IntroductionYour doorway to better color| 00:00 | Hi! I'm Deke McClelland, best selling author of book and videos
on computer graphics, digital imaging and electronic design.
| | 00:08 | I'm here to introduce you to a command, just one command
that most of you have never noticed, let alone chosen.
| | 00:15 | This command is a doorway into an alternate version of
Photoshop, one that has the power to make bad photographs great
| | 00:22 | and great photographs even better and it
goes by the inauspicious name Lab color.
| | 00:28 | Now before I go any farther, I call it Lab color. Others
swear by L-A-B. More on that later but no, agree or disagree,
| | 00:37 | my decision to call it Lab is entirely
deliberate and I believe the better way to roll.
| | 00:42 | Lab color is not new. Pre-dating the founding of Adobe a
company, Lab made its way into Photoshop more than a decade ago.
| | 00:50 | So why aren't you using it? My guess- because you don't have to.
| | 00:54 | The other color models, RGB and CMYK, those are half do spaces.
Your image starts off in RGB, there is no getting around that
| | 01:02 | and if it is bound for pre-press,
you have to convert it to CMYK.
| | 01:06 | By comparison Lab color is entirely optional.
There is a not a reason on earth to choose it,
| | 01:12 | well unless you want to save time and
you want your images to look better.
| | 01:16 | Lab offers the upsides of less artifacting,
less banding, and more vivid colors.
| | 01:21 | In just a few minutes you can take this image
and turn it into this and here is the thing,
| | 01:28 | Lab can be a little more intellectually demanding but you can fix
an entire image with a single command, usually Levels or Curves,
| | 01:36 | or you can target an image's luminance
and color information independently.
| | 01:40 | And once you come to terms with Lab, it is faster. That's right.
| | 01:44 | Lab let you achieve better result in less time. You just
got to know what you are doing, which is where I come in.
| | 01:52 | In this brief introduction I'm going to show
you when Lab is helpful and when it isn't.
| | 01:56 | If you have a RAW digital camera file for example,
there is no sense running the Lab, but if you have a JPEG
| | 02:02 | or TIF image, Lab is perfect even in concert with Camera RAW.
| | 02:06 | In subsequent chapters I will show you
what Lab color is and what it can do.
| | 02:10 | By the end of this series you will know how to work
in Lab and your images will look much better for it.
| | 02:16 | Enjoy.
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| Lab and the untreated JPEG image| 00:00 | Now I'm providing you with the exercises in this
introduction, just by way of full disclosure so that you know
| | 00:06 | where Lab is really strong and it's not as necessary.
| | 00:10 | It is always strong.
| | 00:11 | It is the best color mode there is inside the Photoshop.
| | 00:14 | I don't think anybody disputes that.
| | 00:15 | It is better than RGB and CMYK as you will see.
| | 00:19 | The one thing it can't really compete with is Adobe
Camera RAW, at least where images that are captured
| | 00:24 | in your digital camera's RAW file format are concerned.
| | 00:28 | What we have got going here inside of this folder and
by the way, the name of the folder is 00_introduction
| | 00:33 | and it is found inside the exercise_files folder.
| | 00:35 | I'm looking at the content of this folder in the Bridge.
| | 00:38 | And you have access to this folder if you
are a premium member or you own the DVD.
| | 00:43 | And notice I have got three pictures of
the same model and here is what happened.
| | 00:47 | I had the digital camera set up to capture a
JPEG file and a RAW file at the exact same time
| | 00:55 | and so that is basically what we are seeing here.
| | 00:57 | We have three variations, two on the
JPEG file and then one of the RAW files.
| | 01:02 | So this very first one, it is called Woman-1 untreated.psd.
| | 01:06 | This is the JPEG file as it was captured by the image
as it was basically digested and developed by the image
| | 01:14 | and then I have taken it into Photoshop,
converted into Lab and added a few layers.
| | 01:18 | But right now we are not seeing the
effects of any of those layers.
| | 01:20 | This preview represents the unmodified version of the JPEG image.
