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Global Adjustments — Transcript

by Adobe at UA · 4,013 words · 563 segments · language en · Watch on YouTube

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0:00[Music]
0:05hey everyone welcome back this week we
0:07are going to explore Global adjustments
0:10in Adobe Photoshop a global adjustment
0:12is an edit that you make to an entire
0:16image rather than just a specific area
0:19which makes them perfect for changing
0:21exposure adjusting color changing
0:24contrast and affecting the overall tone
0:27of your entire image in a consistent way
0:30one of the best things about global
0:32adjustments is that they're
0:33non-destructive editing techniques which
0:36means that they preserve the original
0:38layer by adding an adjustment layer on
0:42top and that keeps the original layer
0:45untouched so we can always go back and
0:47make tweaks and changes later on
0:51mastering a a global adjustment is going
0:53to help you achieve kind of a polished
0:56look um for any image you're working on
0:58so let's go ahead and jump in let's
1:00start from our desktop application and
1:02we'll open up Photoshop and we'll see
1:04that I have the option of opening a new
1:06file working on a recent file or here I
1:10can start something new I can take a
1:11photo and drag it here or the same can
1:14be accomplished by dragging it to our
1:16Photoshop desktop icon on our Doc and
1:20Photoshop 2025 is not just for editing
1:23photographs anymore and we can see that
1:25by opening up our workspace selector
1:27where Photoshop also does motion which
1:30is video photography and we can even do
1:33some 3D and web design so we're going to
1:35set ourselves up for success by choosing
1:38photography and that's going to pull up
1:40all the tools I need to work on Pixel or
1:42raster based images if opening up this
1:46workspace selector doesn't give you the
1:48exact view that I have you can always
1:50customize your workspace by moving and
1:53rearranging these panels in this video
1:55I'm going to be working in these three
1:57panels which are layers adjustments and
1:59properties and if you don't happen to
2:01see one of those you can always go up to
2:02window and open up any panel that isn't
2:05visible to make Global adjustments it's
2:08important to know how adjustment layers
2:10work and how they interact with our
2:13image this way we can make sure that
2:16we're
2:17utilizing what are called
2:19non-destructive editing techniques what
2:22does that mean a destructive editing
2:24technique is one that changes pixels of
2:27your image permanently so if if I were
2:30to grab a paintbrush and paint black
2:33directly onto my image you'll see that
2:36on this layer I've changed that image
2:39these pixels are permanently painted and
2:41permanently altered it's possible to
2:43make destructive edits in other ways
2:46like going up to image and adjustments
2:50and changing my brightness or
2:52contrast that's going to change the
2:54actual pixels on my background image so
2:57if I want to go back and make changes to
2:59the this later I'm not going to be able
3:01to for that reason it's important to use
3:03a workflow that's not going to give me
3:05any regrets in the future so instead I'm
3:09going to use an adjustment layer for
3:12example by adding brightness and
3:14contrast adjustment layer you'll see
3:16this brings up its own layer with a mask
3:19already applied navigating up to my
3:22properties panel I can change the
3:23brightness or contrast but if I turn off
3:26the visibility on this layer I'm not
3:29making any changes to my original image
3:32I'm only making changes to the layer
3:34above and that's what we consider to be
3:37a non-destructive editing technique now
3:40this video focuses on global adjustments
3:42and not local adjustments which we'll do
3:45next but I do want to show you that by
3:47altering this mask you'll see that those
3:49brightness and contrast settings are now
3:51only being applied up here in the sky
3:53maybe down the road I'm having second
3:55thoughts about my brightness and
3:56contrast settings I can select here on
3:59layer itself and go back to refine the
4:02edits that I made now it's also possible
4:04to stack more than one adjustment layer
4:07on top of one another and you'll see
4:09that if I add a black and white
4:11adjustment layer this takes priority
4:14over everything
4:15underneath however if I only want this
4:19layer to affect the layer directly
4:21beneath it all I have to do is add
4:24something that's called a clipping mask
4:27and instead of the black and white layer
4:29affecting every layer below it will only
4:32now affect what is directly below I like
4:35to think of a clipping mask like a
