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Deke's Techniques
Illustration by John Hersey
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025 Correcting red-eye like a pro


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Deke's Techniques

with Deke McClelland

Video: 025 Correcting red-eye like a pro

Hey gang! This is Deke McClelland. Welcome to Deke's Techniques. Today's topic is red eye. Now this happens to be a photograph of my ten-year-old son. Doesn't he look just like my twin or something? Now many of you may be thinking, "Red eye? Really, that's going to be our topic Deke? I mean, I am a studio photographer and I don't get red eye. Isn't that a big surprise?" Well, possibly not with your professional shots. But when you are out there with a point-shoot camera or you've got your cell phone and it's got a tiny little strobe and the strobe bounces into the dilated eyes at night and right back into the lens element, then you got yourself a problem.
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  1. 27m 43s
    1. 334 Straightening and “uncropping” a photo
      16m 17s
    2. 335 Restoring a missing photograph detail
      11m 26s
  2. 10h 11m
    1. 282 Ringing in the New Year with dynamic effects in Illustrator
      12m 59s
    2. 283 Dynamically transforming fills and strokes
      13m 41s
    3. 284 Tracing an avatar from a photograph in Photoshop
      12m 24s
    4. 285 Drawing a vector-based avatar in Illustrator
      19m 44s
    5. 286 Coloring and shading your avatar
      16m 0s
    6. 287 Exporting an illustration as a universally supported PNG file
      10m 54s
    7. 288 Upsampling a layered composition with great results
      13m 43s
    8. 289 Rebuilding a pattern at a higher resolution
      7m 29s
    9. 290 Painting happy little trees
      13m 46s
    10. 291 Shading and lighting the happy forest
      15m 15s
    11. 292 Enlarging a low-res photograph in Photoshop
      12m 20s
    12. 293 Enlarging a photo by tracing it in Illustrator
      13m 10s
    13. 294 Mastering Exposure in Camera Raw
      11m 40s
    14. 295 Super smooth and unflinchingly sharp
      10m 46s
    15. 296 Deleting an inadvertent photo bomber
      8m 13s
    16. 297 Correcting a distorted panorama
      17m 23s
    17. 298 Rebuilding bad stitching in a panorama
      14m 53s
    18. 299 Nondestructive dodge and burn
      8m 54s
    19. 300 Blending a shadow into any background
      8m 37s
    20. 301 Saving a PNG image with a translucent shadow
      8m 45s
    21. 302 Cleaning up a smart phone photo
      11m 17s
    22. 303 Using Photoshop 1.0
      5m 45s
    23. 304 Creating your own Chinese seal (or chop)
      26m 4s
    24. 305 Simulating hand lettering with art brushes
      20m 8s
    25. 306 Adding texture to your hand stamp
      3m 34s
    26. 307 Creating a black chop on red paper
      5m 55s
    27. 308 Auto-hiding iconic panels in Photoshop
      3m 44s
    28. 309 Creating a custom toolbox in Illustrator CC
      4m 21s
    29. 310 Creating the perfect passport photo
      20m 18s
    30. 311 Retouching your passport photo
      13m 38s
    31. 312 Turning a photo into a giant mural
      13m 11s
    32. 313 Enhancing the reality of your mural
      11m 8s
    33. 314 Creating a 3D bump map
      12m 7s
    34. 315 UV overlay and 3D bump paint
      14m 4s
    35. 316 Using Lens Flare for good (not evil)
      10m 48s
    36. 317 Using the Perspective Crop tool
      9m 29s
    37. 318 Reducing real-world camera shake
      10m 4s
    38. 319 Reducing glare in a photograph
      15m 25s
    39. 320 Restoring repeating details
      13m 43s
    40. 321 Integrating a detail captured with a phone
      9m 6s
    41. 322 Blending two exposures of a single scene
      12m 25s
    42. 323 Masking mountains away from sky
      14m 22s
    43. 324 Creating a photographic caricature in Photoshop
      10m 7s
    44. 325 Exaggerating facial features with Liquify
      12m 48s
    45. 326 Masking a caricature against a new background
      11m 20s
    46. 327 Shading and sharpening a caricature
      10m 6s
    47. 328 Drawing a Möbius strip in Illustrator
      12m 21s
    48. 329 Shading the Möbius strip with gradients
      9m 0s
    49. 330 Adding twisting edges to the Möbius strip
      8m 9s
    50. 331 Creating an impossible Penrose triangle
      10m 37s
