From the course: Deke's Techniques (2018-2021)
779 Crop and develop a great white shark
From the course: Deke's Techniques (2018-2021)
779 Crop and develop a great white shark
- Hey gang, this is Deke Mcclelland, welcome to Deke's techniques. Now last year I had the privilege of cage diving with great white sharks off the island of Guadalupe in the Pacific Ocean, and I got some great shots with my Canon 70D, inside a not-a-cam housing. Including this bad boy right here, now you might look at this photograph and say Deke, that is a terrible composition, no, it was a terrible composition before I cropped and developed it inside Camera Raw, at which point it became this. Here, let me show you exactly how it works. All right here's the unedited and shamefully wide original photograph. And here's the cropped version that we're going to develop inside Camera Raw, and sharpen inside Photoshop, even though it doesn't look all that sharp, and that's because we're currently previewing the image inside Adobe Bridge. All right so I'll go ahead and press the escape key, so that we can see this particular open inside Bridge, and I'm going to go ahead and select as DNG file, and I want to show you what's going on with the metadata. Now by default the metadata panel is located in the bottom right corner of the screen, when you're working inside the essentials work space. Which you can get to just by clicking on the word essentials up here at the top of the screen. I'm going to click on this fly out menu icon, in the top right corner of the metadata panel, and choose preferences, because I want you to see that I've turned off the hide empty fields checkbox, so that we can see what's missing. All right so I'll just cancel out of there, and I'll scroll down the list until I come to camera data (Exf), and I want you to notice as I scroll down here, that the camera captured the focal length, which is only 17 millimeter, and it knows that I was working with the 10 to 17 millimeter lens. However, if I scroll farther down the list, we can see the make and model of the camera, and the lens specs, but we're not seeing a make or model, and that's because for some reason the lens and the camera aren't effectively communicating. But in any event, I'm just making note of that because we are going to have to enter that information manually. All right, so I'll go ahead and double click on this DNG file, in order to open it inside Camera Raw running inside Photoshop. And then the first thing I'll do is switch over to the lens corrections panel, right here, make sure that the profile tab is open, and turn on this checkbox, enable profile corrections, which immediately does nothing, and that's because, as we can see, indicated by this warning, Camera Raw cannot find a matching lens profile because it doesn't know what lens was used. I know the lens, however, so I'm going to set this make option to one of the later ones in alphabetical order, Tokina right there, at which point, Camera Raw successfully identifies the correct lens, in part because it's the first one in alphabetical order, but also because it's the only 10 to 17 millimeter model. All right so just so you can see the difference, this is how the image looks without the correction, this is how it looks now. This image doesn't really have that much in the way of chromatic aberrations, except where this fish, which is a jack, is concerned, in the top left corner. But you might as well go ahead and turn this checkbox on. All right, now notice that you can change the amount of distortion, which is actually being applied for the sake of correcting the image, and I ended up taking it just a little bit down to 80. All right, the next thing I want to do is crop this image, and so I'll go ahead and grab the crop tool, and I'll click and hold on it and set the aspect ratio to two to three, because that is the aspect ratio of the original photograph, and then I'll draw my crop. Now normally I'm not a big fan of cropping in the way, a large portion of the animal, especially its dorsal fin, however, in this case I really want to get tight on those teeth, and as you can see here, in my case, the new crop is going to measure 2577x1718 pixels. I want it to be tighter than that so I'm going to crop it inward like so, until I arrive at a value, and this can be a little tricky, actually, inside the program, I wish we had a heads up display, it would really help out a lot, but I'm not sure the Camera Raw team is most interested in the needs of video trainers. But you can see if I just keep dragging this thing around I'm ultimately going to come up with 2356x1571, you know what, that's good enough, it's a little wider than what I want, but it's going to work. And then to apply the crop, I'll just go ahead and press the enter key, or the return key on a Mac, which is going to switch me back to the zoom tool. All right now I'll switch back to the basic panel so that we can develop the image, and of course the first thing I want to do here is adjust the white balance. So I'll go ahead and grab my white balance tool, which is available to me in the horizontal tool bar, up here at the top of the screen, and it has a keyboard shortcut of I. And then you could click inside of a gray region of the shark, or if you prefer you can drag in order to get a more balanced result. And the degree of white balance is up to you, you can go with a very warm effect like this one here, and so notice with a single click, I've set the temperature value to 10,500, and I've got a tint of +84, or I could drag around that region and that's going to cool things down. All right at this point I went ahead and jumped down to the clarity option, and I took it way up because I want this shark to be absolutely visceral. So I'm going to take that guy up to +70, and then I want to sync the shadows by taking the dehaze value up to 20, and dehaze is a pretty great control when you're editing underwater images, because water is, I'm sure you're aware, is denser than air. All right next I'm going to tab to the vibrance value, and take it up to +20, just so we have a little additional saturation, and now I'm going to increase the exposure value a little bit, just a +0.25, and now I want to make sure that we're not clipping too much information here, so I'm going to press the alt key, or the option key on a Mac, while dragging the slider triangle for the whites value, and I'm going to take it down until we're seeing less in the way of white pixels on screen. Ideally we'd get rid of all of them, but I don't really want to go this low, and so I eventually came up with a whites value of -30, then I'll alt or option drag the black slider triangle until I'm seeing just a few blue pixels. So notice right off the bat we're seeing cyan, which means that we're clipping into red channel, once we're seeing blue, we're also clipping a little bit in the green channel. And so the colors we're seeing on screen, when you're