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Abba Shapiro introduces Perfect Photo Suite, eight powerful modules that allow you to enhance photos, add effects, swap backgrounds, retouch portraits, and convert color photos to evocative black-and-white images. Perfect Photo Suite can be used as both a standalone application and integrated with Aperture, Lightroom, and Photoshop. Abba covers both workflows, and delivers three different adjustment challenges, which help you test your skills.
This is an introductory course produced by RHED Pixel to help both beginner and seasoned photographers quickly realize the benefits of Perfect Photo Suite 8. We are honored to host this training in our library.
So at this point, you should have a basic understanding of color response, tone and the power of the brushes within the black and white module, but if we continue to look down into the lower areas on the right side of our screen, there's a lot more controls that we can work with, to make our black and white image perfect. Now by default, these will be in the off position. And if I want to work with any of them, I can simply click from on to off and now I have sliders that I can work with. So in many of these, you actually have a blending mode.
So in this case, I can choose how I want to blend the flow with my original image. And as you see, we don't have all of the blending modes that you would normally see. But these are the blending modes that you would want to work with for the glow part of the module. So if I wanted to add some glow, I could notch it up. I could bring up the halo a little bit. This is going to focus on the really bright areas. And I could step through, from say lighten, to multiply, to screen, to overlay.
And as you see, it's affecting the image differently, and then I can go ahead and play with my sliders. Now I'm going to go ahead and turn glow off. And this is one of those adjustments that works better on some images, and really doesn't affect other images that much. Now the film grain I really like because a lot of times you want texture to your black and white image, and that's where film grain comes in. Now, let me go ahead and zoom in just to some detail on the baby's face. I'm going to switch over to the zoom tool and simply drag around the area that I want to zoom into.
It may take a moment for it to redraw this image with the full detail, but now we can actually see the grain in the image. Now this is one of those areas where you can just simply play with the different types of film stock. Now if you did work in the analog world, you may be familiar with the black and white response of these different film stocks to a color image. So I'm going to go ahead and use the 3200 Ilford, and you'll notice that I'm getting more grain in the picture. It looks like an older picture. And if I wanted to, I can then go ahead and play with my sliders and actually increase the size of the grain, and this gives my image a whole different feel.
I'm going to hit command zero so we can see the whole image, and as you see, now it's a more textured, more grainy image. If I want, I can simply toggle that on and off to see what the effect is with and without this modification. Now, the toner's pretty cool. A lot of times you'll see an image, and instead of being truly black and white, It might be a case where the paper's a different color and the shadows are a different color. This is called split toning. And if I switch this on, I have some defaults here. This is called Antique Ambrotype.
But I could go through and try different elements, Coffee. And if I scroll down, there's a lot of different types of processing that emulate a lot of the old, analog type of developing that you would have done in a dark room. Now, you can go with any of these presets to give you a look and a feel. And I do like the selenium look. It's kind of a metal look. Another popular one is sepia. So, if I select sepia, what it's going to do, it's going to tell me that my paper are a certain color, and my shadows are a certain color.
And if I grab the slider, I can go ahead, and add more orange to my shadows. And if I wanted to, I can also add more yellow, or let's say a different color, to my paper highlights. And just so you can see what's happening, I'm going to go over here, pick a nice cool blue, hit OK. And as I play with my slider, it actually brings in that tone of blue. Now the balance says where do I switch over from blue to orange. And I can move that back and forth to get the image to look exactly how I want it to pop.
Let me bring that back to a nice default location because I think a simple antique gray might be nice. As a matter of fact, I'm even going to turn that off and go down to vignette because that's what's going to really make this image pop. I'm going to add a vignette. And most people assume a vignette is simply a darker area around the edges to focus your eye on what's in the center. But you can also do a vignette where it's white around the edges. And I like that idea because it really blows out what's in the background and we focus on the infant.
So I'm going to go ahead. I'm going to slide my vignette all the way to the right. I can adjust the size of it, making sure we focus just on the infant, if I want a smoother or less smooth transition, and then I can switch it between round and square. I also have some quick clicks of, do I want it to be a normal vignette, do I want it to be a little more subtle or soft. I think the default is really nice and that gives me that vignette feel that I'm looking for.
Now, as we learned earlier I can easily switch any one of these adjustments on and off to see if I like it, or to see if it's better without it. You can add borders. You can work with sharpening. You can also blend this image with the original color image. And the best thing is to play with these elements, see what you like, and create the final image that works for you.
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