4:37paperclip I can find one right here I
4:40can also go down and right click on the
4:43layer uh where it says clipping mask and
4:46this is like taking an imaginary paper
4:49clip and clipping these two layers
4:51together so the effect that I've created
4:55will only apply to the layer directly
4:58beneath before we do a dive into
5:00adjustment layers and see what each of
5:02these layers do individually I do want
5:04to add two more tools to your tool belt
5:08the first of those being something
5:10called blend modes to show you how blend
5:12modes work I'm going to drag over this
5:15paper texture and put it on top of my
5:17background layer you can see it creates
5:19its own layer I can scale that if I
5:22would like I'll make it cover the entire
5:25background layer and accept the free
5:28transformation
5:30and then back in my layers panel I can
5:32change my blend mode Each of which will
5:35make the top layer interact with the
5:38bottom layer in a different way so a
5:41simplified version of a blend mode would
5:43be to go over to my opacity and turn
5:46down my opacity and now we can see I
5:48have like 50% paper and 50% background
5:52layer I could turn that up to 75% if I
5:55want but if I scroll through my blend
5:57modes I get a live view of what each of
6:00these do each of them working a little
6:03bit differently it's best to scroll over
6:06each one and choose whichever blend mode
6:09looks the best or works the best with
6:11your two layers but a blend mode just
6:13affects the way that a layer on top
6:16interacts with a layer below it I think
6:19I like the linear burn this one's for me
6:23then I can turn down the opacity a
6:25little bit if I think it's still maybe
6:28the effect is little too intense so once
6:30again the first of the two tools we're
6:32going to be learning about today are
6:33called blend modes when making Global
6:36adjustments non-destructively it's a
6:38great workflow to add an adjustment
6:40layer and then change your blend mode to
6:43make them interact in fun and creative
6:45ways the second tool I want to add to
6:47your toolbox today is all the way to the
6:50left hand side in your tool panel and
6:53it's called the crop tool which I'll
6:56select now now most of us have probably
6:58used a crop tool where we can click and
7:00drag to make a new
7:02composition in Photoshop holding shift
7:05on my keyboard while I crop is going to
7:09allow me to constrain or not constrain
7:11my proportions with Photoshop 2025 crop
7:16has a new added feature that's pretty
7:19exciting we've all cropped an image
7:21smaller but you'll see that now we can
7:23crop an image bigger in a way using new
7:28AI powered generator expand so let me
7:31zoom out I'm going to hold command or
7:33control minus on my keyboard I will
7:36choose crop and then using builtin
7:40generative AI Firefly I will go down to
7:44my toolbar and hit generative expand by
7:47not typing anything in it will analyze
7:51the pixels in my image and at the mercy
7:55of your internet speed Adobe Firefly is
7:58going to generate a new expanded image
8:02in this border it's always going to give
8:03me three choices to choose from in my
8:06properties panel and I can always choose
8:09to generate more another useful feature
8:12of the crop tool is that if I don't
8:15actually grab the corner but I hover up
8:17above the corner I can click and drag
8:20and if my horizon line is a little bit
8:23off or my image is crooked I can make
8:26adjustments to the photo in this way um
8:29I can also go down to my contextual
8:31taskar below and grab this level and
8:34that'll allow me to find something
8:35straight in my image usually a horizon
8:38line and if I click and drag across the
8:40image that's going to straighten my
8:44image for me so now that we know about
8:46blend modes and the crop tool let's
8:48start exploring adjustment layers
8:51depending on your preference adjustment
8:53layers can be found in two places either
8:56this panel or by scrolling to the bottom
8:59we have this little half black half
9:01white circle where all of my adjustment
9:04layers also live now many adjustment
9:06layers do very similar things but in
9:09slightly different ways there's no right
9:11or wrong way to edit your photos
9:14everyone does things a little bit
9:15differently so what I like to say is the
9:19best tool for you is the tool you know
9:21how to use after exploring and
9:23experimenting with these adjustment
9:24layers you might find which ones you
9:26prefer and they might be different from
9:28the ones I prefer that's totally fine
9:31you won't use all of these just figure
9:34out which ones you like the most that
9:36being said I'm going to Now quickly go
9:38through each of them and their functions
9:40one by one starting with solid color a
