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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 let's get ready to attack this picture. The first thing I'm going to want to do is pull the key or create the masks. So we can get rid of that green background. And then we're going to go through all the steps of doing a little work in the Portrait mode. As well as adding a background, aging it, and then putting some overlays on it. So the first thing I want to do is go from the Layers module into the Masking module. Now in the Masking module, I can see that this is a pretty solid green background. So I'm going to leverage the one button solution of removing the background.
And see how well the Masking module works. It did a pretty good job removing most of that background. I now have to focus on the edges where her hair meets the green. As well as the area within that hat to make sure that I have the fine black lines, but none of the green. So the first thing I want to do is, is zoom in. And I'm going to zoom in to this area right here. And I could try the Magic Brush Tool without selecting any colors. And if I bring it in, it does an okay job.
It gets rid of most of it, but I still have some green fringing. So we might as well remove this. And what I want to do now is actually go over here to the Drop and the Keep Color eyedropper. So I definitely wand to keep anything that's black and I want to keep anything that's brown. And I want to make sure I keep this off white area because that's important. And there's a lot of shades of gray in here, so it doesn't hurt to select a little bit more. And now, I'm going to go back and tell it what to drop.
I want it to drop green. I don't necessarily see all the green. But if, I know that I click in that area I'll see it. If I really wanted to see all the shades, if I had a variety of greens. I could switch over to before. I can tell right now, it's fairly consistent. I can see that with my eye and I can see that as I click. Let's switch back to the Mask mode. Now when we select the Magic Brush Tool and start brushing away, we really can start getting rid of some of that green area.
And it does a pretty good job, but I want to really get rid of much green as possible. So while I'm working here, I'm going to switch from the brush I'm using to the Color Spill Brush. And I want to make sure that it is black. So let's go ahead and select some black right here. And now we can override this color. So we don't see any green. Go ahead and use the left bracket key to make this a little bit smaller. And this is nice, this way I can get rid of a lot of the green. If I want to clean up over here, I could try this brush.
I'm going to hit the space bar, slide over a little bit. This seems to be working pretty well. Sometimes I would use the Chisel tool. But if I'm really careful and I don't go too deep inside, this works perfectly. Now, if I actually went deep inside, you notice there's actually a color shift there, so you need to be careful. I'm going to go ahead and hit undo to remove that. And let's go around and just, kind of trim any of the extra green off. I'm going to add her hair color. I didn't bring that in earlier. And we'll switch back to the Magic Brush Tool. And again, patience here is where it really pays off.
And if I want to get rid of this additional green area. I could try to hit the minus key right on the edge there to get a slightly different shade of green. But I have a feeling that the best solution is going to be switching my tools. Helps a little bit, it might be removing too much. So I'll go back over here. And once again, switch over to the Color Spill Brush. It's needs to be switched from black to the color of her hair. And I'll quickly do that. Go back to the brush. And now, as I brush over this part of her hair.
It works very nicely. Now, if I need to bring back some of those elements. I'm going to go ahead and hit Undo. And this is where you can really do some fine tuning. I'll go ahead and clean up the edges. And then, we're going to go ahead to the next step. Well that's a fairly clean key. I could work a little harder. But you know, by the time I finish processing this image, I won't even see the nuances of that little bit of green fringe. So let's go ahead and apply this as a Layer mask. And now, I'm going to go ahead just for safety, I'm going to make a new layer.
And I'm going to duplicate this layer. And I want to take her into Perfect Portrait. And just kind of make sure the skin is nice and smooth. Now, I found her face. I'm going to click inside. It did a pretty good job. As a matter of fact, this is probably good enough, because it will be able to automatically sense her eyes. But, you know, while I'm in here, I might as well tweak it a little bit. I think we're really pretty solid here. And one other area that I want to check is I want to go over here and I'm going to click on the Face Edit Tool. I'm going to zoom back a little bit. And I'm going to switch from after, to show me a mask of red.
And this is going to tell me what it thinks is skin and what it thinks is not skin. And at this point, I can actually paint over these areas. So, this is not skin, and I want it to be a nice red. I'll make my brush a little bit bigger. So this way I know that when I start doing skin smoothing, it's not going to affect all the detail that we have in the hat. And there's some great detail here that I don't want to miss out on. On the flip side, I want to make sure that her neck and her hands are selected as skin. I can go ahead and hit the x key. And now, it switches from not skin to add to skin. And I'm going to go ahead and make sure that this is all painted. If I want to be more precise, and I usually leave the Perfect Brush checked. That way, as I come to an edge and there's higher contrast, it will find the edge. And I won't have to worry that my brush will actually paint outside of the skin area. And you'll notice that if I'm careful, I can even get that wisp of hair. To make that wisp of hair to stay where I want it to be. I think we're pretty good.
