) How to save your own custom default settings for the Adjustment Brush

To set your own custom settings for brush Size, Feather, and Flow, open an image; set the sliders where you want them to be as your new defaults, and then instead of opening the image, just click the ‘Done’ button. Now, those settings are your new defaults, and when you open other images, those custom settings will already be in place. 

(6) Got too many presets? Here’s how to manage your collection

Go to the Presets panel and right-click inside the panel, and from the pop-up menu that appears, choose Manage Presets (as shown above).

When the Manage Presets dialog appears (above), you can turn off any collection of presets you don’t often use, and they will be hidden from view. It doesn’t delete ‘em, it just hides them from view. 

(7) Change The Background Color Outside Your Image

Here’s one to try — zoom out until you see the gray areas around your photo then right-click anywhere within that gray area and from the pop-up menu that appears, choose whichever shade of gray you’d like (the Medium gray you see here is much lighter than the gray default background).  

(8) Only See The Before/After View You Want

If you want to see a side-by-side before/after of you edits, you can press the letter “Q” on your keyboard, but each time you click Q it toggles through another different before/after view, including split screen, top/bottom, etc. (there’s four in all). Personally, I only want the side-by-side before/after and I don’t use any of the rest, but luckily you can turn off the ones you don’t use, so you wont’ have to toggle them any longer to get back to the regular view. Here’s how.

Press “Q” to enter before/after view, and then click and hold on the icon on the left (its icon looks like a square on one side, then a vertical line, and then a triangle). This brings up the pop-up menu you see above. Click on Preview Preferences (as shown above).

Now, where it says ‘Cycle Preview Modes’ on the left side, uncheck any views you don’t want to see, and then click OK. For the one I set up above, now I’ll only see a side-by-side before and after when I press Q. When it press it again, it turns to Single View (the normal view).

(9) When to turn off the Adjustment Brush’s Auto Mask feature

When you’re painting with the Auto Mask checkbox turned on, you’ve probably noticed that the brush moves slower, and that’s because Auto Mask is trying to determine if there are any edges underneath where you’re painting (so it doesn’t stay off target). However, when you’re painting over something like a large sky, it keeps slowing down for clouds and stuff you probably want to paint over, so anything you’re painting over a large area, I’d turn the Auto Mask checkbox off until I get near the edges of important areas; then I turn it off to do the detail work. Think of it like painting a wall in your house with a roller, but then switching to a detail brush for the trim. 

(10) Things running a bit show? Try turning this off!

If you’ve made some adjustments to your image, and then decide you want to “Start Over” from scratch; if you hold the Option key (Alt-key on PC), it changes each panel’s name to “Reset” (so the Basic panel would become “Reset Basic” and clicking on that resets that one panel. Well, what if you’ve changes edits in lots of panels Then instead, to get back to the way your image looked when you first opened it in Camera Raw, click and hold on the three dots at the bottom of the toolbar along the right side and from the pop-up menu that appears choose “Reset to Default” as shown above.

Hope you found those helpful.

Just 18-Days ‘Till “The Flash Photography Conference”

It’s two-tracks (one for flash beginners that I’m teaching and one for intermediate to pro level photographers featuring the King of Flash, the one and only Joe McNally), two days, and it’s live online. It’s going to be epic and you don’t want to miss it. Coming November 17-18, 2020. Tickets and details here.

Have a safe, happy, fun weekend everybody!

-Scott

Every Friday on KelbyOne’s Facebook and Twitter accounts we post another quick 1-minute “Photo Tip Friday” video from our KelbyOne instructors, and I know this isn’t Friday, but since I missed my chance to share these on Friday, please just consider these three awesome tips from Glyn Dewis, the first “Photo Tip Monday.” ;-)

If you’re digging this stuff, Glyn has a bunch of awesome classes on KelbyOne, and his latest — on Photoshop selections, is absolutely brilliant. I’ll put the trailer below, but here’s the direct link if you want to start watching it right now.

The Flash Photography Conference is just three (or so) weeks away

I’m putting the trailer here (below) in case this is the first time you’re hearing about, but hundreds of photographers from all over have already signed up for The Flash Photography Conference (featuring Joe McNally), and you don’t want to miss out. Tickets and more details here, but make sure you check out the trailer first to see what it’s all about.