9:43solid color adjustment layer will allow
9:45me to pick any color and we add that
9:48color to a mask as its own layer I can
9:51click on the mask to make changes or I
9:54can select the color itself if I've had
9:56a change of heart I can doubleclick on
9:58that swch and I can continue to make
10:01changes here my two options now are to
10:03turn down the opacity or I can choose a
10:06blend mode or in fact I could use any
10:09combination of the two our next
10:11adjustment layer that I can add is
10:14called a gradient and this works fairly
10:17similarly by clicking on this box it's
10:20going to allow me to scroll through some
10:22preset
10:23gradients choose one that I
10:26like and then I can make minor adjust
10:29ments like I can have a radial gradient
10:32I can have it split the colors 50/50 I
10:35can choose a diamond shape and then I
10:37can change and adjust the angle and I
10:40can choose how large or how small that
10:43diamond shape is let's go back to linear
10:45if I doubleclick here on this gradient I
10:49can also select from these swatches and
10:51build my own gradient so with this Color
10:54Picker if I select this Swatch here
10:57double click I can choose a
11:00color choosing a color on the other end
11:03I can build my own custom
11:06gradient selecting a new color in the
11:09middle maybe I decide I don't want this
11:12color at all I can just grab this
11:14watchat drag it away and now I have just
11:16two colors and I will then change my
11:19blend mode I think exclusion looks kind
11:23of
11:24neat I'll turn down the opacity to make
11:27it a little less intense and that is
11:29gradient fill the next Global adjustment
11:32I'll be making is to add a pattern by
11:35selecting this drop down I can choose
11:37from different patterns whether they're
11:40trees grass or
11:44water then I can enable even more
11:47patterns by going up and selecting in my
11:51patterns
11:52panel and choosing this little hamburger
11:56maybe that's a hot dog I'm not
11:58sure and then I'll enable something
12:00called Legacy patterns those are all the
12:03old historic patterns previously
12:05available and under Legacy patterns I
12:07have all sorts of options like dirt
12:09stone wood gravel rust Etc let's grab
12:14one of these swatches and drag it
12:16directly over my background and then by
12:18double clicking on the pattern itself on
12:22that layer I can change the scale I can
12:25change the
12:27angle I'll ch chose okay and then I can
12:30change my blend
12:32mode scrolling through I think multiply
12:35looks pretty cool and I'll turn down the
12:37opacity just a bit here's a tip you can
12:40hover over the word opacity and scrub
12:44right or left to turn it up or down and
12:47I might end up with something that looks
12:49like this feel free to utilize that mask
12:53that's created for you to make that wood
12:56grain apply to maybe only part of your
12:58image the next set of adjustment layers
13:00are a little more straightforward and
13:02I'm going to select brightness and
13:04contrast up above in my properties panel
13:07I can make adjustments to brighten or
13:10darken my image to increase and decrease
13:14the contrast next up we'll take a look
13:16at levels this tool has some built-in
13:19presets that I can scrub through like
13:21increase contrast or make my midtones
13:24brighter or leaving that on default I
13:27can make adjustments on my own my
13:29process for this is to typically I will
13:32choose Auto and allow the program to
13:34automatically correct my levels and then
13:37I'll make further adjustments based on
13:39my preferences that I can do by moving
13:42these sliders that are on this histogram
13:45a histogram is essentially like a bar
13:47graph where it will tell me how many
13:49pixels are completely black on the left
13:53it looks like we have quite a few black
13:55pixels in this image and then on the
13:57right it'll show me how many pixels are
13:59completely white looks like we don't
14:02have any and in the middle this shows me
14:05how many pixels are 50% gray and then of
14:08course everything in between by moving
14:10these sliders I can increase the number
14:13of dark pixels and I can increase the
14:16number of light pixels and I can make
14:19adjustments to my midtones accordingly
14:22another option available down here is to
14:24use this eyedropper tool where I can
14:27choose a pixel on my camera that is
14:29either 100% black or 100% white and if I
14:33do that so let's take this over here and
14:35I will select this pixel which will make
14:38this point the darkest dark and that'll
14:41adjust everything in my image by making
14:44this pixel complete Black and sliding
14:47everything else over accordingly the
