Highlight/Contour in Photoshop

I love his forum. Everyone is just so knowledgable! Thank you for all your help thus far.
I have a highlighting question. I see that some purchased actions (others have made). For the "highlighting" effect, they have duplicated the copy layer, then changed it to luminosity bending mode, with the layer mask inverted. I just need to brush on wherever I want to highlight.
When I actually tried doing this from start to finish, it doesn't work. I have duplicated the background, and changed it to Luminosity, but NOTHING happened when I brushed it on my subject.
Am I missing something here? Please help!!
Thank you for your time.
h

I can't say. You could look at the action step by step and see what it is really doing. Also if the action has come with instructions have a closer look at them.
Since you did purchase them,contact the author or support for advice. I want to help,but I have no idea what they did.
Good Luck.
Gene

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Button Highlights/Overlays in Photoshop

How do I create a simple rectangle highlight around text in Photoshop? I tried creating a rectangle with the rectangle tool. Shape Layers creates an outline (which I can create a thicker stroke), and Fill Pixels creates a rectangle with the option to turn off Anti-Aliasing (as recommended by Larry Jordan, due to DVDSP's inability to read the anti-aliasing on a highlight).
Current PS layers layout:
[layer 1] Background layer (DVD Menu picture), [layer 2] Text layer (button names), [layer 3] Overlay/Button Highlights
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When imported into DVD Studio Pro 4:
The Shape Layers version of the rectangle is not readable.
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Larry Jordan's e-mail response:
"Brian:
You can't get there from here.
The highlight layer in the DVD totally obscures whatever is below it. So, if you create a rectangle, it will block the text underneath, even if they aren't underneath in Photoshop, the DVD treats the overlay layer as the highest layer in the menu.
So, you need to create rectangles in Photoshop, then cut out the letters in the overlay using masks. Next, you need to be sure that the overlay is solid black with no soft edges - DVDs don't support the edges.
Finally, you will need to rasterize all shapes and text - Layer > Rasterize layer.
Larry"

Filter contours - PS CS5

Hello
I have a small problem with a big-generated contour in PS CS5. Sometimes my nature photos coming through art and other filters, and seeking interesting shapes, etc. So far, no problem, some filters only work in 8-bit mode, etc. But I came across a filter contour (stylization). I created from photos with this filter contour - (gray outline on a white background), all OK so far, but the problem came when I wanted to darken the contour. Any tool - curves, levels, brightness, after application darken again after saving back into its original form it is a gray outline. I also tried to duplicate the layer, darkening with blending, etc. everything is always returns after merging layers to its original color - gray. I also tried the contours of other photos and the result was always the same, but the contour is already created with it could not be any load, change it.
Someone solved a similar problem? Thanks for the advice
Progress of work: try to do it by the following procedure: a new image as jpg. Create the image contour (filter-styling-contour). There are several lines of color. I'll try to make adjustments - curves, levels, brightness (I try to highlight contours) and after flattening layers changes back to its original state. Transfer only in black and white to change after merging layers appear properly incurred and gray lines. I want them to darken as through the levels, etc. but again, the resulting graphics will become gray. There was no in foreign forums I have not found the answer, what it will be.

Are you talking about Filter>Stylize>Trace Contour?
If so, you might try running the filter again with the same settings to darken the lines.
Also, viewing an image at 100% view (actual pixels) will give the most accurate results as other views
may show different results due to the interpolation that photoshop uses at other viewing percents.

Problem with image opened in Photoshop

Hi all,
I am having a strange problem with an image opened from Aperture in Photoshop. Though the image looks fine, something is amiss. Most notably when I try to use the shadow/highlight command in Photoshop, the image actually darkens (highlights are set to zero amount). If I export the image as a jpeg and open it in Photoshop, the s/h command works as expected. If I export as a .psd file and open it, the s/h command again darkens the image. Interestingly, the .psd file thumbnail shows orange with read streaks through it, but opens as it should. Corrupted .psd conversion maybe?
Any thoughts or suggestions would be appreciated.
Thanks,
Steve

Additional info:
Same problem with a series of photos taken about the same time.
Other photos work fine.
I exported the original .nef file, opened it in camera raw/photoshop. Works fine.
Corruption/bug in the .psd conversion looks more likely unless I'm missing something. . . .
Help!!!