| | 01:25 | This next one, Woman-2 ACR JPG.psd, I forced
the JPEG file to open inside of Camera RAW.
| | 01:34 | What you can do from the Bridge, I can't
do with this file because it is a PSD file,
| | 01:38 | but if it were a JPEG file, I could go up to the File
menu and I could choose this command right there,
| | 01:42 | Open in Camera RAW in order to bring
the JPEG file into Camera RAW.
| | 01:47 | Then I made a few modifications, which you can
see right here, these are the modifications
| | 01:51 | and then the reason it is a PSD file is because I
have made some further modifications inside Photoshop
| | 01:57 | that we'll be turning on shortly.
| | 01:59 | And then finally we have got Woman-3 RAW.dng and this file has
been modified in Camera RAW, inside the Adobe Camera RAW plug-in.
| | 02:07 | However, it began life not as a JPEG file but as a RAW
digital image and I had converted it into the DNG file
| | 02:15 | but otherwise it is the image that was created by the camera.
| | 02:18 | And we will see once again how it will
work with each one of these three in Lab.
| | 02:23 | I'm going to go ahead and double-click on Woman-1 untreated.
| | 02:29 | And you can see there she is, she is set up as a
Smart Object, I will tell you more about those later
| | 02:33 | in case you are not already familiar with them.
| | 02:36 | But in this case, it just allows me to apply some non-destructive
Smart Filters and the filter that I have gone ahead
| | 02:43 | and apply to this, is this guy right here Gaussian Blur.
| | 02:45 | So I'm going to click in front of the word Smart
Filter there in order to turn on Gaussian Blur
| | 02:51 | and this is a heaping helping of Gaussian Blur.
| | 02:53 | I want to head and set the Gaussian blur filter to 25 pixels
and this is going to allow us to blur the surface detail.
| | 03:00 | Of course right now I'm blurring everything, all
of the detail throughout the image is blurred.
| | 03:05 | So lets go ahead and change that by double-
clicking on this little slider icon right there
| | 03:11 | and inside the Blending Option dialog box, I'm
going to change the mode from Normal to Overlay.
| | 03:18 | And you can see what a terrific job that does of covering up
some of the surface blemishes. I will go ahead and click OK.
| | 03:24 | It is basically what we are doing with
Gaussian Blur combined with Overlay.
| | 03:27 | We are creating a layer of digital makeup essentially.
| | 03:31 | It is quite becoming in fact, but it is darkening
up her hair as well as the details in her face.
| | 03:37 | I really just want to hit the highlights so I'm
going to turn on this Filter Mask right there,
| | 03:41 | that I have created in advance, by Shift-clicking on it.
| | 03:45 | That is what we call a Luminance Mask, I
will tell you more about those later as well.
| | 03:49 | And that allows us to just smooth over the surface
detail inside the face without harming the hair at all.
| | 03:56 | So this gives you a sense, at this zoom level
right here, this is before we apply Gaussian Blur.
| | 04:02 | Notice the hair is pretty much the same but notice the details
going on inside of this woman's face and this is after,
| | 04:10 | definitely smooth over the contours
quite nicely, it smoothes over the pores
| | 04:14 | and some of those wrinkles and stuff like that as well.
| | 04:17 | All right, so lets go and zoom back out.
| | 04:19 | Next I'm going to go ahead and enhance the a & b Channels.
| | 04:23 | Notice that I'm working in the Lab mode right here.
| | 04:25 | So what I'm about to show you would be impossible inside
of RGB and again I'll tell you more about that later.
| | 04:32 | But for know that this is a Levels
adjustment layer that I'm about to turn on.
| | 04:37 | I'm just going to click where its eyeball
would be in order to turn on this layer.
| | 04:41 | Notice it just brings out this enormous
degree of saturation inside of the image.
| | 04:47 | This does an amazing job too and we're bringing out this
color saturation, you might argue well this is little bit
| | 04:54 | over the top Deke, that's a lot of saturation you added. Yes.
| | 04:58 | However, notice that was pretty much maximizing
the Saturation values without clipping the colors.