    51. 332 Shading the cubes in your Penrose triangle
      8m 15s
    52. 333 Selectively converting a photo to black & white
      7m 53s
  3. 17h 21m
    1. 185 Creating a custom 2013 calendar in Illustrator
      11m 44s
    2. 186 Adding dates to a calendar using tables
      9m 50s
    3. 187 Branding your calendar with a field of logos
      10m 54s
    4. 188 Crafting an Infinity symbol to match a specific font
      12m 6s
    5. 189 Op art experiment 1a: Inflated checkers
      10m 49s
    6. 190 Op art experiment 1b: Rounded windows
      6m 39s
    7. 191 Building a universal ISOTYPE man with strokes
      15m 6s
    8. 192 Building a universal ISOTYPE woman with strokes
      11m 7s
    9. 193 Drawing an ISOTYPE couple in love
      12m 55s
    10. 194 Creating a Warhol-style silkscreen effect
      14m 43s
    11. 195 Creating a series of Warhol-style variations
      10m 43s
    12. 196 Adding Warhol-style background variations
      8m 20s
    13. 197 Creating opaque colored shadows
      5m 20s
    14. 198 Assembling multiple variations into a single comp
      5m 9s
    15. 199 Creating a pattern of unique inset circles
      9m 55s
    16. 200 Changing a static blended color scheme
      7m 16s
    17. 201 Op art experiment 2a: Undulating pattern
      20m 26s
    18. 202 Op art experiment 2b: Concentric rings
      9m 43s
    19. 203 Developing a dramatic castle in Camera Raw
      13m 21s
    20. 204 Artificially coloring a photo in Camera Raw
      9m 38s
    21. 205 Creating an antique photo effect in Camera Raw
      7m 53s
    22. 206 Adding a weathered old-photo frame effect
      12m 0s
    23. 207 Drawing an Angry Birds-like character
      16m 59s
    24. 208 Stroking an entire layer in Illustrator
      9m 21s
    25. 209 Drawing a classic snarling cartoon face
      11m 10s
    26. 210 Drawing a radiant, cheerful cartoon background
      18m 29s
    27. 211 Stroking any kind of type in Illustrator
      5m 0s
    28. 212 Creating synthetic water droplets
      9m 29s
    29. 213 Simulating liquid reflections with effect
      5m 19s
    30. 214 Simulating liquid refractions with a dmap
      5m 30s
    31. 215 Creating an eye-catching splatter effect
      9m 8s
    32. 216 Defringing purples and greens in Camera Raw 7
      10m 4s
    33. 217 Making a danger sign more dangerous
      15m 9s
    34. 218 Using texture and depth to add realism
      10m 22s
    35. 219 Precisely aligning artwork to the bleed
      7m 16s
    36. 220 Creating and importing a tracing template
      6m 50s
    37. 221 Drawing a distinctive 2D video game character
      18m 52s
    38. 222 Adding features to the face of a 2D character
      14m 3s
    39. 223 Creating a vivid aura around an entire character
      7m 25s
    40. 224 Adding variable-width strokes in Illustrator
      11m 23s
    41. 225 Animating bird wings with Puppet Warp
      12m 15s
    42. 226 Animating text by onion skinning in Photoshop
      8m 0s
    43. 227 Creating an animated movie in Photoshop
      9m 15s
    44. 228 Exporting an animation to QuickTime and GIF
      5m 44s
    45. 229 Correcting an underwater photograph
      10m 30s
    46. 230 Making a photo razor-sharp and porcelain-smooth
      7m 17s
    47. 231 Reducing noise in a high-ISO shot with Camera Raw
      8m 33s
    48. 232 Creating highly reflective sunglasses
      10m 43s
    49. 233 Adding drama to an outdoor portrait shot
      6m 35s
    50. 234 Creating volumetric forms with shape layers
      15m 52s
    51. 235 Creating a bloodshot eye effect
      7m 11s
    52. 236 Shading an image with shapes and layer masks
      13m 2s
    53. 237 Creating fabric textures with pattern layers
      7m 27s
    54. 238 Colorize any layer with Color Overlay
      3m 23s
    55. 239 Turning a portrait into a dot drawing
      7m 40s
    56. 240 Creating a full-color dot drawing
      3m 29s
    57. 241 Drawing an orthogonal cube with the line tool
      7m 9s
    58. 242 Creating a cube of differently colored cubes
      9m 27s
    59. 243 Recreating the Creative Cloud Logo in Illustrator
      16m 18s
    60. 244 Creating a psychedelic fabric texture
      9m 7s
    61. 245 Turning psychedelic fabric into rock letters
      5m 23s
    62. 246 Creating a more finely rendered dot drawing
      8m 29s
    63. 247 Converting from RGB to CMYK via Multichannel
      12m 31s