Searching the Help index in the trial version of Photoshop CS5

I'm working with a trial version of Photoshop CS5. I noted a post about the failure of PS Help to return any results when doing a local search. Apparently, there was a bug and a fix, as described here:
http://forums.adobe.com/thread/739143
Hi all: thanks for your messages here. There was a problem with the local help download package for Using Photoshop. The team has rebuilt the package and confirmed that local search for Photoshop is now working. Please update your local copy of Using Photoshop to update the help package. Here's what to do:
1. Open the Help app
2. Open the Preferences
3. Go to Local Content
4. Highlight/select Using Photoshop
5. Hit the Delete button.
6. Then click Update
The application should automatically download and update the new Help package.
When I get to step 3, Local Content does not produce any result; so I can't implement the fix. Is the "fully functional" trial version not fully functional?
I was searching for a way to set the timing for AutoSave, assuming there is an AutoSave. Any assistance would be much appreciated. Thanks.
Doc_Pit

In the help application when you open the preferences instead of local content,
click on Updater settings and click on Manually update local content, then
click manage now.
Added
Photoshop doesn't have an auto save function, but there are some plugins for autosaving in
photoshop. (there is a recent post on the forum about this)
http://forums.adobe.com/message/3310413#3310413
MTSTUNER
Message was edited by: MTSTUNER

Strange Aperture, Photoshop, D300 image problem

Hi all,
I posted this the other day, but had no responses so I’ll try again.
I am having a strange problem with a D300 .nef image opened from Aperture into Photoshop. Though the image looks fine, something is amiss. Most notably when I try to use the shadow/highlight command in Photoshop, the image actually darkens (highlights are set to zero amount). If I export the image as a jpeg and open it in Photoshop, the s/h command works as expected. If I export it as a .psd (or .tif) file to my desktop and open it, the s/h command again darkens the image. Interestingly, the .psd file thumbnail on the desktop shows really orange with red streaks through it, but opens as it should in Photoshop, except for the s/h problem as described above.
Since the original post, I’ve noted similar problems with other images taken around the same time. Interestingly, others seem to work fine. As a test, I exported the original .nef file to the desktop and opened it in Camera Raw/Photoshop and it works fine.
Could it be corruption/bug in Aperture’s .psd conversion? Or, probably more likely, am I missing something. . . .
Any thoughts or suggestions would be appreciated.
Thanks,
Steve

Now I'm really confused.
I experimented with an old D100 .nef image, and the same thing happened in Photoshop.
I found however, that if I turn the black and white clips (originally set at 0.01%), the shadow/highlight command works as expected. I don't know why this would make a difference in the Aperture .psd file, but it does. When I open the same .nef image in Camera Raw/Photoshop directly, the black/white clip setting (at .01%) is negligible on the image.
As per my prior post, I'm not sure how to link to these files, but I gladly will if I can figure it out.
As always, thanks for the help.
Steve

Problems with HDR in Photoshop CS 5

I have a problem when merging images to HDR in PS5.5. My final image is not good, the colors are lousy and the picture is very low on contrast. I have tried with different images, and I get the same result every time.
In the example I've used three jpegs.
I’ve searched the net for solutions, but I can’ find any.
Anyone got an idea?