| | 05:04 | So we're not flattening out any contours inside the image.
| | 05:07 | If we have done this far with Hue/Saturation and
pumped up the Saturation value this much, it'd be a mess.
| | 05:12 | This image would look horrible but in Lab
you can get away with this kind of stuff.
| | 05:16 | Yes it is a little bit too much but
you can go that far if you want to.
| | 05:22 | And finally I'm going to punch up the brightness of this
image a little bit by adding this Curves layer right there.
| | 05:27 | I'm just going to go ahead and turn it on, so we are
brightening the highlights of the image just a bit.
| | 05:32 | But we still have this rounded volumetric
detail; it is still looks really great.
| | 05:36 | So just to give you a sense of what we've done, this is the
original image that I opened, this is the original JPEG file
| | 05:44 | and this is the file as its been corrected inside of Lab.
| | 05:49 | So this amazing difference accomplished inside of the Lab mode
and that is where you really going to see the wonders of Lab is
| | 05:57 | when you just open a JPEG image,
open a TIF image and start at it.
| | 06:01 | Let see how things change a little bit if we
were to open the JPEG in Adobe Camera RAW first
| | 06:07 | and then perform some modifications in Lab and I
will show you how that works in the next exercise.
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| Lab and Camera Raw with a JPEG file| 00:00 | In the previous exercise we witnessed the tremendous
difference that you can achieve when correcting a JPEG file,
| | 00:08 | what I'm calling an untreated JPEG file in the Lab color space.
| | 00:12 | So in other words nothing has been done to
it, except for our modifications in Lab.
| | 00:18 | Now we are going to move on to that same JPEG file, first treated
in Adobe Camera RAW, so we made some initial modifications
| | 00:26 | in Camera RAW and then brought into Lab and you will
see that makes a difference, whether good or bad,
| | 00:32 | every one of this scenario is going to
be a little different than the others.
| | 00:36 | So here I'm in the Bridge again, inside the
00_introduction subfolder, inside the exercise_files folder,
| | 00:42 | there is this image called Woman-2 ACR JPEG, meaning that
the JPEG file has been processed in the Adobe Camera RAW.
| | 00:49 | And you do that, by the way, if it was a JPEG file-
it is a PSD file so that I can just walk you
| | 00:54 | through the process without getting bogged down by the details.
| | 00:58 | But it was a JPEG file you'd go up to the File menu and choose
Open in Camera RAW in order to open it in the Camera RAW plug-in.
| | 01:05 | But since this file's already built, we are
going to take a slightly different approach.
| | 01:09 | I'm going to first open that image
inside of Photoshop and there it is.
| | 01:14 | And notice that we have got a Smart Object it says
ACR.JPG because it is a Camera RAW Smart Object.
| | 01:21 | So if I double click on this thumbnail right here, we are
going to open the image inside of the Camera RAW plug-in.
| | 01:30 | And that opens the file here inside of
the Camera RAW interface as you can see.
| | 01:34 | I'm going to go ahead and zoom in to the image.
| | 01:38 | And notice that we have applied a few modifications.
| | 01:40 | I have adjusted the Temperature which is to say that I
have warmed the image up by elevating this value here
| | 01:47 | which adds yellow, so you can see if I take the value even
higher we are going to warm the image up even that much more.
| | 01:53 | A value of 12 though worked out pretty nicely.
| | 01:55 | Then we have this opposing axis of Tint that allows you to
either offset the colors with a little bit of magenta or green.
| | 02:03 | Now what it is interesting about Temperature and Tint is they
are analogous, not quite identical but very close to identical
| | 02:09 | to the axis, so the A & B axis in a Lab Color mode.
| | 02:14 | So Tint is very much the same as A and Temperature
is very much the same as B as we will see later.
| | 02:22 | It also reduce the Exposure a little bit. I reduced the
Brightness. I changed the Vibrance so I brought out some
| | 02:28 | of the low level saturation in the image, just
in order to take a first step at some correction.
| | 02:36 | So I'm just going to go ahead and cancel out of there.
