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Deke's Techniques
Illustration by John Hersey

Deke's Techniques

with Deke McClelland

Video: 358 Painting away Camera Raw “Clarity halos”

- Hey gang, this is Deke McClelland. Welcome to Deke's Techniques. This week, I'm going to show you how to remove Camera Raw "clarity halos." Now, of course you're wondering what I'm talking about because I did make up that term. But it's a good one because you see them all the time. Notice the tree over here on the right-hand side of the photograph that we developed last week. Do you see how it has all that white stuff around it? That's not part of the actual scene. That's a function of cranking up the clarity value in either Camera Raw or Lightroom.
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  1. 33m 19s
    1. 358 Painting away Camera Raw “Clarity halos” NEW
      17m 7s
    2. 359 Selectively sharpening a stressed photograph NEW
      16m 12s
  2. 14h 43m
    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
  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
60h 20m Intermediate Jan 11, 2011 Updated Oct 14, 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

358 Painting away Camera Raw “Clarity halos”

- Hey gang, this is Deke McClelland. Welcome to Deke's Techniques. This week, I'm going to show you how to remove Camera Raw "clarity halos." Now, of course you're wondering what I'm talking about because I did make up that term. But it's a good one because you see them all the time. Notice the tree over here on the right-hand side of the photograph that we developed last week. Do you see how it has all that white stuff around it? That's not part of the actual scene. That's a function of cranking up the clarity value in either Camera Raw or Lightroom.

What we want is this more natural effect right here, and I'm going to show you how to achieve that effect in the next few minutes. All right; here we are, zoomed in on that tree on the far left side of the image. And you can see that we have these unnaturally bright halos at work inside of the branches. Compare that to the effect that we'll achieve by the end of this movie, where we have these nice, natural sky colors behind the tree. Now, I want to emphasize that this is a very common problem that's associated with the clarity value inside Camera Raw.

And let me show you what that looks like. I'll go ahead and double-click on the thumbnail for this Camera Raw smart object here inside the Layers panel in order to bring up Camera Raw. I'll wait a moment for my preview to update, and then I'll go ahead and marquee this region right here with my zoom tool in order to zoom in on it. And you can see those bright halos. That's a function of clarity. Notice if I take that clarity value that's currently 75, if I take it down to zero, those halos largely disappear. Not entirely, but largely disappear.

And if I take the clarity value down still further, we get rid of the halos entirely. I'm not saying that this is a good effect, but we don't have halos. And that's because clarity is ultimately a big radius sharpening option. So as you increase the clarity value, you're going to create halos around the edges. That is to say, around areas of rapid luminance transition. So, in our case, we've got these dark branches set against a bright background. And, as a result, as we increase the clarity, we're magnifying the brightness of the background.

So we are creating bright halos. What do you do about it? Well, this is where we bring in Photoshop's ability to apply selective corrections. I'm just going to cancel out of Camera Raw. I'm going to zoom out a little bit, so that we can take in slightly more of the image. And then, what you want to do is, grab your eyedropper tool, and then you want to click on a sample bit of sky in order to lift that color. And then take a look at those color values here inside the color panel.

My color panel's in the upper right-hand corner of the screen; yours should be, too. If you can't see it, you can go up to the Window menu and choose the Color command. And then what you want to do, at least if you're taking my advice, you want to go ahead and switch over to the HSB sliders, which you can select from the fly-out menu. I just find these values to be the easiest ones to use when trying to approximate colors inside of Photoshop. Now, I happen to know that I want a shade of blue. Your best go-to sky blue has a hue value of 210 degrees because, if you go any lower than that, the blue starts to become a little bit too cyan.

And if you go any higher than that, you end up getting these kind of purplish blues. Then what you want to do is, anticipate the next effect. We're going to be creating a new layer and multiplying it into place because we want to get rid of these bright halos, which means that we want to take the natural saturation and brightness values of the sky and we want to reduce the saturation and increase the brightness. I'm going to go ahead and crank the brightness value up to 100 percent. And again, the reason we're doing this is because we're going to be multiplying this blue into place.

So we need to start with too light of a color. It also needs to be undersaturated. So I'll click inside the saturation value and press shift + down arrow in order to reduce it to 33 percent, so a little bit less saturation, a lot brighter, and we end up with this shade of baby blue right here. All right; now I'm going to grab my rectangular marquee tool and I'll select a big area, all around this top area of the tree. That includes all the halos and a little more. Now I'll create a new layer by pressing ctrl + shift + n, or cmd + shift + n on a Mac.

I'll call this layer Blue and I'll click Okay. Now you want to fill the selection with your foreground color by pressing alt + backspace, or opt + delete on the Mac. And we now get this big blue rectangle. All right; now you can click off of the rectangle to deselect it. As I was saying, we want to burn that blue into place so that it darkens up those halos in the background. And you do that by turning the layer back on, of course, and changing its blend mode to Multiply.