I exchanged a few ideas about this with Klaus Herrmann - aka Farbspiel - of HDR Cookbook fame a while back. Klaus said that while he could get more highlight detail using Photoshop, as opposed to Photomatix, for the merge to HDR stage, Photoshop resulted in undersaturated images with colour casts. I had the same results so never used Photoshop's HDR feature, but suggested that if the image was important enough, you could produce both Photomatix and Photoshop images from the same bracketed set, and use the Photoshop version as a sharpening aid at the end of the process. I never felt anal enough to actually try this, but I had in mind using an alpha channel mask from the more detailed Photoshop version for High Pass sharpening the Photomatix image.
Klaus gets amazing detail from his HDR images:
I'm sorry for the large image size, but could not get a link from the smaller versions.
But if you check out one of his amazing How-it-was-done videos you'll see that he puts a lot of work into them. You'll also see how a detailed alpha channel mask would help his workflow.

Exposure - Photoshop vs Lightroom

Hi,
I have the following problem:
On the right side I have a camera raw image opened in Lightroom and the only adjustment is the exposure which is raised by 2 stops.
On the left side the same image opened in Photoshop, using ACR, all settings default (so no adjustments at import, but the image is imported as 16 bits). Then, using the exposure adjustment (under Image menu) I raised the exposure by 2 stops, like in Lightroom.
The difference is that in Lightroom all the details in highlights are retained, whereas in Photoshop are clipped.
I was under the impression that if you import a raw image as 16 bits it will retain all the full dynamic range, or is something I'm doing wrong?
Full res snapshot here:
http://www.lightdimension.ro/poze/screenshot.jpg
Original camera raw image here:
http://www.lightdimension.ro/poze/Nori_Ranca.396.CR2

Lightrooom has more data available from RAW files, and does some highlight recovery.
Photoshop doesn't have the extra RAW data, and doesn't do highlight recovery.
Technically, what Lightroom does isn't just exposure adjustment - because it automatically includes highlight recovery.

Where do I find the Edge Highlighting Tool

Where do I find the Edge Highlighting tool in Photoshop CC

The Refine Edge Command is generally much better than the old extract filter.
A couple of videos:
http://tv.adobe.com/watch/the-russell-brown-show/masking-basics-in-photoshop-cs5/
http://tv.adobe.com/watch/creative-suite-podcast-photographers/how-to-remove-a-background- from-an-image-in-photoshop-cs5/

[CS4] When highlight layers have no color at all

CS4
I'm not seeing any hightlight color at all on my menu buttons.
I checked in photoshop on layer named `(=1)'
The eyeball is off, so turning it on to see the color but there is none, nor is there a small frame showing the
range the color is meant to cover.
How to manually set a color there? Can I just select a frame similar to my button with rectangle selection and dump color on it?
Well, no. I did that, and set opacity to %47. Turned the eye back off, Now the button is constantly `on' even when I just have the menu selected in the encore window.. I know that is wrong.
I see `Menu/Edit menu color set' . Its set to `automatic' , I changed it to `menu default'.
I noticed one of the colors in group1 was identical or awfully close to my menus' background color, so I thought "Ahaaa" change that one to some thing that will be visible on my bkg color.
I changed to something that would show, and changed another one that was vaguely close, also to something that would definitely show.
It appears to have had no effect whatever, and its not at all clear what that editor is really supposed to do. Or at least, editing the colors seems to have no effect on the highlight color.

Stan Jones wrote:
You set the colors with the color sets in Encore, not in PS.
What you described regarding working with the color set is correct.
I would try a new menu, and see if that is working correctly. Then either do the menu over, or work some more with the color set - and try to make sure the opacity, etc is correct (back to correct) in PS.
With your input I tinkered some more and was able to fix it by manually building 1 highlight layer in photoshop, including the actual color area and color choice, then copying and eding it around the rest of the button groups.
Probably a little easier than redoing the whole menu.
When you say `You set colors with color sets in Encore, not in ps', I guess you meant that its easier that way, but for the record it can be done in photoshop too. I built the color area and selected the color all in photoshop (since it was doing nothing at all when I tried it in Encore).
I'm pretty sure though that Encores' color sets editor not impacting the hightlight color on this go around was because I'd already jacked up the original assemblage of layers and such that make up the buttons.
Anyway... all is well and thanks for the clues.