alt or option dragging the black slider triangle, are complimentary. All right now I want to go ahead and open the image inside Photoshop, and I want to open it as an editable smart object, and you do that by pressing the shift key, at which point you'll see this open image button, switch to an open object button, and then if you click, that will open the image as an editable smart object here inside Photoshop. And finally he's little bit too big, at least where this screen is concerned, and so to scale the animal down a little bit I went up to the image menu, and chose the image size command, and notice that the resample checkbox is turned on, I've got the interpolation method set to bicubic smooth gradients. I know a lot of people prefer automatic, which actually grabs bicubic sharper, I however do not recommend working that way, because you're going to introduce a degree of sharpening that does not work with the other sharpening options that we'll be applying later. So I'll go ahead and switch to smooth gradients right there, and then you can see that the width and height values are locked together, so that we're going to scale the image proportionally, and that my unit of measure is set to pixels, at which point I'll go ahead and set the width value to 1950 pixels, which I just happen to know works well at this particular screen size. After which point, I will click okay to apply that change, and then I'll press Control + 0, or Command + 0 on a Mac, to center my zoom. And that's at least one way to crop and develop a great white shark so that you can really take in it's teeth using Camera Raw. All right now if you're a member of LinkedIn learning, I have a follow up movie in which I show you how to sharpen the detail in our great white shark, using a combination of Camera Raw and the high pass filter. If you're looking forward to next week, we've got still more great white sharks, at which point I'm going to show you how and why to combine low vibrance with high saturation. Deke's techniques, each and every week, keep watching.
Practice while you learn with exercise files
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- 669_custom_QR.zip
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- 780_sharper_shark.zip
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- 782_vib_sat_sharp.zip
- 783_hedcut_action.zip
- 784_action_actions.zip
- 785_color_lines.zip
- 786_combine_lines.zip
- 787_clip_to_group.zip
- 788_color_outside.zip
- 789_flip_horizontal.zip
- 790_white_walker.zip
- 791_walker_begins.zip
- 792_digital_shave.zip
- 793_deep_wrinkles.zip
- 794_deep_brows.zip
- 795_pale_lips.zip
- 796_glowing_blue.zip
- 797_lifeless_pupils.zip
- 798_cold_gloomy.zip
- 799_brittle_flakes.zip
- 800_trans_shapes.zip
- 801_range_mask.zip
- 802_flip_photo.zip
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- 817_blend_pattern.zip
- 818_cubical_holes.zip
- 819_grad_pattern.zip
- 820_iso_arrows.zip
- 821_position_tips.zip
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- 823_cartoon_teeth.zip
- 824_triangle_eye.zip
- 825_add_windows.zip
- 826_perfect_tessellate.zip
- 827_triangle_tunnels.zip
- 828_triangles_pattern.zip
- 829_colorful_triangles.zip
- 830_recolor_triangles.zip
- 831_rainbow_blends.zip
- 832_pattern_blends.zip
- 833_imposs_trident.zip
- 834_shade_trident.zip
- 835_opposing_grads.zip
- 836_trident_shadows.zip
- 837_impossible_hex.zip
- 838_impossible_lattice.zip
- 839_Joan_Miro.zip
- 840_watercolor_wash.zip
- 841_Miro_signature.zip
- 842_Photoshop_Miro.zip
- 843_enlarge_Miro.zip
- 844_Miro_Peele.zip
- 845_color_Us.zip
- 846_red_rorschach.zip
- 847_finish_Us.zip
- 848_CAF_fails.zip
- 849_turkey_2019.zip
- 850_trace_hand.zip
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- 852_colorful_hand.zip
- 853_paint_fingernails.zip
- 854_paint_turkey.zip
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- 857_Ps_iPad_1.zip
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- 859_Ps_iPad_3.zip
- 860_iPad_Sidecar.zip
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- 862_Fresco_halftones.zip
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- 866_repurpose_mask.zip
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- 876_paint_bucket.zip
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- 878_dynamic_poster.zip
- 879_filmstrip.zip
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- 923_equil_triangle.zip
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- 994_hide_shapes.zip
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- 998_hex_screws.zip
- 999_thats_all.zip
Contents
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767 Mandala patterns in Photoshop CC 20191m
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768 Painting a free-form mandala pattern9m 5s
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769 Painting mandala-style dot patterns6m 56s
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770 Coloring your mandala pattern7m 48s
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771 The final full-color mandala6m 27s
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772 Illustrator CC 2019 new preview mode1m 1s
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773 Illustrator CC 2019 presentation mode3m 21s
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774 Global edit in Illustrator CC 20196m 30s
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775 Applying a global edit from the control panel4m 8s
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776 Freeform gradients in Illustrator CC 20198m 29s
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777 Freeform gradients: Points versus lines8m 10s
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778 Freeform gradient limitations6m 29s
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779 Crop and develop a great white shark8m 54s
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780 Sharpening your great white shark6m 11s
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781 Low vibrance and high saturation9m 3s
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782 Vibrance, saturation, and sharpness9m 11s
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783 Actioning a full-color hedcut in Photoshop1m
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784 Recording an action to play all actions9m 37s
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785 Draw something, color the outlines8m 46s
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786 Combining multiple works of line art7m 3s
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787 Group your line art, clip to the group4m 9s
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788 Coloring outside your line art in Photoshop6m 32s
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789 Flip horizontal view in Photoshop CC 20191m
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790 Creating a White Walker in Photoshop1m 59s