    64. 248 Creating printer-safe CMYK shadows
      6m 48s
    65. 249 Creating bright, golden motion trails
      12m 32s
    66. 250 Creating schematic art with grid
      12m 41s
    67. 251 Drawing precisely aligned arrowhead
      12m 8s
    68. 252 Adding arrowheads around a closed path
      6m 1s
    69. 253 Drawing the Pen tool without touching the Pen tool
      17m 13s
    70. 254 Merging frames for the best possible UAV photo
      16m 40s
    71. 255 Retouching details in an aerial landscape
      12m 13s
    72. 256 Editing a video and adding transitions in Photoshop
      10m 57s
    73. 257 Importing the quadcopter crash sequences
      9m 4s
    74. 258 Color correcting a video and adding a soundtrack
      8m 56s
    75. 259 Adding precisely timed titles to your video
      11m 43s
    76. 260 Hand-painting an image with a Wacom Cintiq
      13m 11s
    77. 261 Blending the final false-color artwork
      8m 41s
    78. 262 Creating a honeycomb pattern in Illustrator
      12m 50s
    79. 263 Building up strokes to create 3D honeycomb
      9m 8s
    80. 264 Turning yourself into a zombie
      14m 0s
    81. 265 Enhancing an ambience environment for the undead
      9m 26s
    82. 266 Creating dripping, gooey ghost letters
      16m 43s
    83. 267 Turning type into gooey green slime
      11m 19s
    84. 268 Creating heavy metal type (updated for Photoshop CS6 and CC)
      12m 27s
    85. 269 Cleaning up a crummy product shot
      11m 3s
    86. 270 Scaling and rotating photographic objects
      10m 10s
    87. 271 Tracing a line drawing with uniform strokes
      11m 18s
    88. 272 Coloring line art using Live Paint Bucket
      18m 22s
    89. 273 Creating a pigture using shapes and letters
      18m 7s
    90. 274 Integrating a cartoon into a photograph
      7m 27s
    91. 275 Converting a photo into a Lichtenstein drawing
      16m 8s
    92. 276 Adding bring Ben-Day dots and a talk balloon
      15m 31s
    93. 277 Painting an eye using a custom brush
      11m 31s
    94. 278 Painting and smoothing straight-sided brushstrokes
      12m 0s
    95. 279 Simulating pressure with path outlines
      6m 3s
    96. 280 Developing a 32-bit HDR image in Camera Raw
      14m 42s
    97. 281 Converting from 32-bit to the more flexible 8-bit mode
      11m 15s
  4. 14h 31m
    1. 091 Removing people from a photo
      10m 44s
    2. 092 Masking people back into a photo
      10m 58s
    3. 093 Hand-painting a mask
      10m 5s
    4. 094 Masking a real-life shadow
      10m 40s
    5. 095 Turning a photo into line art
      7m 44s
    6. 096 Adding a crosshatch shading pattern
      6m 46s
    7. 097 Creating type that inverts anything behind it
      5m 32s
    8. 098 Creating auto-inverting line art
      5m 7s
    9. 099 Creating movie poster credits
      8m 10s
    10. 100 Creating a dual-focus hybrid image
      6m 24s
    11. 101 Adding text to a hybrid composition
      7m 24s
    12. 102 Drawing with the reshape tool
      10m 39s
    13. 103 Hand-drawing a really great letter
      10m 6s
    14. 104 Creating a vanity frame
      5m 28s
    15. 105 Adding a frame to a photograph
      5m 3s
    16. 106 Drawing a highly graphic explosion with Illustrator
      10m 3s
    17. 107 Drawing a Ninja Turtle nose
      10m 22s
    18. 108 Mapping a dog face onto a duck
      8m 20s
    19. 109 Putting a tongue on a duck
      7m 6s
    20. 110 Making synthetic lightning in Photoshop
      11m 3s
    21. 111 Creating a driving rain effect in Photoshop
      4m 57s
    22. 112 Designing a railroad track
      12m 18s
    23. 113 Bending the railroad track around curves
      7m 46s
    24. 114 Creating a Star Wars hologram effect
      9m 23s
    25. 115 Creating leafy letters
      6m 12s
    26. 116 Creating topiary type
      6m 22s
    27. 117 Creating type in grass
      9m 0s
    28. 118 Rendering type in smoke
      7m 30s
    29. 119 Rendering type in brushed metal
      9m 57s
    30. 120 Adding brushed copper effect
      4m 14s
    31. 121 Reflecting type in water
      10m 57s
    32. 122 Reflecting water back into type
      11m 14s
    33. 123 Joining type to a circle
      7m 14s
    34. 124 Making flared type on a circle
      7m 17s
    35. 125 Making a person emerge from water
      5m 32s
    36. 126 Creating progressive water ripples
      10m 17s
    37. 127 Creating an upside-down face effect