And we end up with this effect here. You can see that it's looking pretty darn good, as long as, of course, you avert your eyes from the fact that we have a big rectangle. This blue stuff inside of the branches is looking all right. Now what you want to do is double-click on an empty portion of this blue layer to bring up the layer style dialog box. That'll allow us to use this underlying layer slider right here to cover up just the bright halos and nothing more. So you want to go ahead and drag this black slider triangle over to, in the case of this image -- of course, different images will require different amounts of correction -- but I'm going to take this triangle over to 100, which is saying that anywhere where the underlying layer, the layer below, has a luminance level of 100 or darker, which is very dark, as you can see here in this gradient ramp, those colors will show through.

Those dark colors will force their way through the blue. That results in a very jagged transition, as you can see up in this region up here. So what we need to do is press the alt key, or the option key in the Mac, and drag the right half of this black slider triangle over to about 200, is going to do us. You can see this value, 200, right there. And that, now, is instructing Photoshop to create a drop-off between luminance levels of 100 and 200. So at 100, those dark colors are forcing through.

At 200 and brighter, they're getting covered up. And between the two, they're getting covered up to varying degrees. Now all you need to do is click Okay in order to accept that change. Now that's still not quite exactly what we want, because you can see that we've got these edges of the rectangle that are still visible. So go ahead and drop down to the Add Layer Mask icon at the bottom of the Layers panel. I want you to alt-click on it, or option-click on it on a Mac, in order to create a new layer mask that's filled with black so that everything's hidden.

Then we're going to paint things back in by switching to the brush tool. You want to tap the d key, just to make sure you've got your default foreground and background colors. That means the foreground color is white, in the case of the mask. Then I'll press the right bracket key a few times to increase the size of my brush. I'm also going to right-click inside the image window, just to confirm that the hardness is zero percent, which it is. That's what you want. Size can be anything you like. Then I'm going to zoom in just a little bit more here, and I'm going to paint inside of the tree, like so, to paint away the halos.

This way, you can paint away as many halos as you like and you can apply multiple passes. You don't have to do it all in one brushstroke. In fact, it's often a good idea to take advantage of multiple brushstrokes so that you don't overdo it and have to undo a big brushstroke all at once. So that's looking pretty darn good, I think. I'll go ahead and turn this layer off for a moment so we can see what it looked like before. This is the before version, with the bad bright halos, and this is the after version that's looking quite a bit better.

Now, problem is that we start getting into some subjective optics. Take a look at this region right here. What you may want to do -- and I'm being very frank about this -- you may want to pause the video and take a look at a different image, which is a way of sort of cleansing your visual palate, which you need to do oftentimes when you're working on an image like this because that way, you can come back and go, "Oh, yeah, this doesn't look right," which happens all the time. So if you decide to pause, come back, take a look now, I'm guessing you'll see, kind of, this weird dark region right here, in the upper right portion of the tree.

We have a little weird darkness up here, as well. That's part of the original image. If I turn off this blue layer, you can see that we haven't made any modifications up in this region. So that area is the same color it ever was. So if I turn the blue back on, well, gosh, it just doesn't look right. It looks like it's too dark. If you run into a situation like that, here's what I recommend you do. Go ahead and switch back to the rectangular marquee tool. What we're going to do is, we're going to dodge and burn this area using the Dodge and Burn tools.

But before we can do that, we've got to create a static layer because the Dodge and Burn tools down here, they only work with static pixels. In other words, they're not going to work with a smart object. Go ahead and select your rectangular marquee tool, and then marquee a big area, more than you need, like so. And I'm invoking an autoscroll for a moment there. But you can see, we've got this big region selected. And then go up to the Edit menu and choose Copy Merged. That way you can copy the results of both layers working together.

You've got a keyboard shortcut of ctrl + shift + c, or cmd + shift + c on a Mac, which I believe is worth remembering because I use that one all the time. Then, go back up to the Edit menu and choose the standard Paste command, which, of course, is ctrl + v, or cmd + v on a Mac, in order to paste that guy right there into place. I'm going to go ahead and rename this layer Tonal Repairs, let's say, because I'll be using what are known as the tonal tools, Dodge, Burn, and Sponge. That's why they've got keyboard shortcuts of o, for the second letter in tonal.

All right; now I'll select the Dodge tool from this fly-out menu right there. I'll increase the size of my cursor. You'll want to confirm, by right-clicking, that you've got a hardness value of zero percent. That's what you always want with the Dodge tool. You can drag inside the image, but notice that you'll, in all likelihood, you're going to apply too much brightening. So I'll go ahead and press ctrl + z, or cmd + z in a Mac, to undo that change. I'll zoom in, as well. And I'm going to press the 2 key to reduce the exposure value up here to 20 percent. You probably want Protect Tones turned on, but you might want to experiment with that option.