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791 The White Walker begins9m 25s
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792 Giving a guy a digital shave in Photoshop3m 58s
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793 Carving deep wrinkles or scars into skin8m 37s
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794 Shading the White Walker’s deep-set brows6m 21s
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795 Creating pale, lifeless lips in Photoshop5m 57s
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796 Giving your White Walker glowing blue eyes10m 46s
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797 Adding some creepy lifeless pupils6m 40s
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798 Adding a cold and gloomy background12m 18s
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799 Adding cold and brittle snowflakes6m 25s
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800 Using the Transparency Shapes Layer option5m 29s
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801 Combining a radial filter with a range mask8m 35s
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802 Flipping a photograph in Camera Raw6m 20s
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803 An actual dream effect, in Photoshop14m 37s
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804 Augmenting your Photoshop dream8m 45s
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805 Applying distortions as Smart Filters6m 37s
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806 Combining distortions with blend modes10m 5s
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807 Drawing a 24-sided star in negative space12m 48s
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808 Making your star a repeating hex pattern8m 27s
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809 Shading your star pattern in Illustrator6m 57s
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810 Creating a gradient pattern in Illustrator4m 31s
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811 Making one pattern fade into another6m 23s
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812 Welcome to my seamlessly repeating summer1m 35s
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813 Drawing a cubical gobstopper in Illustrator14m 55s
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814 Creating a pattern of gobstoppers7m 23s
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815 Aligning your many gobstoppers5m 54s
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816 Blending line textures in Illustrator12m 58s
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817 Combining object blends with a pattern8m 40s
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818 Carving cubical holes into cubical objects9m 52s
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819 Nesting gradients inside a pattern5m 36s
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820 Drawing 3D isometric arrows in Illustrator7m 33s
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821 Positioning the tips of your arrows7m 17s
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822 Filling in the gaps in a repeating pattern8m 50s
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823 Drawing cartoon teeth aligned to the hair5m 50s
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824 Drawing a triangular cartoon eye8m 6s
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825 Adding windows to the houses pattern10m 46s
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826 Creating a perfectly tessellating pattern4m 32s
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827 Op art experiment 4: Triangle tunnels6m 58s
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828 Expressing your triangles as a hex pattern7m 18s
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829 Adding color to your triangle tunnels7m 55s
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830 Recoloring your triangle tunnels3m 20s
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831 Creating rainbow gradients with blends6m 18s
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832 The downside of using blends in patterns3m 35s
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833 Drawing an impossible trident in Illustrator9m 49s
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834 Shading an impossible trident with gradients4m 3s
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835 Painting paths with opposing gradients13m 51s
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836 Adding impossible shadows in Illustrator6m 42s
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837 Drawing an impossible hex object14m 8s
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838 Creating impossible latticework5m 46s
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839 Painting like Joan Miró in Adobe Sketch9m 46s
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840 Painting a watercolor wash background8m 23s
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841 Signing your artwork like Joan Miró4m 17s
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842 Opening your Sketch artwork in Photoshop9m 1s
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843 Enlarging your Miró to poster size11m 5s
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844 What if Joan Miró had met Jordan Peele?14m 10s
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845 Coloring your terrifying Miró/“Us” scene11m 47s
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846 Painting a Rorschach background9m 22s
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848 What to do when Content-Aware Fill fails?10m 4s
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847 Finishing your “Us” artwork in Photoshop10m 35s
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849 Hand turkey 20191m 56s
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850 Tracing your actual hand on an iPad10m 6s
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851 Drawing a highly articulated hand9m 50s
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852 Adding color to your hand-drawn hand12m 33s
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853 Painting your hand-drawn fingernails9m 3s
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854 A hand becomes a Thanksgiving hand turkey9m 6s
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855 Painting the turkey’s tail feathers13m 30s
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856 What’s wrong with this drop shadow?11m 14s
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857 Introducing Photoshop for the iPad13m 6s
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858 Photoshop for the iPad: Part 29m 13s
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859 Photoshop for the iPad: Part 310m 17s
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