      10m 17s
    38. 128 Achieving silky smooth skin with retouching
      6m 33s
    39. 129 Pearly white teeth
      7m 28s
    40. 130 Head-shrinking
      8m 26s
    41. 131 Getting a big head
      5m 11s
    42. 132 Adding a photographic texture to vector type
      4m 28s
    43. 133 Adding strokes in back of photo type
      5m 9s
    44. 134 Adding a border to an image in Illustrator
      4m 17s
    45. 135 Two ways to crop in Illustrator
      7m 29s
    46. 136 Inventing a 3D temple with a depth map
      10m 0s
    47. 137 Drawing a 3D object with Curves
      11m 41s
    48. 138 Creating a superhero shield in Illustrator
      16m 28s
    49. 139 Turning Illustrator paths into Photoshop shapes
      11m 42s
    50. 140 Creating a photorealistic superhero shield
      12m 39s
    51. 141 Pimping your ride in Photoshop
      9m 59s
    52. 142 Masking and blackening a car
      10m 20s
    53. 143 Drawing a multi-part vector mask
      12m 46s
    54. 144 Masking and painting a shadow
      8m 26s
    55. 145 Integrating blades of grass into tires
      5m 34s
    56. 146 Making a (ridiculously) dramatic sky
      6m 2s
    57. 147 Adding flame stripes to a car
      8m 23s
    58. 148 Creating interlocking octagons in Illustrator
      7m 44s
    59. 149 Hand-coloring line art
      13m 9s
    60. 150 Creating a custom wave pattern
      9m 56s
    61. 151 Simulating a screen print
      8m 30s
    62. 152 Drawing a perfect linear spiral in Illustrator
      9m 42s
    63. 153 Drawing a spiraling nautilus shell
      11m 4s
    64. 154 Designing a hex pattern in Illustrator CS6
      11m 10s
    65. 155 Making a hex pattern in Illustrator CS5 and earlier
      7m 4s
    66. 156 Creating a Facebook cover in Photoshop
      9m 25s
    67. 157 Matching a profile picture to your cover
      6m 37s
    68. 158 Cloning yourself in Photoshop
      11m 16s
    69. 159 Lighting the clone party
      8m 29s
    70. 160 Hand-carving letters into wood
      8m 0s
    71. 161 Creating a Spirograph-like pattern
      7m 34s
    72. 162 Tracing scalloped gear teeth around a circle
      4m 55s
    73. 163 Applying custom carve and shadow styles to type
      8m 50s
    74. 164 Turning a pencil sketch into digital ink
      12m 55s
    75. 165 Adding a graph-paper background
      13m 42s
    76. 166 Creating a continuous single-line Spirograph
      13m 2s
    77. 167 Scaling circles into complex patterns
      7m 15s
    78. 168 Creating a money-like design
      8m 43s
    79. 169 Attack of the killer pumpkin
      14m 49s
    80. 170 Simulating a glowing Jack-o-lantern
      12m 24s
    81. 171 The headless stranger in the mist
      12m 25s
    82. 172 Creating 3D punched letters
      13m 29s
    83. 173 Designing a double-wave line pattern
      11m 2s
    84. 174 Assembling a seamless pattern brush
      9m 53s
    85. 175 Creating a hand turkey in Photoshop
      18m 42s
    86. 176 Creating a depth-of-field cast shadow
      7m 29s
    87. 177 Creating a lustrous round jewel
      13m 56s
    88. 178 Cutting and brushing light on a gem
      8m 30s
    89. 179 Creating a shiny button with inset text
      11m 5s
    90. 180 Creating a jaunty six-sided star
      15m 1s
    91. 181 Interweaving star shapes and adding gradients
      8m 28s
    92. 182 Casting shadows between interwoven shapes
      9m 12s
    93. 183 Creating a Hobbit-like text effect
      15m 6s
    94. 184 Enhancing a landscape photo in Camera Raw 7
      9m 16s
  5. 13h 11m
    1. 001 Creating ice type
      8m 39s
    2. 002 Branding type on a texture
      7m 6s
    3. 003 Creating an image-branding machine
      7m 13s
    4. 004 Capturing effects with layer comps
      7m 35s
    5. 005 Rendering type in gold
      8m 9s
    6. 006 Creating a hammered metal background
      5m 48s
    7. 007 Creating heavy metal type
      8m 13s
    8. 008 Creating a molten letter effect
      6m 43s
    9. 009 Setting type on fire
      11m 20s
    10. 010 Using an anti-edge mask
      7m 20s
    11. 011 Blending textures onto a face
      9m 28s
    12. 012 Rendering a face as a cave painting
      7m 34s
    13. 013 Creating a reflection in shattered glass
      8m 32s
    14. 014 Creating a face in a tree
      11m 20s
    15. 015 Building a synthetic star field
      8m 21s
    16. 016 Making 3D type with Repoussé
      10m 14s
