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Deke's Techniques
Illustration by John Hersey

Deke's Techniques

with Deke McClelland

Video: 376 Developing the perfect holiday portrait

- Hey, gang. This is Deke McClellan. Welcome to Deke's Techniques. This week, I'm going to show you how to take this nondescript snap shot, I mean, he's a good looking kid and all. I just turned him into a dark elf a couple months ago. We're going to develop him into the perfect portrait shot with these luminous eyes that follow you everywhere. Just the thing you need for the holiday season. Here, let me show you exactly how it works. Here's the final version of the portrait shot, just so you have a chance to see it on screen.
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  1. 15m 22s
    1. 376 Developing the perfect holiday portrait NEW
      15m 22s
  2. 18h 32m
    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
    53. 334 Straightening and “uncropping” a photo
      16m 17s
    54. 335 Restoring a missing photograph detail
      11m 26s
    55. 336 Drawing a hand (clenched in a fist)
      11m 44s
    56. 337 Cleaning up a sketch captured with a phone
      6m 17s
    57. 338 Four hands united in brotherhood, solidarity, and teamwork
      12m 24s
    58. 339 Swapping out colors in existing gradients in Illustrator
      4m 37s
    59. 340 Select > Focus Area and the pseudo engraving effect
      12m 26s
    60. 341 Integrating 3D art into a 2D scene in Photoshop
      13m 41s
    61. 342 Creating a 3D shark in Photoshop
      11m 16s
    62. 343 Creating a 3D doughnut in Illustrator
      15m 23s
    63. 344 Creating a golden 3D ring in Illustrator
      10m 21s
    64. 345 Mapping Elven runes (or text) onto a 3D ring
      15m 57s
    65. 346 Hand-drawing custom-made letters in Illustrator
      19m 33s
    66. 347 Drawing letters with curves and holes
      15m 56s
    67. 348 Enhancing your hand-drawn text in Photoshop
      7m 20s
    68. 349 Mixing a low-color photo with Camera Raw
      11m 2s
    69. 350 Mixing a low-color photo with adjustment layers
      10m 7s
    70. 351 Saving your effect as a color lookup table
      5m 31s
    71. 352 Extracting a classic painting from its frame
      11m 35s
    72. 353 Extracting that same painting nondestructively
      7m 59s
    73. 354 Archiving and enhancing a child’s art
      10m 47s
    74. 355 Combining a child’s art with a real classic
      11m 5s
    75. 356 Developing the perfect sunset in Camera Raw
      9m 55s
    76. 357 Lush landscapes: The real green is yellow
      9m 7s
    77. 358 Painting away Camera Raw “Clarity halos”
      17m 7s
    78. 359 Selectively sharpening a stressed photograph
      16m 12s
    79. 360 Transforming yourself into a Dark Elf
      16m 27s
    80. 361 Hand-masking the elf against a vivid background
      15m 35s
    81. 362 Making the Dark Elf that much darker
      15m 29s
    82. 363 Developing a photograph of The Joker
      16m 26s
    83. 364 Carving expression lines into The Joker’s face
      14m 1s
    84. 365 Creating a campaign poster in Illustrator
      15m 3s
    85. 366 Creating a Prohibition (or Universal No) symbol
      7m 13s
    86. 367 Using Photoshop CC’s new Flame Generator
      10m 4s
    87. 368 Creating cool Flame Generator art
      9m 35s
    88. 369 Setting type on fire with the Flame Generator
      8m 13s
    89. 370 Blending synthetic flames with type
      6m 12s
    90. 371 Creating secret-message type in Photoshop
      13m 38s
    91. 372 Animating a continuously morphing message
      10m 59s
    92. 373 Creating a piece of Minecraft-inspired art
      16m 10s
    93. 374 Extruding your Minecraft art into 3D space
      8m 39s
    94. 375 Adding a big-pixel, Minecraft background
      12m 2s
  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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Watch the Online Video Course Deke's Techniques
63h 51m Intermediate Jan 11, 2011 Updated Dec 16, 2014

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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

376 Developing the perfect holiday portrait

- Hey, gang. This is Deke McClellan. Welcome to Deke's Techniques. This week, I'm going to show you how to take this nondescript snap shot, I mean, he's a good looking kid and all. I just turned him into a dark elf a couple months ago. We're going to develop him into the perfect portrait shot with these luminous eyes that follow you everywhere. Just the thing you need for the holiday season. Here, let me show you exactly how it works. Here's the final version of the portrait shot, just so you have a chance to see it on screen.