14:49slider below allows me to lighten the
14:52black areas of the image or darken the
14:54white areas which sometimes can be a
14:56cool effect and as you can probably
14:58start to to tell the best way to learn
15:00any of these adjustment layers is to
15:02just move sliders
15:04around start to get a feel of how they
15:06work and just find something that works
15:09best or looks good for you photo editing
15:11is subjective so you can adjust these
15:14however you want but that being said my
15:16personal word of advice is that less is
15:18more when it comes to editing
15:20photographs with adjustment layers just
15:23start by making subtle changes and then
15:25you can always go back and add more
15:27later let's add a curve adjustment layer
15:30I'm going to edit this in a similar way
15:32using a histogram let's start by
15:34clicking Auto it'll make a suggestion
15:37for me and then I can make changes to
15:40these curves by dragging these points
15:43until I get my desired effect now curves
15:46is a tool that takes some practice in
15:49getting used to you can see that this
15:51can get out of hand pretty quickly by
15:54adding points and moving them around but
15:57if you've accidentally added a point
16:00that you don't want just grab it and
16:02drag it away from the the whole program
16:04and that'll throw it in the trash and
16:07then we can get back to something that
16:08we do like maybe something like this
16:11let's add an exposure
16:15layer now in my personal workflow I'll
16:19typically start with a crop tool and
16:21straighten my image then I'll add
16:24exposure I like more of an Overexposed
16:27look or an image with a lot lot of light
16:29but note that you don't want to go too
16:31far I'm looking right here going too far
16:34I start to lose information and things
16:36start to get washed out using my offset
16:39slider I can increase the exposure in my
16:42darker areas and my gamma correction is
16:44going to allow me to increase or
16:47decrease the exposure in my highlights
16:50my next option is Vibrance I highly
16:53recommend using Vibrance and trying to
16:56leave saturation alone as best as you
16:58can when I saturate an image it's going
17:01to crank up the color intensity of the
17:03entire photo if I decrease the
17:06saturation it's going to give me what's
17:08called a desaturated look of the entire
17:11photo desaturating an image is something
17:14I do often but rarely will I increase
17:16the saturation instead I usually opt to
17:19choose Vibrance which works a lot better
17:21for me because Vibrance is going to take
17:25already vibrant colors and increase
17:29those colors leaving some of the more
17:31muted colors alone to me increasing your
17:34Vibrance usually looks more intentional
17:36whereas increasing your saturation
17:38sometimes makes your image look I don't
17:41know radioactive or often times it it
17:44looks worse than it did before now my
17:47color balance adjustment layer is an
17:49amazing tool where the preset will have
17:52it set to midtones and I can change the
17:55color of the shadows midtones and
17:57highlights independently of each other
18:00where in my midtones I can add more red
18:04or more
18:06cyan again less is more making subtle
18:09changes is often key in photo editing
18:12then I can go to my shadows and I can
18:15edit these independently of one another
18:18and then I'll end with my highlights
18:20keeping in mind that nothing I've done
18:22is distructive so I can always go back
18:24and continue to make changes and
18:26adjustments a color balance adjustment
18:28layer is often used when your white
18:30balance on your camera is set
18:32incorrectly while taking a photograph
18:35you may have seen this before this
18:36happens because there's different types
18:38of light and different types of
18:40wavelengths that enter into our camera
18:42cameras are usually pretty good nowadays
18:44about detecting what type of lighting
18:47situation we're in but sometimes we have
18:50multiple lighting situations where we
18:52have outside light from the sun which is
18:55UV light we have inside light that could
18:58be from a fluorescent light bulb or a
19:01Tungsten light bulb and the result is
19:03that our image can be kind of confused
19:05where things will either look a little
19:07too yellow or things will look too blue
19:11in this Photograph I think things turned
19:12out a little too yellow so I could use
19:15this layer to increase the blue maybe
19:18adjust the magenta we could add a little
19:22green add a little cyan so color balance
19:25is a great way to adjust incorrect white
19:29balance from our camera a black and
19:31white adjustment layer does exactly what
19:33you think it's going to do but it's also
19:35going to allow me to add Shadow or