    17. 017 Casting 3D shadows and reflections
      9m 35s
    18. 018 Adjusting 3D light sources
      10m 51s
    19. 019 Masking highlights and shadows
      6m 27s
    20. 020 Masking glass
      10m 39s
    21. 021 High key high contrast
      8m 33s
    22. 022 Simulating sub-pixel rendering
      10m 58s
    23. 023 Fixing chromatic aberrations in Photoshop
      9m 41s
    24. 024 Fixing chromatic aberrations in Camera Raw
      8m 51s
    25. 025 Correcting red-eye like a pro
      11m 56s
    26. 026 Turning a photo into an ink drawing
      10m 42s
    27. 027 Turning a photo into a pencil sketch
      8m 43s
    28. 028 Creating a seamlessly repeating pattern
      10m 56s
    29. 029 Repairing seams in a repeating pattern
      10m 47s
    30. 030 Creating a 3D pie chart
      11m 9s
    31. 031 Splitting and modifying 3D meshes
      11m 52s
    32. 032 Using the Ground Plane Shadow Catcher
      6m 58s
    33. 033 Creating a talk show-style curtain
      7m 57s
    34. 034 Assembling a flawless panorama
      10m 5s
    35. 035 Removing people with image stacks
      11m 44s
    36. 036 Creative stacking with Maximum and Range
      11m 44s
    37. 037 Creating synthetic wood grain
      9m 23s
    38. 038 Making slats of uniquely textured wood
      10m 52s
    39. 039 Kerning within a single character
      10m 31s
    40. 040 Creating a raised bevel effect
      11m 49s
    41. 041 Putting wings on a horse
      10m 41s
    42. 042 Creating a classic heart in Illustrator
      7m 15s
    43. 043 Glossing up a heart in Photoshop
      8m 42s
    44. 044 Shooting and assembling a stereoscopic photo
      8m 15s
    45. 045 Extending 3D beyond the screen plane
      6m 13s
    46. 046 Adding stereo 3D text and shapes
      9m 9s
    47. 047 Tilting text and shapes toward the viewer
      8m 13s
    48. 048 Creating a shooting star in Illustrator
      6m 33s
    49. 049 Using blends to draw path outlines
      8m 8s
    50. 050 Inventing custom starbursts
      7m 33s
    51. 051 Making a fictional creature
      12m 5s
    52. 052 Transforming a creature into a monster
      6m 14s
    53. 053 Capturing a monster in motion
      11m 45s
    54. 054 Changing the color of a car
      7m 12s
    55. 055 Painting a colorful car black
      8m 16s
    56. 056 Coloring the stripes on a zebra
      10m 47s
    57. 057 Drawing trendy swirls in Illustrator
      10m 59s
    58. 058 Creating variable-width and brushed swirls
      10m 46s
    59. 059 Drawing trendy ornaments in Illustrator
      8m 49s
    60. 060 Designing a magically updating pattern
      8m 40s
    61. 061 Automatically collapsing a selection
      7m 43s
    62. 062 Adding a magnifying glass into a design
      7m 5s
    63. 063 Healing one eye onto another
      7m 15s
    64. 064 Creating a giant command key
      9m 15s
    65. 065 Drawing common symbols part 1
      6m 29s
    66. 066 Drawing common symbols part 2
      9m 26s
    67. 067 Filtering images with Camera Raw
      7m 52s
    68. 068 Creating a vivid HDR effect
      5m 29s
    69. 069 Creating an ambigram in Illustrator
      10m 45s
    70. 070 Making a two-word ambigram
      7m 47s
    71. 071 Drawing a Halloween scareflake
      10m 45s
    72. 072 Creating true clones in Illustrator
      11m 7s
    73. 073 Taking your scareflakes into Photoshop
      7m 20s
    74. 074 Making a faux HDR image in Lab
      8m 38s
    75. 075 Turning a guy into a zombie
      7m 3s
    76. 076 Miniaturizing the world in Photoshop
      6m 45s
    77. 077 Creating a synthetic rainbow
      8m 53s
    78. 078 Casting an artificial shadow from a layer
      7m 2s
    79. 079 Rendering a portrait in type
      8m 58s
    80. 080 Rendering a portrait in tile patterns
      7m 43s
    81. 081 Rotating a pattern layer in Photoshop
      4m 16s
    82. 082 Tracing an image with path outlines
      7m 50s
    83. 083 Turning path outlines into a vector mask
      6m 0s
    84. 084 Drawing rays of light in Photoshop
      5m 40s
    85. 085 Drawing concentric glow rings
      7m 24s
    86. 086 Designing an Indiana Jones-style logo
      8m 50s
    87. 087 Achieving mitered corners in Photoshop
      5m 43s
    88. 088 Masking with Blunt Instruments in Photoshop
      11m 8s
    89. 089 Creating a stained-glass ornament
      8m 26s
    90. 090 Designing a stained-glass window
      10m 23s