Here’s wishing you a safe, fun, creative week!

Cheers,

-Scott

We Could Possibly See Some New Photoshop & Lightroom Features Released Tomorrow

Hey, it’s possible, because tomorrow morning is the opening keynote for Adobe’s MAX conference, and historically they’ve announced new Lightroom and Photoshop updates during the keynote. So, since this is historically the case, Rob Sylvan will be doing a post on any new Lightroom features over on my other blog — LightroomKillerTips.com tomorrow just in case they do release any new Lightroom features (hey, it could happen, right?)

Catch My “Maybe There Will Be New Lightroom & Photoshop Features” Webcast tomorrow

At 11:00 am tomorrow ET, I’m doing a Webcast for KelbyOne members just in case Adobe does indeed announce new features. If they do, I’ll be showing them, if, ya know, they are announced. So, stop by tomorrow to see if history is on our side, and then if you’re a KelbyOne member, drop in and see what, if anything, is up.

-Scott

P.S. Are you going to ‘The Flash Conference?” It’s going to be awesome. Get the scoop here.

Photoshop as a verb. Now there’s a thing! Adobe Photoshop is huge and it’s the industry standard, so it’s no surprise that the word “Photoshop” has become a verb, meaning to retouch an image, and this blog post today is all about why it’s so important that us photographers should be proficient in its use. But first!

I’m Dave Williams, and as usual, this post for #TravelTuesday on ScottKelby.com is by me, dropping in once a week to impart some of my bountiful wisdom. Before we get into it, I’ll take this opportunity to remind you all that the walker contest for the Worldwide Photo Walk is now open! Get your image entries in now for a chance to bag a haul of awesome prizes!

So, I’m probably addressing an audience who already knows the importance of Photoshop, but in any case, if this isn’t brand new information it still serves as a reminder. Adobe Photoshop is a world-famous photo manipulation app that is used by photographers, designers, and other creatives, and it’s so simple yet it holds so much depth. It can turn basic images into absolute masterpieces.

There’s a school of thought that we shouldn’t need to use Photoshop because as photographers, we should be able to get it right in-camera, but while it’s true that we should get it right in-camera, we can still add so much to an image (or take away from it) by using Photoshop creatively and effectively. We can correct our mistakes, if we make them, by tweaking exposure, shadows, highlights, perspective, straightening, tone, crop, etc., to just give our images that little bit of a boost that we may not have straight out of camera.

Shifting up a gear, we can use some simple, yet effective tools to move elements, remove elements, add texture, resize images—you know, all these little things with big results. As I said, preaching to the choir here, so here’s the real deal behind this post:

The “purist” crowd—the people who are abject to using Photoshop to manipulate their photos in any way because the image should be right in the first place and shouldn’t require any adjustments—it’s you who I’m talking to here. Adobe Photoshop is no longer a huge investment; it’s a subscription. Personally, I feel like that big investment is worth it anyway, but we’ve seen a shift away from that model, and the point to highlighting that is that it’s easy to give Photoshop a try if it turns out I’m right with this.

Photoshop is an incarnation of something that’s always existed in photography. All of the basic tools we have at our disposal were not created for Photoshop. They’re things that were done in the darkroom already and have simply been given a digital spin, making it faster and easier than it was before. Cropping and levelling are things that were done in the darkroom by simply rotating and framing the photo. Dodging and burning, adjusting shadows, highlights, exposure, these were done in the darkroom by covering and revealing parts of the photo to allow the exposure to develop at differing rates. Almost all of the “everyday” adjustments made in Adobe Photoshop are inherited from the days of the darkroom, and although they’re achieved through the use of expertly crafted algorithms translated into simple button clicks onscreen, the truth of it is that it’s nothing new. Take a look at this marked-up image of James Dean in Times Square: –

This marked-up image on the left and the resulting image on the right shows the darkroom workflow that we apply in Photoshop today—it’s just that it happened on a film photo rather than a digital photo. So, all of you “purists” who don’t believe in Photoshop—get over it. Photoshop is awesome. Embrace it, learn it, and make the most of it.

*mic drop*

Much love
Dave

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