CS4 recovery slider vs shadow/highlight

Is it my imagination or does the adjust highlight slider in Photoshop CS2 (image/adjust/shadow-highlight/adjust highlights) do the same thing, give the same results as the recovery slider in CS4 Camera Raw 5.0? If not, does anyone know what the difference is? I'm trying my best to retain the blown out whites.
Thanks,
Airpix

The big difference between them is that you can use Recovery on raw files to bring back detail out of pure white because you still have information there (not always but you usually do) while a pure white in Photoshop doesn't have any information in it whatsoever.
The other difference (and i'm not 100% sure about this one) is that the Recovery slider works only on the luminance values (it darkens the highlights) while the Shadows/Highlights is an edge detection filter which is why you get halos when you have a huge amount and a low radius
The best solution would be to make as many tonal adjustments as you want/need in Camera Raw and then open it in Photoshop as a Smart Object (shift+click on Open Image to turn it into Open Object) and apply the Shadows/Highlights filter if you need it.

Shadow/Highlight workflow - A Quick Tutorial by Mathias Vejerslev

Here's a tip on using the Shadow / Highlight feature of Photoshop. I'll describe my typical established workflow using this tool, in order to help others using it.
Shadow / Highlight is in a special category of tools, based on light zones in your image. You can use it to increase or decrease contrast, or indeed both in one go.
First of all, I wouldnt recommend using Shadow / Highlight on an 8-bit image. You can do it, and it will give you results in a pinch, but the image quality will be much better if you start out with a 16-bit image in a large color space.
[continued, below...]

[...the dialogue continues...]
Mathias Vejerslev
- 2:34pm Apr 19, 06 PST
I should note that my settings for S / H are a bit more extreme than usual for this particular image. That's because its so dull to start with. With highlights closer to the right of the histogram, much less Amount for highlights suffice.
glen deman
- 6:49pm Apr 19, 06 PST
Thanks Mathias, I'll also give this a whirl, I'm not familiar with S/H at all at this point.
Lawrence Hudetz
- 12:37pm Apr 20, 06 PST
You must be reading my mind, Mathias, as I was just wondering if you might come up with some information on your take with S/H.
My problem is the reverse: Too much contrast, and I work with scanned images, so I am not using raw. So, I have set up default S/H thusly:
As you can see, it's for a greyscale, but for RGB I would be using the same settings, leaving contrast and color set to Adobe defaults. This is my starting point, and for many of my images, all that is necessary. Once in a while, I throttle back with the Fade, but very seldom. If it isn't working, I tweak the controls, usually starting with the radius.
I haven't tried your selection mask yet. looks like a splendid suggestion, (as usual!).
On certain images with backlit clouds, I frequently set the highlight radius well above 100.
The most disturbing effects I have noted is the contrast enhancement around abrupt changes in picture elements, like a mountain against a cloud. The edge of the mountain goes dark and the corresponding edge of the cloud goes light. In analog work, this is known as the Eberhard effect, and is the principle problem with Tech Pan. Trying S/H on those negs is trying indeed!
Mathias Vejerslev
- 2:59pm Apr 20, 06 PST
Hi Larry,
Try the luminosity mask. I think it will help the halos you see around contrasty subjects.
For scanning, you can still use the two develops method; Scan two versions into 16 bit with different exposure and merge them in Photoshop. Layer one version over the other, and use the luminosity mask from one layer as the layer mask on the other. The combination will be a bit flat, and will need some contrast. This is one situation where you can use S / H to add contrast.
There's nothing wrong with using S / H to decrease contrast, I think this is its primary intended use. But you have to live with the halos induced by a radius based contrast modifier. You dont have to live with halos using the combine method.
Using S / H with a luminosity mask is my own humble 'invention', but I see that it works well regarding controlling the halo effect. - to a limit. It also helps against accidentally lifing the shadows to much, exposing your use of S / H. Other masks could be used, I'd be very interested in other options or ideas people here might have.
Lawrence Hudetz
- 11:09pm Apr 20, 06 PST
Hi again Mathias,
You have a real insight here. I gave it a try and the Luminosity mask is a jewel. But using it as you describe is only the beginning.
First off, I decided to look at which to use, straight or inverted. That extends the application several fold, as now we have two ways to apply tools. And by tools, I mean far more than S/H.
The next place I tried it was the procedure you call contrast coating (I call it brightup.) here is another place to get into trouble, and the Luminosity mask again proved it's worth. But wait! There's more! Sharpening! Use the mask when sharpening an image and with the right polarity selected, one can really sharpen a fuzzy image. I was able to apply sharpening on the order of an Amount of 300 and a Radius of 3. That decisively sharpened an image which could not be well sharpened without a huge halo problem.
What is actually affected? To decide this, I used Curves to watch what areas were responding. Inverting showed a completely different outcome for the same adjustment.
Most fun I've had since....:)?
Mathias Vejerslev
- 6:44am Apr 21, 06 PST
"What is actually affected?"
You can create an alpha channel from the mask by hitting the Create Channel from selection icon in the channel palette. You can then not only see what areas are affected, but you can manipulate your alpha channel with curves to get just the selection you want. I like the straight highlight / midtone L mask, though.
[continued, below...]