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Deke's Techniques
55h 43m Intermediate Jan 11, 2011 Updated Jul 22, 2014

Viewers: in countries Watching now:

This course is a collection of short Photoshop and Illustrator projects and creative effects that can be completed in ten minutes or less. The series is taught by computer graphics guru Deke McClelland, and presented in his signature step-by-step style. The intent is to reveal how various Photoshop and Illustrator features can be combined and leveraged in real-world examples so that they can be applied to creative projects right away.

Subjects:
Design Raw Processing Design Techniques
Software:
Illustrator Photoshop
Author:
Deke McClelland

025 Correcting red-eye like a pro

Hey gang! This is Deke McClelland. Welcome to Deke's Techniques. Today's topic is red eye. Now this happens to be a photograph of my ten-year-old son. Doesn't he look just like my twin or something? Now many of you may be thinking, "Red eye? Really, that's going to be our topic Deke? I mean, I am a studio photographer and I don't get red eye. Isn't that a big surprise?" Well, possibly not with your professional shots. But when you are out there with a point-shoot camera or you've got your cell phone and it's got a tiny little strobe and the strobe bounces into the dilated eyes at night and right back into the lens element, then you got yourself a problem.

We're going to fix this problem the right way--not using the red eye tool, but rather using a Channel Mixer function, and here is the big skill I am going to impart: how to mask and nail red eyes every single time. It looks ghoulish and scary, but it's actually very safe, as you'll see, and we end up absolutely nailing that red eye, getting rid of it, making those pupils nice and black. Here is how it works. All right! So many folks I imagine might regard red eyes as a rinky-dink problem, like this isn't going to happen with professional tools.

However, you still want to get great results out of your image--even if you shot it with a rinky-dink camera or a cell phone or something along those lines. You want to get the best results you can, which is why I have come up with what I consider to be the best approach to red eye that there is. Now I shot this image with a point-and- shoot of my eldest son Max, and it's at night, so his eyes are quite dilated and the strobe is maybe a couple of millimeters away from the lens, so that light enters his eyes and comes right back out into the lens element.

As a result, we see his vivid red retina lit up like crazy. Now red eye is one of those problems that I don't consider to be an aesthetic problem. In other words, I think it actually looks good. Just because it's not the way that we see images in real life, I have actually come to appreciate red eye quite a bit. But it may be in your case that you want to wipe it out and you want to make the eyes looks more natural, nice and black, have nice big black pupils for example. What you don't want to do is take those beautiful eyes and turn them in ashtrays, which is what happens with a lot of red-eye techniques, especially if you decide to rely on an automated tool like this one right here, It's available from the Healing Brush flyout menu and it's the Red Eye tool.