We're going to be working from a raw dng file, which you can get to by going up to the file menu and choosing open as smart object. If you have access to the exercise files, then it's this one right here, exterior portrait shot.dng, at which point you can click on the open button in order to open the image in camera raw. You can see that we've got a few problems here. The image is pretty darn blown out, the eyes are too dark, and worst of all possibly is the color balance. This image is too cool.

To warm it up, we need to increase the temperature value and we need to take the tint value down a little bit as well. The easiest way to get things just right is to select the white balance tool, third in up here in the horizontal tool bar. Then I'm going to scroll down a little bit, and you want to click in some light neutral portion of the image. The most obvious area is this white collar. Go ahead and click in it someplace and see what you end up with. In my case, I happen to now have a temperature value of 7700 degrees and a tint of negative 19.

I'm going to take that tint value down to a round number just so you can follow along, of negative 20. I'm going to take the temperature value up by pressing the up arrow key to 7850 degrees Kelvin. What we're doing is we're dialing in a cool light source so that camera raw compensates by warming up the image. Now I want to address these blown out highlights by taking the exposure value down. I'll click in exposure and click shift down arrow to take that value down to 0.5.

I'm also going to take the highlights value way down. You can see that that does a great job of recovering those highlights. Where as before, they look like this. We've got some really blown out details on the left half of the face. Yet because the image was captured is a raw image file, there is tons of detail that's hidden from view. We can get it back by taking this highlights value down. In the end, I arrived at a highlights value of negative 77 and then to bring up the shadows as well, I took that shadows value up to plus 50.

You can see, if you press the Alt key, or the options key on the Mac, and click and hold on the slider triangle for the whites value, we really don't have any blown highlights at this point. If I were to increase the value, we would eventually see blown highlights inside of the preview. As long as we keep this value as zero, we're fine. We do, however, want to take the blacks value down just a little bit to sync those shadows. I'm going to press the Alt key or the option key on the Mac once again as I drag the slider handle, and that way I can see exactly which details are getting clipped.

I eventually took this value down to negative 20. Anywhere where we can see color, that means clipping is occurring in at least one channel. Anywhere where you see black, we're clipping in all three channels. In my case, it's happening on the shadows down here, but that's okay. We'll smooth some of those shadows away in just a minute. Now I'm going to tab down to the clarity value. I'm going to take it down. Because this is a portrait shot, we don't want a massive amount of edge detail like so.

That end up bringing down too much skin detail. Even though this is a very handsome young man right here, he can be made to look pretty cruddy if we do enough work with clarity. Where as, if you back that value off, you're going to smooth things over quite nicely. This is a clarity value of zero. This is a clarity value right here of negative 50. Basically an anti sharpening effect. Now I'm going to tab down to the vibrant value. I take it up to plus 10.

We don't need much more saturation, which is also why I leave the saturation value entirely alone. Now we want to go ahead and fix any lens distortion that may be going on. Click on the lens correction icon. Here inside the profile tab, go ahead and turn on enable lens profile corrections. It's not going to to all that much where this image is concerned, but it does make a slight difference. Then you want to click on the color tab and turn on remove chromatic abortion. You always want to do that for each and every photograph you capture.

