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Well, I've had some fun, in earlier movies, playing with different ways to do this particular shot of Bonnie, and I have yet another one. We're going to use our Brushing tools to create a black-and-white background but leave her in full color. So, I'm going to go ahead and right-click on this, and I'm going to duplicate my version. So, now we'll have another variation in this fun stack of images. I'm going to hit the V key, go ahead and bring this up and I hit the V key again.
Now I'm going to go to my Adjustments pane. What I'm going to do is I'm actually going to use the Brushing tools within the Black & White brick to brush in black-and -white in this background here, but I'm going to leave her in Color. So, the first thing I'm going to do is go to my Adjustments pop-up menu, and I'm going to enable the Black & White brick because it wasn't in my Adjustments pane before, and it's not there, by default. The first thing that you notice that when you do that is that it changes the image to black-and-white as you would expect.
But here's a cool thing with brushes. Once I go to the Gear menu and I decide that I want to Brush Black & White In, so I'm actually working with a brush within black-and-white, my shot will return to Color, and now my brush will control where the black-and-white appears. So, I'm going to make a rather large brush size, because I want to cover a big area at once. I'm going to turn on Detect Edges just to see if it helps us with this along her body there, and I'm going to just start painting.
So, we'll go just right here, and start painting. And the Detect Edges really kind of helps when you're working along the body there, and we'll do the same thing over here. I'm just going to kind of brush along. We can clean up any mistakes that we make a little bit later. Just go along the top here. Right now, I'm going to turn off Detect Edges. And I'm going to work with a larger brush. And now I'm going to get these big areas.
See? You can just work very quickly with this, same thing over here. Now, I'm going to use my Scroll Wheel just to bring that Brush size down a little bit. That's really nice, and you have a mouse with a Scroll Wheel because Aperture respects that Scroll Wheel just like it will your pressure sensitive tablet if you're working with that. And now I'm going to make it lot smaller and just go ahead and get a couple of little areas right here. Now we can check our work by going to the Gear menu and turning on the Color Overlay.
You see we did pretty good and Detect Edges is pretty nice stuff there, but I want to use my Eraser tool just to clean up just a few little spots. I'm going to use my Scroll Wheel just to make this. I just don't want her thumb to be black-and-white. I want her thumb to be in color. And we've got a little bit along the edge here. I'm not going to get too crazy with this. So, we will just leave that. There are a few little gaps here that I missed, so I'm going back to my Brush tool, and we'll just kind of get these little areas. Clean this up. That's fine.
I'm going to turn off my Color Overlay now, go to None. And look at that. We have created, that fast, a black-and-white background. Bonnie is still in full living color. When I'm done, I just can go ahead and close this. If I decide that later on I want to go back and do a little more work on this, maybe touch up some of this area right here, all I have to do is go back to the Black & White brick, click on the Brush, and I'm back in business. Then I can just kind of just say, "Hey! I just want to kind of clean this up a little bit." I just sort of noticed." There you go.
And I go ahead and close that, and we can check our work by clicking the box right there. This works in almost all of the bricks. There is only a few that doesn't provide for adjustment brushes. You do, if you're shooting in RAW, have to have the latest RAW processing in Aperture 3 and other than that, it's very intuitive, and I have to tell you it's serious fun. So, let's go back. So, we have yet another variation in our stack of Bonnie portraits here, and we could just keep going and going and going.
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