I'm going to error on the side of. Maybe a little bit of haircut there. Get the fingers. Now what's going to happen is when I run my automatic presets, it's going to clean up her head and her neck as well as her hands. So I'm pretty comfortable with that. I know exactly what is not skin. And I'm going to go ahead, switch over to my Presets. Let me turn off the Mask and go back to After. I'm going to select Female, and then I can choose what kind of solution I'm looking for. Whether I want something more aggressive or less aggressive. And I usually start with less aggressive and then manually tweak it. Now, I do find these little overlays a little bit distracting. So I'm going to ahead and hide those controls. And now, I can try out the different choices. I can select Full Body and that really smooths things out. And I think that could be pretty good, but just to show you, let's switch over to Natural. That's a little less aggressive. I really think that's much better. I can see the detail here. And now I'm going to go over to some of these sliders on the right. I want to make sure that the eyes really pop so I'm going to move up the detail there. I don't want to make them too white, even though I'm going to go ahead and put a layer of color and texture over her. And there's no need to go to whitening on the mouth since she's not smiling. And the lips, she did a pretty good job with the lipstick, so I don't think I need to enhance that. Now, if I wanted to, I can go back up and I can move the sliders a little bit to the right for blemishes. And a little bit more for the smoothing. The shine's nice. And I want to even out the coloring on her face. And add a little more texture. I can also smooth out some of the shadows, so they're not quite as deep. Now we need to take a look at the, the color correction. Now I've zoomed in a little bit, so you can see what I'm doing. Let me go ahead and reset that. So I can reach my little button over here and turn Color Correction on. And here I can smooth out and I can warm up her skin tones. And I need to choose her ethnicity and this is really nice. Because depending on a person's ethnicity, sometimes you want to be able to start at a common point. So, she's, she's very fair skinned. We're going to switch that over. And I can dial in or dial out the amount of color correction on her skin. It's always good to switch back between your modified image and your original image. And I see right there, this is good. However, I am losing detail that I like here. So if I want to switch to that, I'm going to go back to my Mask. We see these areas need to be fixed. So we're going to switch that is not skin. I'm going to paint this in. I had lost some of the controls when I had stepped through the different versions. So let me very quickly, paint out the neck. And that's pretty nice. We're good to go. The last thing I may want to do is choose either the Perfect Eraser or in this case, I really want the Retouch Brush. I can zoom in a little bit. Under the eyes with the Retouch Brush selected, I can just erase a little bit of the area under the eyes. And I'm going to go ahead and look at the area under the neck. And I just want to smooth it out, I don't want to erase it completely. So I'm going to change my opacities to say 50%. Option five will quickly jump me there. And now, I can simply just remove some of these deep lines and blemishes. At 50%, I might want to go over it twice. Just make these a little bit more subtle. I don't need to erase them completely. And I think we are pretty good on our image. And we're ready to jump back in to our Layers module. Now that we're back in our, our Layers module, I'm going to hit Cmd+0.
That's going to once again allow me to see this full screen. And I'm ready to bring in a background. And the background that I really liked was in my extra's folder. It's under Backgrounds. It's an outside background and it is number ten. Which is a nice water shot. So I'm going to go ahead, bring that in as a Layer. It's going to go on top. So we're going to ultimately slide this behind her. I want it to be bigger. I don't want to hit the Automatic Fill because it's going to distort this. So I'm simply going to step back by hitting Cmd+minus. Now I can grab the edge here. If I hold down the Option key as I drag and I hold down the Shift key it will maintain the proper aspect ratio. And it will grow from the center versus growing from the sides. Now that it's the right size, I'm going to go ahead hit the Enter key to accept the transformation. And move this image behind her. Now that it's behind her, I may want to tweak it a little bit. Just so I can get a feel. I kind of like that. See some of the rock. So it's not perfectly balanced behind her. And we're ready to move to the next level. And that's going to be stylizing this. Now I want to work on this as a complete unit so I'm going to go up here and go to Layer. And I'm going to make a new Stamped Layer. So now, I have a layer that is a composite of her and the beach. Now, just to make sure that I'm working with a perfect square and that I'm not going to be confusing the application. Let me go ahead and make sure that I do a full crop on this image. I don't want it to perceive some of that area that's to the right as part of the image when I put this next layer on. So let me go ahead and apply the crop. And now I'm going to send it over to the Perfect Effects module and I want to add a border. Now, I already know what I'm going to put on top. It's the torn paper, so I'm going to just type in torn. I can very quickly find it. There it is, my torn paper. So let's go ahead and select torn paper. And if I wanted to I can scroll down and I can tweak how this works. By the way, we're using Twin Paper 001. And I can shrink that image, if I want to. To make sure I don't lose any of it off the edge. I can also deal with the thickness and I think the default is pretty good. So I have the edges that I like. And I'm going to step back into the Layers module. And I want to overlay a texture on top of this. Now, we had found the outside one, but we're going to go ahead and close all of our backgrounds. And we're going to look at our textures here. And let's take a look at what our paper choices are. And there I have a Clean Edge, and see, the Old Parchment might be nice. That could work. Let's go ahead and try to Old Parchment as a new layer on top of this. And I'm going to go ahead and bring down the opacity a little bit. And I think what's going to make this work is the Blending modes. And all I'm trying to get here is some texture.
That's kind of nice, it's very subtle. It's bringing what I want, which is the texture. So we are going to do a Color Overlay. We can bring it up a little bit. But we don't want to fade out the image. Because we are going to add one more element to make this look more aged. And that is we're going to create a brand new layer. And we're going to use it with this bucket. And if I click on this bucket it's going to create a Color Fill Layer. And I can choose whatever color I want. I'm going to choose orange. But if I needed to change the color, I can just click on it. And choose any area in the color wheel. But orange is what I want. I'm going to click OK to bring it in. And this is way too over the top. And that's where bringing the opacity down. And maybe bringing in a Blend mode is going to give me the image that I want. Now I'm going to play with this slider just a little bit to give it a more sepia or orange tone. And I think we're there. So, as you see, it's a lot of steps. But compared to where we started, I think this is a pretty impressive photo.
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