Now we want to sharpen things up a bit. I'll click on the detail tab right there. I'm going to go ahead and zoom in by pressing control plus, or command plus, a couple of times, here, and I'm going to pan to the subject's eyes. I'm going to take the amount value up to 100, let's say. Then, I'll leave the radius value set to 1.0 and I'll take the detail value down to zero. Always remember,when you're applying sharpening inside of camera raw or a light room for that matter, you're not sharpening for output, you're not sharpening for the final print.

We'll do that in just a moment. What you're doing instead is you're just trying to sharpen up the detail ever so slightly to account for the transition process from the raw image to what is essentially the real world. Now I'm going to take the luminescence value because we do have some noise going on. I'm going to take the luminescence value up to 50. I'll leave the luminescence detail value set to 50, luminescence contrast is best left set to zero. Now, we'll take the color value here up to 50 in order to compensate for any color noise we may have.

Color detail's fine at 50 as well and I'm going to take the color smoothness value up to 100. You can see, as a result, we end up with some very smooth detail. That's going to permit us to sharpen the portrait in Photoshop as I say in just a moment. Now we want to heal some of the skin stuff. I'm going to do that by switching over to the spot removal tool. I did that because after all, this isn't necessarily the most fun part of the process, and it's pretty manual.

You have to determine exactly what you want to get rid of and what you want to keep. We do have this item right here, which is pretty good on the chin. You can either click with this tool in order to create a circular correction or you can drag with it to create a custom correction like so. In any case, you want to make sure that you allow some margin around the thing that you're trying to heal away. Notice that my type is set to heal over here on the right hand side of the screen. The feather value is set to 100 and I've got my size set to nine pixels.

That's of course up to you. I'm going to paint right about here as well. If you're not satisfied with what camera raw automatically determines to be the source for the clone, which I'm not. This is terrible, then you can go ahead and drag this green thing into a different location like so. If you want to be able to see what you've done without all this interface stuff on screen, then you can turn off the show overlay check box down here or you can just press the keyboard short cut V.

V turns off the overlay, all of the interface that is, and then pressing the V key again brings it all back. We have just this one more item right here. I'm not sure if it's a little bit of a hair or if it's just kind of a flesh like color back there in the foliage, but I want to get rid of it. I'm going to drag over this region after, of course, zooming way in on it. I'm viewing the image at 100 percent. I want to make sure that we are sourcing the right area. This actually looks pretty darn good.

I'll, once again, press the V key in order to hide that over lay. Actually, you know what? I don't like it so much. I can still see something there. I'll press V to bring things back. Because I dragged with the tool, I can't really modify it. If I want to change it, I need to press the backspace key or the delete key on the Mac in order to get rid of it. Now, I'll paint something bigger. That's really going to cover up that spot with no ambiguity what so ever. Then I'll release to see what camera raw has come up with. It looks like I need to scoot this in a little more or perhaps I'm wrong and I need to scoot it out because I was getting a little bit of a blob right there.

I might move it up as well so that the two are slightly over lapping each other. Then I'll press the V key to hide that over lay. It looks like I'm still messing up a little bit. I'll press V to bring it back and I'll drag this guy out. This can be pretty tricky work in order to get this exactly right, which I think I did. Press the V key and that looks pretty darn good, especially if I zoom out just a little bit like so. The final thing we need to do is brighten up the eyes. They're just so shrouded in darkness right here.

I want them to shine a little more. I'm going to select my adjustment brush. Notice, I've entered some values in advance here. I've set the exposure to plus 0.75 and I've raised the shadows to plus 33. That's it. Those are the only changes I'm going to make here. I've turned auto mask off. That's very important because notice if I turn auto mask on, and I go ahead and select the mask check box and then I start painting in the eyes, notice how noisy that mask is right there. That also will result if I turn the mask check box off, that will result in a very noisy modification, which is not what we want.

I'll go ahead and press control Z, or command Z on the Mac, to undo that change and I'll turn off auto mask. Then I'll paint inside of the right eye like so. Notice that my feather value is set to 50. I don't want too much feather and I don't want too little eye there. I want just the right amount. Now I'll go ahead and paint the left eye. You may look at this and say, "Well gosh, obviously I've gone "too far with this modification." I want to erase and I want to do so just by pressing the Alt key, or the option key on the Mac, as I drag. I'm going to go up here to this fly out menu icon and make sure separate eraser size is turned off.

