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Hey gang, this is Deke McClelland. Welcome to Deke's Techniques. This week we're going to take this image here, captured in one of the most magical places on the face of the planet. Carlsbad Caverns, 800 feet deep, no natural light, no strobe. Relying entirely on the lights provided by the national parks system. Handheld shot, camera set to Auto, shutter speed one quarter second. ISO, you ask, 12,800, not 100, but 128 times 100. Which is why we have a little bit of noise.
One might argue we've got more noise than detail. But we have a ton of pixels, which is why we're able to achieve this final version of the image using nothing more than a JPEG and Adobe Camera Raw. Here, let me show you exactly how it works. So, here are two versions of the image, the original uncorrected version over here on the left. And the corrected image on the right hand side. Now, obviously, the colors are in better shape on the right. But the biggest difference between the images isn't even visible, when we zoom this far out. So I'll press Ctrl+1 or Cmd+1 on a Mac to Zoom to 100% and then I'll go up to the Window menu, choose Arrange, and choose Match All. So that we can see that while we have a very noisy image on the left hand side, the noise is in better shape on the right.
Now the right-hand image is not perfect, but it looks pretty amazing, given that I was working with very little light, and this is a hand held shot. And by the way, we've got plenty of pixels as well, so this image is going to print perfectly. Now, we'll be correcting the image in Camera Raw, and you can work in two different ways. If you've got Photoshop CS6 or earlier, then you want to go up to the File menu and choose browse in Bridge in order to switch the Bridge. Then locate this file, Colleen in Carlsbad.jpg, or whatever noisy image you're working with, and right click on it, and then choose open in Camera Raw. However, if you're working in the Creative Cloud version of Photoshop, that is Photoshop CC? Then you want to stay inside the program, just go ahead and open the image inside Photoshop, and then apply this command, under the Filter menu, Camera Raw Filter.
Either way, we're going to get to Camera Raw, so all of you will be able to work along with me. Now you can apply this command as a dynamic smart filter so, let's go ahead and start things off by converting the image to a Smart Object. I'll double click in the background in order to convert it to a floating layer. And I'll go ahead and call this guy Kphoto. Then, I'll right click inside the image widow and choose Convert to Smart Object. And now I'll go up to the Filter menu and choose Camera Raw Filter in order to bring up Camera Raw. So at this point those of you working in older versions of Photoshop as well as Photoshop CC, we should all be on the same page.
I'm going to go ahead and press Ctrl+Alt+0 or Cmd+Option+0 on a Mac to Zoom In to 100%. So we could easily see what we're doing, and I'm going to start things off by adjusting the Temperature and Tint values. I'm going to take that Temperature value down to negative 40. We want to get rid of the preponderance of warmth inside of this image, and I'll take the Tint value down to negative 20 to get rid of some of the magenta. Next you can see that we've got a ton of purple at work in Colleen's jacket. And I can assure you that this is a neutral black jacket. So what we need to do is get rid of some of that purple, by switching over to this panel, HSL Grayscale.
And then you want to click on the saturation tab as I've done in advance here, and I'm going to take the Purples value down to negative 50. And I'm also going to take the Magentas value down to negative 50 as well. And we have a much more neutral jacket, but we do still have a little bit of purple around the edges. And you can fix that by switching to this panel, Lens Correction, make sure that the color tab is active. And then raise that purple amount value right there to two. And by the way, you'll need to be working in Camera Raw Seven or later to access this value. If it's not here, don't worry about it, just move along. Next what we want to do is move to the Detail panel by clicking on these little cones.
And notice these Noise Reduction options that are available to us. You want to go ahead and crank up the Luminance value, until you start seeing the noise drop away, that is most of the noise. You will see a little bit of pock-marking here and there. And that's a function of Luminance Detail. Let's go ahead and take that guy down to zero. Now notice that I've got a Luminance value of 80 at work for this image, which is very high but it's pretty much what we need. Then, you want to take the Luminance Contrast value up until you're regaining the contrast inside the image. And because this image is so very, very noisy, I'm going to take the contrast value all the way up to 100.
Now at this point, you want to go back to Luminance Detail, and you want to increase it until you start seeing the pockmarking come back. And that's going to happen someplace in the high 30's. So I ended up arriving at a luminous detail value of 33. You can experiment and see if you get a different value that you like. As a function of having applied a pretty big modification to the temperature and tint values, we've got a lot of color noise at work inside this image. And you can get rid of most of it just by taking the color value up to 50. So midway up there, and you can leave the color detail value set to 50, as well.
Now let's try to re-establish some of the detail in this image by increasing the sharpening amount value up to 150. Now, I'll go ahead and zoom in, and you can see that that brings back a lot of our noise. Well that's a function of this detail value right here. I am not a fan of this value. I almost never use it, because any image contains some amount of noise, and the detail value's all about sharpening the noise inside the image. So notice as I crank it up, we're bringing the noise back, but if I take it down to zero, then you going to leave the noise almost completely and modified. Most you going to take radius value up to 1.5.
So now want you see the difference. This is a sharpening amount of 0 and this a sharpening amount of a 150, which is the maximum setting. You can see that does a great job of bringing back some of the remaining detail, just a little bit, without reinstating the nose. Now I'm going to switch back to Basic panel, the very first one and I'm going to take the Clarity value up as well, so that we regain some of the edge contrast. And I figure, clarity value of plus fifty is just about right.
Now, the last thing I want to do is brighten the model's teeth a little bit. I'll go up here to the Adjustment brush. I'll go ahead and scroll down over here in the right-hand panel. I'm working with a very small brush, the Size is three, the Feather is 50, the Flow is 50, and the Density is 100. Both of these masking checkboxes are turned off, and now I'll just go ahead and brush inside the teeth like so. You don't have to do the best job in all the world, because we're not going to apply much of a modification here. I went ahead and took the Exposure value up to 0.25, and I took the sSturation value down to negative 25, and that's it. Now if you go ahead and click OK in order to apply your modification. You'll see that you'll end up with a much better version of the image, as witnessed now over here on the left-hand side.
I don't need the right-hand image any more, because after all it's identical. So, I'll go up to the Window menu, choose Arrange and choose Consolidate All to Tabs and then I'll go ahead and press the F key a couple of times. Press Ctrl+0 or Cmd+0 on a Mac in order to Center the image on screen. And just for the sake of demonstration here, I'll press the F12 key in order to reinstate the original version of the image. We've got some very wonky colors including all these weird purples inside of the jacket.
And we've got noise galore, whereas, if I press Ctrl+Z or Cmd+Z on a Mac in order to see the after version. We have much better colors and much less noise as well, thanks to the Noise Reducing power of Camera Raw. Alright, it's still an impressionistic looking photograph. But it's in a heck of lot better shape than it was before. Next we will take that same model set against the white sands of New Mexico and we will give her a much better looking pair of sunglasses. Deke's Techniques each and every week. Keep watching.
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