Comment décocher la dynamique de la forme sur l'outil amélioration du rayon photoshop ?

Bonjour.
J'ai un petit bug agaçant au boulot. Je n'arrive pas à décocher la dynamique de la forme du pinceau amélioration du rayon de l'outil amélioration du contour dans photoshop.
Dès lors je travail avec une pointe au pixel alors qu'un outil large serait plus approprié pour mon détourage.
Lorsque je suis dans ma fenêtre amélioration de contour, je ne peux agir sur la fenêtre des formes de pinceaux.
Comment faire ?
Merci de m'aider, je suis un peu en panique, le travail ralentit, mon boss s'énerve, la porte n'est pas loin....

Tu vas sous:
Édition
Préférences
Interface utilisateur
et tu sélectionne: "Utiliser le facteur d'échelle pris en charge le moins élevé pour mettre à l'échelle"
Tu redémarres Illustrator et BINGO!

Is there a way to make rotated Buttons and ones that overlap??

currently, im working on a dvd menu, and i want it to look like a stack of Polaroids,
so i made the menu in photoshop with all the codes, like (+)(%) ect.
though now i want the buttons to be overlapping and all tilted to a random direction,
like a real stack of polaroids, i've tried making a "straight" menu and then rotating the buttons, but it didn't work.
is there a way that you can rotate buttons and have the thumbnail footage also be rotated?
and is it possible to have buttons that overlap at some point?
(note that i want the Animated thumbnails)
here's a random example picture i found online
though i know it might be possible by making them all by manually in AfterEffects,
by using the original footage with lots of masks to make thumbnail movies,
but im not looking for such a tedious job, also im not very skilled in AfterEffects

In DVD-Video, buttons cannot overlap, and their hit area will always be a rectangle...even if the contents of the button are rotated, it will result only in the rectangle becoming larger, to fit the rotated graphics.
Regarding button thumbnail layers, they show similar behavior - they will always render out as a rectangle.
If you don't use thumbnail layers (try a replacement layer), you should be able to rotate the button without the replacement layer getting re-adjusted. But note replacement layers don't accept video. If you want video in the buttons, you'll have to do all the work in After Effects.
But remember - your buttons cannot overlap without introducing button highlighting problems.
A better solution is to not make these buttons at all, but a regular menu layer or video background layer. And then you can create custom highlight layers in Photoshop, again making sure your buttons don't overlap. This would be a lot of work.

Highlight/Contour in Photoshop

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