That's very important. If you see a check box, go ahead and turn it off. Then, I'll press the Alt key, or the option key on the Mac, and brush along the bottom eye lid like so. That will introduce a little bit of shadow to the bottom of the iris right there. Can you see that? We want to do the same thing on the top eye lid so that we have a little bit of a shadow projecting onto the iris. Maybe not that much though, so I'll press control Z or command Z on the Mac to undo that and I'll try again.

Alt, or option, paint along the top eyelid. I'll do the same over here on the top of the right eye and the bottom of the right eye as well. I'm painting in separate passes, but each and every time, I'm pressing the Alt key, or the option key on the Mac. Then I'll zoom out a little bit. that pin looks a little bit painful right there, so in order to hide it, I'll just switch back to the zoom tool. That looks pretty darn great to me. I'll go ahead and click okay in order to accept those changes.

Two things are going to happen here. First of all, I went ahead and applied my modifications to the original dng file. These are all temporary modifications of course. I can change my mind any time I want. It's just a bunch of numerical parameters that are saved along with the file's meta data. Not a single pixel is harmed. Meanwhile, I've opened the file as a smart object here inside of Photoshop so that I can make changes to it at any time I'd like. For example, I can rename the layer, of course. I just want to call it, let's say, portrait.

If I want to modify the camera raw settings any old time, if I decide I made a mistake, then I can just double click on the thumbnail for this portrait layer in order to open up camera raw along with all of the modifications I just got done upon. I'm pretty happy with what I did. I'm going to cancel out of here. The only other change I want to make is to sharpen the portrait. Because I have made it so soft thus far, we have a lot of room for sharpening. This is going to be the way that you sharpen your portrait for output.

The best way to sharpen a portrait is not to go to the filter menu, choose sharpen, and choose smart sharpen because the problem with smart sharpen is that it can bring out details that you don't want it to often times, especially in portrait shots, and you can end up clipping highlights and shadows along the edges of your art. That's not something that we want, in the case of this portrait especially because it has these near blown highlights. the better command, the one that's a kinder, gentler sharpening function and does not result in any highlight or shadow clipping, it's under the other sub menu and it goes by the name high pass.

If this is the first time you've ever seen it, it doesn't look like a sharpening filter because after all, everything seems to go gray. If you look very closely, you can see that the eyes there are just barely not gray. The edges, the areas of rapid tonal transition, those are going to remain ever so slightly dark and bright and everything that is not an edge is going to turn gray. We're going to go with the radius value of five pixels, which defines the size of our final halos.

Then click okay. Now you want to mix this weird murky layer of high pass with the original by double clicking on the slider icon to the right of the words high pass inside the layers panel. That'll bring up the blending options dialog box. Then you want to select a contrast mode. For a slight amount of sharpening, you'd go with overlay. You'll see that you do lose the gray and you mix those highlights and shadows along with the original image. We're not getting that much sharpening. You can't increase the opacity value beyond 100 percent, so what you need to do instead is increase the blend mode.

The highest impact contrast blend mode is linear light. Notice, as soon as you choose that mode, you're going to see more edge contrast on screen, at which point, go ahead and click okay in order to apply that change. Now, I'll go ahead and press the F key a couple of times and back out just a little bit. That, friends, if how you use a combination of camera raw and Photoshop to develop the perfect holiday portrait. Alright gang, we're taking next week off for the holidays to be with our friends and family around the wood burning fire place that we don't actually own, which means, this is officially the end of the fourth consecutive year of Deke's Techniques.

We started things off at the beginning of 2011 and we're going to continue things at the beginning of 2015 with episode 377. Can you believe it? Deke's Techniques each and every week, except next week. Keep watching.

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