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Lighting and Adjustments of the Layers
Transcript of Lighting and Adjustments of the Layers
http://psd.tutsplus.com/articles/techniques/a-basic-guide-to-photoshop-cs4-adjustment-layers/ References Select the option Essentials or go to Window > Adjustments.
You will see the Adjustments panel on the right. The Adjustment Panel has 2 main areas, first is the the filter layers, and the second is several presets for the Adjustment Layers. At the bottom right there is a button that is used to enable/disable a clipping mask which apply the Adjustments only to one layer, or apply to several layers below. (apply to one layer) (apply to all layers) When you select any of the adjustments you will see the setting options on the panel. You can enlarge the panel by clicking this button on the bottom of the panel. You can toggle the visibility by clicking the eye-ball button.
This will let you see what the image will look like before you start editing your image. If you want to go back to the Adjustments click the backwards arrow. To delete the adjustment click on the button that looks like a trash can. To return to the original settings click the button that looks like a redo arrow. The legacy box makes equal modifications to each pixel's brightness value to make the image uniformed.
This is normally never used because very few images are uniformed so the image won't look that well. There are 15 different Adjustments:
Black & White
Selective Color With this Adjustment you can adjust the color and tonal range by dragging three sliders: for dark tones, midtones, and for the highlights. You can always go back to the default values. This shows dark enhancement by dragging the dark/black slider to the right. Highlight the image by dragging the white slider to the left. This shows how to decrease the level of black in the image. This shows how to decrease the level of white in the image. These are several presets of the Levels adjustment
You can choose any of them and modify it later. This shows an increased contrast. This shows a dark enhancement of the Red Channel. Curve lets you adjust points throughout the tonal range of an image (from shadows to highlights) and you can adjust as many as you want.
(vertical axis) (horizontal axis) You can add points to the curve and play with different settings. You can select one of the color Channels by choosing it from the select list above the curves graphic.
When you’re editing a single channel the points above the baseline increase the intensity of the color, and the points below the baseline make the color less intense. Allows you to adjust the exposure levels by adjusting three sliders, Exposure, Offset and Gamma. Exposure- Adjust the highlights of the image without effecting the dark shadows.
Offset- Adjust the midtones
Gamma- Adjust the dark tones without modify the highlights Edits color saturation Lets you adjust the hue, saturation, and lightness of a specific range of colors in an image or simultaneously adjust all the colors on it. Master- Adjusts all the colors at the same time.
After you can move any of the three sliders. The Hue slider changes the color itself The Saturation slider modifies the amount of the color. The Lightness slider adjusts the amount of black/white in the image. This shows the colors list, which means that you can edit one color channel and adjust the values only for that channel. Colorize- Check it if you want to colorize a grayscale image This adjustment changes the overall mixture of colors in an image for generalized color correction.
It basically adds a tint over the Shadows, Midtones and Highlights of the image You can move the sliders to paint the midtones. You can do this to shadows and highlights Allows you to create quick grayscale images Select the Default mode to create an automatic black and white image, or chose one of the many presets. Auto- Automates the adjustment
Tint checkbox- Colorizes the grayscale image Increase/decrease the filter’s density to adjust the color intensity. You can customize a color filter by selecting the color radio button and selecting a color from Photoshop’s color picker. With this adjustment you can create high quality tinted or grayscale images. Monochrome checkbox- Edits the channels in grayscale mode You can modify the color values by using the sliders. Image’s colors invert(like a negative) Adjust the number of tonal levels The higher the levels, the better the quality of the image. Converts any picture into a two color (black and white) image. Maps the grayscale range of an image to the colors of a custom gradient fill. How it works- One of the sides of the gradient replaces the dark areas of the image, the other side replaces the highlights, and all the middle tones of the gradient replaces the midtones of the original image. Dither checkbox- Adds a random noise in order to make the gradient smooth
Reverse checkbox- Inverts the colors of the gradient Modifies the amount of a primary color selectively without affecting the other primary colors. Absolute value adds the exact percentage to the color channel. Relative option- Is less dramatic, it changes the existing amount of colors by its percentage of the total Move the sliders to adjust your settings. Less saturated color means a more gray image. All the pixels darker than that level will turn into black and all the pixels lighter into white. Used to warm up or cool down the overall colors in a photo. Lighting As a photographer, you work with light to produce pictures.
The color, direction, quantity, and quality of the light you use determines how your subjects will appear. OUTDOOR LIGHTING Daylight and sunlight are not a constant source because they keep changing.
This changing daylight can alter the apparent shapes, colors, tones, and forms of a scene.
The direction of light changes as the sun moves across the sky.
The shape and direction of shadows are altered, and the different directions of sunlight affect the appearance of a scene.
The quality of sunlight depends on its strength and direction.
Strong, direct sunlight is called "hard" because it produces dark, well-defined shadows and highlights.
Sunlight is hardest on clear summer days at noon. Strong sunlight makes strong colors more stronger, but weak colors pale.
Diffused or reflected light is softer; it produces weak, soft shadows and dull highlights.
Directionless, diffused sunlight is often called "flat" lighting because it produces fine detail but flattens the form.
Weak, directionless sunlight provides vibrant, well-saturated colors. FRONT LIGHTING A type of lighting created when the sun is at the back of the photographer.
This type of lighting produces a flattened effect, doing nothing to bring out detail or provide an impression of depth.
To give an impression of form, depth, and texture to the subject, you should ideally have the light come from the side or at least at an angle. SIDE LIGHTING An interesting effects can be achieved by changing the angle of the light falling on your subject.
As you turn your subject, change the camera viewpoint, or wait for the sun to move, the light falls more on one side, and more shadows are cast on the opposite side of the subject.
For pictures where texture is important, side lighting is ideal.
Pictures made with side lighting usually have harsh shadows and are contrasty. To lighten the shadows and reduce the contrast, you can use some type of reflector to direct additional light into the shadow areas or use fill-in flash. Is when the sun or light is in front of the photographer, coming directly at the camera.
This type of lighting can be very effective for pictures of people outdoors in bright sunlight.
In bright sunlight, when subjects are front-lighted or even sidelighted, they may be uncomfortable and squint their eyes. Backlighting helps to eliminate this problem.
For backlighting you may want to use of a reflector or fill-in flash to brighten up the dark shadows and improve subject detail.
Backlighting is also used to produce a silhouette effect.
When you use backlighting, avoid having the sun rays fall directly on the lens (except for special effects). A lens hood or some other means of shading the lens should be used to prevent lens flare. BACK LIGHTING Midday Evening Sunrise/Sunset Dawn/Dusk Shade & Overcast