Hi and welcome. My name's Julieanne Kost and on today's episode of The Complete Picture we're going to talk about all those little features in Photoshop CS5 that might get otherwise overlooked. So we'll start here with this image, and the first thing I'm actually going to show you is just the Workspace Switcher because I know I've mentioned it in previous movies, but just in case you haven't seen those, it is so easy now to go from one setup to the next. For example, I might have a setup where I use completely different panels when I'm painting versus when I'm compositing layers or when I'm doing other things, so instead of actually having to go into the Window menu or use a drop-down menu here, now I can just click on whatever workspace I've saved to quickly go back and forth--excellent. All right. With this image, what are we going to do? Well, first of all, I need to straighten it a little bit, but you will notice that even if I grab the Ruler tool-- and you know, the Ruler tool is underneath the eyedropper here-- even if I were to click and drag this out and use the new Straighten button right here, this image isn't really going to get straight because there's obviously a curve. It was a panorama that I've stitched together. It's still not quite straight, so I would like to straighten that horizon. So how can I do that? Well, I'm going to merge these 2 layers together. I could make them a Smart Object, but in this case, I'm going to go ahead and commit to merging them into one, and then I'm going to use Puppet Warp. Now, what Puppet Warp does is it allows me to place as many little pins in my image as I want to, and what it's doing is it's actually creating a mesh and we can view that mesh if you want to. I'm going to go ahead and turn it off, though, as I then straighten this image. So I'm going to pull this side up a little bit and I might even pull it over to the right a little bit in order to straighten these trees here. I'm going to pull up the left-hand side, and let's just pull out this pin a little bit. Let's drag this one down, and obviously, with an image like this, there aren't really any like buildings or anything that should be straight, so I've kind of got a lot of artistic freedom to push and pull my image and warp it and mesh it however I want to. So that's looking pretty good to me. The horizon is looking much straighter, so let's go ahead and tap the Enter or Return key and Photoshop will calculate that and show us the results. Excellent. Now, obviously I still need to crop the image, so i'll tap the C key to get the Crop tool, and you'll notice that when I drag out my Crop now, there is an overlay, and you can choose between the Rule of Thirds or the Grid Overlay. Of course, if you don't want this, you can turn it off, but I think the grid is quite helpful. We'll just move this and reposition it to where we want it, and go ahead and hit Enter or Return in order to apply that Crop. So that's kind of the auto-straighten, which we saw with the Ruler tool as well as cropping and the Puppet tool. Now, let's take a look at some enhancements that were made to the Adjustments panel. I'll go ahead and click on that, and let's say I want to add a Curves adjustment because I want to darken down the sky over here. Oh, whoops--it looks like I actually left a little bit of area there. Let me just tap the J key for a minute. The J key's going to give me the Healing brush. One of the nice things about the Healing brush is that I can now set it to Content Aware so that when I click and drag up with that, Photoshop is going to actually analyze the areas around that and fill that area in, paying close attention to the surrounding areas. In fact, it looks like there's something right down here, too. I think this is the shadow of something, so let's go ahead and grab that as well. Now, that's pretty close to the geyser, but it seemed to have done a pretty good job. I can always swipe it again if I need it to just kind of randomly generate another area if it looks like there's a pattern or something. Okay, great. Now, back to the adjustments because I wanted to darken down the sky over here. Now, when I add something like a Curves adjustment layer, one of the things that folks wanted was the ability to automatically have this Targeted Adjustment Tool selected or to automatically select other parameters. So you'll notice now in the flyout menu, I can turn on to Auto-Select Parameter and Auto-Select Targeted Adjustment Tool. The one thing to note, though, is that you actually have to be in the Adjustments panel and to have added an adjustment that has a Targeted Adjustment Tool in order to turn this on. Then, once it's on, every time you add an adjustment-- whether it's the Curves adjustment or maybe Hue Saturation, anything that has that Targeted Adjustment Tool-- when you click and drag down on your image, you'll notice that it selected that value that I clicked on and decreased that point in the curve or lowered that value. So obviously I didn't want to do it to the whole image, so what I'm going to do is making sure that the mask is targeted in my Layers panel. I'm just going to use the keyboard shortcut Command-Delete-- Control-Delete on Windows because black is my background color and that filled that with black. So now I can just grab my paintbrush and let's just pick a standard brush. I'll click on my Brush