I'm going to go ahead and demonstrate it here by zooming in on this image a little bit. And I'm also, to preserve the original image here, I'm going to jump it by pressing Ctrl+Alt+J, Command+Option+J on a Mac. And I will call this new layer Max, because that's my older son's name, and we'll turn it off for a moment just to keep it around. Then I'll click in the background layer once again, and this tool is very easy to use by the way. All you do is you click near the pupil, within six pixels is what you're supposed to do, of that bright red pupil, and then it is immediately filled up like an ashtray.

It's basically what happens, because I think this effect looks awful. But I'm going to click on the other pupil just to prove my point here, fill it up too. Then I'm going to zoom in on one of these pupils, and you can see if you look closely, we've got a very black inner pupil with this sort of munched highlight there, and then we have this sort of outer corona of darkness. This is the ash at the edge of the ashtray. What's happened is we've decided to go and singe the iris a little bit just for fun, and then we've got this sort of blackness above the eyelashes.

Bleh! I prefer the red eye, is what I am saying. So, that's what you can do automatically. Obviously, that takes ten seconds of your time. You're done. But of course, you ruin the image in the process. Here is the better way to work. It does take more time. It involves masking, but of course, because we want to select those eyes as accurately as possible, I am going to go to the Max layer here, and I'm going to switch away from the Red Eye tool just by pressing the M key in order to get the Rectangular Marquee tool, and I'll go to the Channels panel, and I just want you to see what these channels look like. This image is not going to win any awards in terms of quality.

I'll go to the red channel here for a moment. You can see that go figure his eyes are bright, his pupils are bright here in the red channel. That's no surprise. Then we go to the green channel. Look at that detail inside of his face. It's just wretched. But he does have good pupils inside of this channel. They are nice and dark. Then the blue channel gets reddier or still. We've got all this sort of weirdness going on inside of his flesh, but we have some fairly nice dark black pupils with a little bit of gloss on them.

So that's good news. Now, we also have a lot of comparative detail. The red channel is extremely bright where the pupils are concerned and the blue channel is extremely dark. So we can compare those two channels in order to mask this image. So I am going to go back to the RGB composite, then go to Image menu and choose the Calculations command, and then these are the settings that I recommend you use when trying to mask red eye. You want your first channel--and I am assuming you have got a flat image file here. This is probably not something elaborate layered composition that you're working on.

But I am going to make sure to set both of these layers, by the way, to the same layer, so Max. So we're working on the Max layer in both cases. The first channel should be red. So that's Source 1 set to Red. Source 2 set to Blue, and then go ahead and change Blending. By default, it's set to Multiply. I want you to change it to Difference, and you'll end up getting this horrific effect here. It's very scary and ghoulish and wonderful. All right! So that's Red, Blue, both Invert checkboxes off, Difference, 100% Opacity. End of story.

You're sending the result to a new channel. Those are all default settings by the way. Click OK and now what we need to do is exaggerate the contrast. So I am going to go up to the Image menu and choose Adjustments and then choose Levels. Or you can press Ctrl+L, Command+L on a Mac, and then you just want to drag these sliders around, the white point and the black point, until you enhance the contrast as much as humanly possible. You can step on the detail pretty good where this effect is concerned, but I'll take this to about 100, the white point down to 100.

So, any luminance level of 100 or lighter is going to be changed to white. Then I'll bring up the black point to let's say something like 20, so that any luminance level of 20 or darker is becoming black. And he is more ghoulish still; he is an absolutely certifiable zombie at this point. I'll click OK in order to accept that. That's what we want, of course. Now at this point what I would suggest you do is go ahead and take advantage of that overlay brushing technique, which those of you who've seen my masking videos, you know all about it.

But I'll go ahead and grab the Brush tool, just so that you all know all about it. I'll grab the Brush tool, which you can get by pressing the B key, and then what we want here-- I'll go and right-click in order to bring out this little Brush panel-- we want a smaller brush. probably something with radius of about 50 pixels will probably work. Hardness needs to be 0%. Very important. Then I'll go up to the Options bar here and change the Blend Mode from Normal to Overlay. That way, we'll preserve the brightest and the darkest details, and we're basically painting inside the lines. All right! So my foreground color is black. That's important.