19:37highlight to Colors
19:39individually so anything red I can make
19:42lighter or anything yellow I can enhance
19:45maybe we make the greens a little
19:47[Music]
19:49darker and if I'd like I could add a
19:52tint and choose a color now this is a
19:54black and white image tinted whatever
19:57color I select you could turn down the
19:59opacity and maybe that'll give you like
20:01an old sepia photo type Vibe adding a
20:04photo filter will allow me to choose
20:07either something warm something cool
20:10like blue I could put a cpia tone on top
20:13of my image or I could even select a
20:16color and use that color as a filter on
20:19top of my image I can turn up that color
20:21density or I could turn it down and now
20:23we'll look at adding a channel mixer
20:26adjustment layer which is something I
20:28actually very rarely do but if you do
20:31choose a channel mixer the way this
20:33works you have to keep in mind that by
20:35changing your Reds Your Greens and your
20:38Blues the ultimate goal is to Total 100%
20:43down here so it's almost like a little
20:46puzzle where I want to end up with right
20:48around 100% to give myself a balanced
20:52looking image adding an invert
20:54adjustment layer will invert the colors
20:56of your
20:57image and by posterizing our image we're
21:01decreasing the number of colors that are
21:04being used so if I bring this down to
21:06two what we have is red green and blue
21:09times two so that means I have six
21:11different colors if I turn that up to
21:14three now I have nine colors I'm not a
21:17mathematician but as I bring this up
21:19you'll see I'll add more and more colors
21:22being used in my image until I go too
21:25far and I've actually exceeded the
21:27original number of colors being used in
21:29this image now adding a threshold is
21:31going to change my image so that I have
21:34either completely white pixels or
21:37completely black pixels and nothing in
21:39between the only choice I can make is
21:42that if I want more black or if I want
21:44more white and then one of my all-time
21:47favorite adjustment layers is adding a
21:49gradient map a gradient map sounds
21:52similar but works very differently than
21:55a gradient does if I double click right
21:58here where gradient will just add half
22:01of one color and half of another color
22:04in a gradient on top of my image a
22:06gradient map will actually turn my
22:09pixels into dark pixels being one color
22:12and light pixels being another color and
22:15the midtones being the range in between
22:18I can also choose to reverse these and
22:21by selecting here I have a large
22:23selection of gradient maps to choose
22:25from black and white are the basics and
22:27the standards but scrolling through you
22:29can choose from any number of options
22:32and then I can customize my gradient map
22:35by selecting the Swatch changing the
22:38color and then I can change the color of
22:41the Swatch on the other end and I can
22:43change the color of the Swatch in the
22:46middle I can make something really crazy
22:49I could go nuts add a couple more and
22:52then by moving these around I can decide
22:53how much of each color I want let's
22:56select okay and go down to opacity
22:59turn that down and that's going to give
23:01me my own filter this gradient map's a
23:03little crazy let's go back and choose
23:06something simple and then I'll change my
23:09blend mode Let's select soft light I'll
23:14turn down the opacity and that'll give
23:16me something really nice and the time
23:18has come to check out our last and final
23:21adjustment layer which is selective
23:23color selective color is going to allow
23:25me to make changes to each of my colors
23:28indiv ually so with red selected we
23:30could add cyan maybe turn down the
23:32magenta turn up the yellow turn up the
23:36black then I can switch to my yellows
23:39and do the same for each color
23:41individually this is going to allow me
23:43to get super specific and get my colors
23:46exactly how I want them to look each of
23:48these adjustment layers Works incredibly
23:50well on their own and are great tools
23:52but the real power comes when we add
23:54several adjustment layers in combination
23:57one on top of the the other and then
23:59experiment with our blend modes and our
24:01opacity to create a really polished and
24:04professional looking image now that we
24:06know how to make Global adjustments play
24:08around with those tools and techniques
24:10to find the perfect balance for your own
24:13images in the next video we're going to
24:15continue to learn about non-destructive
24:18editing techniques but this time using
24:21local adjustments

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