panel right here, and we'll just grab like a 30-pixel brush. Obviously, I don't want the wet edges on there and I don't want that spacing turned on or anything or any scattering. I just want a plain, simple brush. And then, I'm going to use the keyboard shortcut Control-Option and just drag in order to increase the brush size. Now, something's changed here--Control-Option increases the brush size if I drag left to right. If I drag up and down, it's going to change the hardness of my brush. That keyboard shortcut is a little bit different on Windows. On Windows, you're going to right mouse click and then Shift/drag up and down or Alt-Shift up and down it to change the hardness. Okay, great. Let's tap the maybe 2 key; that will give me 20%. I'm painting with white and as I paint with white, you can see what's happening--I'm actually painting in my Mask so what it's doing is it's slowly revealing that adjustment, and of course the adjustment is darkening down the image. I'll just do a little bit more--all right. That looks fine for now. Really, the point there was to talk a little bit about Masking and also the shortcut for changing your brush as well as the Auto-Select parameter and Auto-Select Targeted Adjustment Tool. One more thing before we leave the Adjustments panel is the Shift-Return key will go ahead and target the first numeric entry value in any of these adjustment panels, so that can help you, because once it's targeted, of course, you can tab through in order to change any of those values. And one other thing--that Targeted Adjustment Tool-- you can actually assign a keyboard shortcut to that as well, so that's very handy. Of course, under the Edit Menu, Keyboard Shortcuts, and then go into the Tool area. All right, let's switch over to this image for a minute. It's just a triptych of 3 images. You can see on the Layers panel that we have 3 different layers here, and in the past, you were able to take these layers and put them into a group, but you were actually limited to the number of nestings that you could put a group in, so you could put a group in a group in a group-- up to 5 different groups nested inside. Now you can go up to 10 groups within groups, so we've increased that amount. But something else that I think is really, really cool-- if I select all 3 of these layers, you're now able to change the Opacity of multiple layers at one time, so that was something that you were not able to previously do. Something else you can do--if I want to add a Layer effect, I can click on the Effect icon down here, and then we can add something like a stroke, so in Photoshop CS4, we changed the default color to black but there were still other attributes that I wanted to customize. So for example, let's say that I don't want a stroke of 14; I want a stroke of 2 pixels, and I don't want it on the outside. I want it on the inside. If that's what I want my default to be, you can see right here, I can make this my default. Same with any of these styles--if I wanted to add an outer glow and I didn't want it yellow, which is the default, you can see I've changed mine to white and I've made that my default. And even if you go in here and change it--let's say I went in and changed it to red-- I can still click Reset to Default, which would reset it to the default that I set. So that's very handy. Click OK. We've got our Layer effect applied to 1 layer; we just hold down the Option key and drag that Layer effect to the other layers there. A few other shortcuts with layers-- let's go ahead and just merge this group together. If I ever need to make a Layer Mask from transparency-- like based on transparency-- now I can do that going Layer, and then Layer Mask, From Transparency--and Photoshop will automatically create that and make that into a Layer Mask for me. In addition, if I grab something like the Marquee tool and make a selection and copy that selection, you'll notice that when I go to paste, we now have the ability to Paste in Place, Paste Into--which would paste into a mask-- and Paste Outside, which basically pastes into a mask but then inverts the mask. There are also 2 new Blend modes. Right down here, you'll see with Difference and Exclusion we have Subtract and Divide. Those, I have a feeling, will probably be used mostly by scientists who are trying to actually work with multiple layers and want to set the Blend mode there to remove artifacts in the images. They're very similar to the Channel Calculations. The only disadvantage here is that you can't actually assign an offset, but I think they're going to be still very useful. Okay. That's enough with the Layers panel. Let's talk about saving files. You'll notice that this is a 16-bit image. If I wanted to save this as a .jpeg file, you'll notice that I can now select jpegs, so it's not that the jpeg file format allows you to save 16-bit. It's that Photoshop now will flatten your image and convert it to 8-bit when you save those jpegs, which is quite handy because I always got in a situation where I would want to save as jpeg, but it would be 16-bit and then I'd have to back out of the save dialogue box and then come back in it, so this is quite nice. The other thing is that we have a preference to save back to the original folder, which is quite nice. And if you had a bunch of images open and you wanted to close them all, you'll notice that instead of having