I can see that down here at the bottom of the toolbox. So I will begin painting like so, around his eye and you don't want to paint into the eye. You just want to paint around it as you see me doing. Then I am going to take a second pass, and that should pretty well take care of it. Then I'll move over to the other one and paint around it as well. Well, the reason we're not using the Elliptical Marquee tool in order to select these pupils, even though they are round, is because the color is leaking in a random way into the eyelashes. It's just a fact of this image and other sort of ratty little snapshots that you'll run into will have that problem as well.

This is pretty common. Anyway, I went ahead and painted around there a couple of times. Now I'm going to press the X key to make my foreground color white, as you see it there, and I'm going to paint inside of those pupils like so. And notice I'm getting a nice drift into the eyelashes, especially on the left-hand side, a little bit on the right-hand side as well. Now I want to go ahead and wipe out those highlights--that is, I want to make sure the highlights remain selected. So I'm going to reduce the size of my brush a little bit, and I'm doing that by pressing the Left Bracket key. And then I'm going to right-click and I'm going to increase that Hardness value to 100%.

This is also very important, by the way. Change the Mode back from Overlay to Normal, because we're trying to make these black details white this time around. Then white is still my foreground color. I need to further reduce the size of my brush, so I'll press the Left Bracket key a couple of more times, paint that little detail away, paint that little detail away, so those highlights will be inside the selected region. He is just looking so scary inside of this mask, but that's what you want. I'll go and zoom in again, and then I'm going to grab just my Rectangular Marquee tool, and I'll select one of the eyes like so.

Notice that I'm well within the black area there and I'll Shift+Drag around the other one like so. And then, I'll go up to the Select menu and I'll choose the Inverse command--or you can press Ctrl+Shift+I, Command+ Shift+I on a Mac--and then you want to fill the selected region with black. So black is my background color. I'll press Ctrl+Backspace here on the PC, or Command+Delete on the Mac. All right! Now we need to load this guy as a selection, and you do that by going over here to the Channels panel, so you'll have to see the Channels panel on screen, and then Ctrl+Click or Command+Click on that new channel, which is called Alpha 1 by default.

Switch back to the RGB image like so. Switch back to the Layers panel, and now we're going to add an adjustment layer. From here on, it's pretty standard stuff. But here is the command. You go ahead and choose down here from this black-white icon at the bottom of the Layers icon, go ahead and choose Channel Mixer, and that allows us to bring in information from the green and blue channels into the red Channel. So by default, we're working on the red channel. You can see that right here, Output Channel is Red. We don't want any red in the red channel, so change the Red value right there to 0.

Then press the Tab key to go down here to the green value. Take it up to 50%. Press Tab to go to the blue value. Take it up to 50%. So in other words, we're grabbing 50% of the blue channel and 50% of the green channel, and we're merging them together to create a new red channel where the pupils are concerned, and then that's it. Go and press the Enter key or the Return key on a Mac in order to accept your modifications. All right! Now I still have a little bit of redness, this sort of red halo around each one of my pupils, and I don't want that.

If you end up seeing an effect like that, here is what you do. Make sure that your layer mask is selected here inside the Layers panel, and then go up to the Filter menu, and go ahead and choose Blur, and choose Gaussian Blur. I would suggest in this case, a Radius value of about 2 pixels is going to work pretty nicely. You just want to evaluate how big that halo is, and 2 pixels is probably about right. And then I'll click OK in order to accept that blur. Now it's blurring both in and out, by the way, so we're blurring the halo a little bit, but it's still quite evident.

So next what you need to do-- and this has to be your very next step-- go up to the Edit menu and choose Fade Gaussian Blur, and then inside the Fade dialog box, you want to change the Mode from Normal to Screen. So we're exclusively brightening with the Gaussian Blur effect, and notice that moves those pupils outward just a little bit, and then click OK in order to accept that modification. Now what we have, we'll go ahead and zoom back out, is very strong, crisp, black pupils at this point. Compare that to what we got with the Red Eye tool, which look like that.

These are the ashtray pupils. Perhaps I need to zoom in again. These are the ashtray pupils right there that were created by the Red Eye tool, and these are the nice crisp pupils that we created using a much more deliberate approach that involves masking the pupils and then applying the Channel Mixer adjustment layer. That's how you fix red eye like a pro inside Photoshop.

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