You don't always want it on when working with the Dodge tool. You do want the range set to mid-tones. Then, just go ahead and paint in. You probably just want to paint little bits and pieces here and there, so just paint a little bit at a time. If you ever feel like you've gone too far, which will undoubtedly occur, by the way ... You're going to end up wanting to go back and forth with these modifications. Notice that I'm still painting away. Then, at your earliest convenience -- you don't want this to go on too long -- you want to go up to the Window menu and choose the History command in order to bring up the History panel.

And I may have blown it, actually. Oh, phew! I didn't. Notice all these occurrences of the Dodge tool, all these various states here. We want to be able to go back to the name change state, that is, the state right before we started painting with the Dodge tool, and you want to click in front of it in order to make that your source state for this guy right here, the History Brush, which is a really great tool. Make sure you select that guy, name change, if you renamed the layer along with me. And then hide the History panel.

Then go ahead and select that History Brush tool. And then increase the size of your cursor by pressing the right bracket key, right-click, and just confirm you have a hardness value of zero percent. We want some nice, soft transitions. And actually, I'll reduce the size of my cursor a little bit by pressing the left bracket key. And then you can just paint away. But notice, if you do, you're going to, basically, restore everything. You're going to go right back to where you were before you started dodging. Instead, what you want to do is, press ctrl + z, in my case, or cmd + z in a Mac, and you want to reduce the opacity value.

And what I like for this is to press the 3 key to reduce the opacity value to 30 percent. That way, you can just click in order to go back incrementally, like so. In other words, you have to be a little patient, you're going to kind of go back and forth here, dodge a little bit and then sort of restore some of the original details. And you can even burn, if you want to, in which case you would go ahead and switch from the Dodge tool to the Burn tool. For the sake of reference, the Dodge tool brightens the images you paint and over it.

The Burn tool darkens. Think of burning a piece of toast; you're darkening it. I'll go ahead and select the Burn tool, increase the size of my cursor by pressing the right bracket key, right-click, confirm that the hardness value is zero percent, and, of course, reduce the exposure value by pressing the 2 key, for 20 percent. And then you can just kind of burn details all you want. I might burn some areas inside the tree, I might burn the sky inside the tree just a little bit, as well, in case things aren't dark enough in there.

And then, if you feel like you go too far at any one point, then go ahead and switch back to the History Brush, which has a keyboard shortcut of y, the last letter in history, and you can just kind of click in order to brighten things up a little bit. And that's going to, of course, undo the effects of the burning because, if you go to the History panel, right here in my case, you'll see that that state, name change, refuses to roll off the panel. Because you've specified that it's the source for the History Brush, it has to remain intact.

Now, check this out, this region right there. Doesn't it look way too bright? Again, that's just part of the original photograph, but, if you don't like it, why, then go ahead and switch to the Burn tool once again and increase the size of your cursor, potentially, just kind of paint there, maybe click a few times there in order to darken things up. I believe in baby steps where dodging and burning is concerned because it's easy to go too far. And you never really just want to paint a big old brushstroke because you'll end up seeing it in the final image.

You'll see that brushstroke. And, whereas other people might not notice when they look at your image, you will because you'll remember doing it. Now I'm going to go ahead and zoom out here in order to check things out. If the colors start to look too saturated, which is very, very possible, then switch to the final tonal tool, which is the Sponge tool. It is set to desaturate by default. That's what you want. Make sure the vibrance check box is turned on. Let's go ahead and take that flow value down by pressing the 2 key once again to decrease the flow value to 20 percent.

I'll increase the size of my cursor by pressing the right bracket key, right-click inside the image, confirm that the hardness value's zero percent so that we have nice, soft transitions. Then just go ahead and paint here and there in order to reduce the saturation and see what you come up with. That, I think, looks pretty good. I might just go back here to the Dodge tool, so you can go back and forth between the Dodge and Burn tools, if you like, and click a few times in this area just to brighten things up because I think it went a little bit too far.

And now I'll go ahead and zoom out in order to take in the image. Looks like I need some more burning right in this region there. I figure that that's pretty good-looking. So, just to confirm that we've done the right thing here, I'll go ahead and alt-click, or option-click, on the eye in front of that Environment layer there, which represents, by the way, this landscape photograph, so that we can see what the image looked like, what the tree looked like, at the outset of this movie. So this is the before version of the image, quite obviously, and then, if I alt- or option-click on the eye again, this is the after version, thanks to our ability to correct for a perhaps over-enthusiastic application of the clarity option inside of Camera Raw using an independent multiplied layer along with the tonal tools, including Dodge, Burn and Sponge, here inside Photoshop.

Now, if you're a member of the lynda.com online training library, I have a follow-up movie in which I show you how to selectively sharpen a stressed photograph. And the idea is, we've done a lot to this image, but we still want to bring out the detail without getting any crunchy edges, don't you know? If you're waiting for next week's free movie, oh, we're getting into Halloween, which is why I'm going to show you how to take this perfectly innocent teenager and turn him into a foreboding, dark elf.

(ghoulish laugh) Deke's Techniques, each and every week. Keep watching.

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