to either click Save or Don't Save to all of the images, you can now click Apply to All and whatever you click will apply to all of your images, so that's quite handy. All right. A few other things that I'll just mention. The Gradient tool now has a Neutral Gradient Filter Preset added to it. We can open up our animated gifs and actually retain the different frames. You can select and you can move multiple channels if you wanted to-- like multiple alpha channels at one time, and you can paint in 32-bit. So that used to be an extended-only feature, but now we can paint in 32-bit directly on our image. I'll take you to the preferences for one moment. On the Mac, it's under the Photoshop menu; obviously on Windows it's underneath the Edit menu. Just to point out a few things here-- Resize Image During Place--I love this feature! So right now, if you were to drag one image, say from Mini Bridge into Photoshop, and you drag another one in there--you know how sometimes the second image would come in like way too big? Well, what we're doing now is when you place that second file we're automatically making it a Smart Object. Not only that, but we are then resizing that Smart Object, right? Because that's the whole benefit of the Smart Object-- is it doesn't matter how many times you resize it--it doesn't lose any quality. We're resizing that Smart Object to fit within the document bounds by default, so that you don't have to zoom out and zoom out and then retransform, like drag the handles in, to make that top file fit the base size of the image documents. So I think that's fantastic--I would leave that on. Animated Zoom--I should actually cancel out of here and just show you what that is because I'm sure you'll come across this. If you tap the Z key to get your zoom tool, if you click and drag to the right, you're going to zoom in and if you click and drag to the left, you can zoom out. So that might kind of catch you off guard, especially if you use the keyboard shortcut like space bar-Command to zoom in and you think that you're actually going to be drawing a box. You're not--you're going to be zooming in based on where you click in the image. So, great feature. Okay, back to Preferences-- Place or Drag Raster Images as Smart Objects-- if you don't want that feature, you can uncheck that right here. One of the features that I absolutely love in Photoshop CS4 and 5 is the ability to open documents as tabs, but a lot of folks do ask me how to turn that off. I don't know why you'd want to turn it off, but if you do, here it is. As far as file handling, one of the things we did is if you keep the Maximize PSD and PSB File Compatibility to Ask, we actually, in the dialogue box that comes up, we have a check mark that says "Don't show again," but don't forget, you can always just sit here and say, well, "I always want it to save with maximum compatibility." That way, if you save a layered Photoshop file and some other application wants to get just a flattened preview, if you turn this to Always, then we will create not only the layered file but also that flattened preview for those other applications to grab. It might make your file size a little bit larger, but for me it's totally worth the trade-off. Of course, as most of you know, Photoshop CS5 is 64-bit for Mac; already was 64-bit in CS4 for Windows. You can see that we are optimizing the Cache Levels and the Tile Size for different kinds of documents and I can take advantage of more RAM than ever before, right? We were limited to 4 GB--now I can have as much as I want. With the cursors, nothing new here, but it does remind me back in General, if I didn't point out here the Color Picker-- when you use the keyboard shortcut, you can either pick from a Hue Strip or the Hue Wheel there. So lots and lots of cool things. For those of you who are interested in 3D, we've got an entire preference pane for 3D. And for those of you who really like the old way that you selected your channels, you'll notice here if I go underneath the Keyboard Shortcuts, if you want to just use those Legacy Channel Shortcuts-- the Command 1-2-3 for RGB or 1-2-3-4 for CMYK-- just turn that on that way. Quite easy, and I think I pointed out in the painting but I'll just mention it again here-- you can now assign a keyboard shortcut to bring up the foreground Color Picker to load the mixer brush, clean the mixer brush, toggle all of these on and off. Lots of really, really cool stuff you can do. So, whew! We're out of time, but that should cover a lot of those small things that really get overlooked or never talked about, so I want to make sure you're aware of them. Thanks a million for joining me--I'm Julieanne Kost. I hope to see you again on The Complete Picture. [♪music♪] [ADOBE® TV PRODUCTIONS]
PS - Little Known Feature Enhancements in PS CS5
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About This Episode
Join Julieanne Kost as she covers all those little features in Adobe Photoshop CS5 that you may not know about that can make your life easier.
Runtime : 00:15:38 Added : 06/10/2010
About this show
The Complete Picture with Julieanne Kost
Join Julieanne Kost, Digital Imaging Evangelist at Adobe Systems. In each episode, you'll obtain valuable insights and in-depth information on a variety of topics covering both Photoshop and Lightroom.
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