| | 02:38 | I just want you to see that I did make some changes
and that it is going to affect the final image.
| | 02:43 | All right, otherwise we are pretty much making the
same modifications, if not exactly the same numbers.
| | 02:50 | I'm going to start by turning on this Smart Filter
here for the Gaussian Blur. I have Gaussian Blurred
| | 02:55 | her this time 20 pixels instead of 25, so not quite so much.
| | 02:59 | And then I haven't yet set it to the right Blending mode so lets
go and do that by double clicking that little slider icon there
| | 03:06 | and I'm going to change the mode to Overlay.
| | 03:10 | And that is going to once again give us a
nice coating of digital makeup, click OK.
| | 03:16 | We need to limit our digital makeup to just the light areas.
| | 03:20 | So I added a Luminance Mask and I'm going to Shift-
Click on this mask icon in order to turn it on.
| | 03:26 | Oh nice. So once again if I zoom in on the image here, you
can see that this is what it looks like without that layer
| | 03:33 | of Gaussian Blur and this is what it
looks like with the Gaussian Blur.
| | 03:36 | Notice the hair, once again, not much affected
because I protected the hair with this Luminance Mask.
| | 03:43 | Alright lets zoom out a couple of clicks here and lets add
| | 03:47 | the A/B Levels layer so I'm just effecting the A
& B channels with this Levels adjustment layer.
| | 03:54 | Now my settings are different this time and if you are curious,
I mean you have access to this file, you can compare and contrast
| | 04:00 | on your own but these are different settings to accommodate
the modified file because I had already changed the Vibrance.
| | 04:08 | For example and the Temperature and the Tint inside Adobe
Camera RAW, so I had to accommodate those modifications
| | 04:14 | with this particular Levels adjustment layer.
| | 04:17 | And then finally I went ahead and adjusted the lightness
of the image using a Curves modification right here.
| | 04:23 | So it just ever so slightly brighten the highlights.
| | 04:27 | Now let's compare these two images to each other, so
these are the fully corrected versions of the images.
| | 04:33 | Again I'm really bumping up those Saturation values.
| | 04:37 | You might not care to go that far but I really
wanted these images to have an almost graphic impact.
| | 04:43 | So this is the untreated JPEG version of the image and this
is the ACR, the Adobe Camera RAW treated version of the image.
| | 04:52 | And you can see that they're slightly different.
| | 04:54 | Now which is better? I don't really know.
I mean that's a subjective decision.
| | 04:59 | I would say I liked this version better, the one that went
through Adobe Camera RAW, because it has a little less
| | 05:06 | of the crimson colors going on in the face. It's little warmer,
little more toward the yellow than this image is right here.
| | 05:14 | So we have a few more pinks inside of the untreated JPEG image.
| | 05:20 | Now that is something we can adjust, we can spend
sometime getting both images very close to the same.
| | 05:26 | But we made things a little easier by
processing the image in Adobe Camera RAW first.
| | 05:31 | So that is an option and that is not an option
that we are going to explore in this series.
| | 05:36 | We are just going to go straight ahead with Lab adjustments.
Adobe Camera RAW is for a totally different series.
| | 05:41 | But I just want you to know that is a possibility.
| | 05:44 | In the next exercise, I will show you how to really
go ahead and correct a RAW digital camera image
| | 05:53 | in Camera RAW because that is where you want to work.
| | 05:55 | You either want to work in Camera RAW or in Lightroom, then
bring it into Lab and then just make some slight modifications.
| | 06:03 | Stick with me.
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| Lab and Camera Raw with a raw photograph| 00:00 | All right gang, it is time for the final scenario.
| | 00:03 | What you do if you have captured an image in your camera's native
RAW file format? Which is what you want to be doing by the way.
| | 00:09 | If your camera supports a RAW file format definitely
use it because it is going to do you the most good.
| | 00:15 | Well this is where the Lab mode does least amount of good. It is
still good, it is still a great mode but you are going to want
| | 00:22 | to apply the majority of your color modifications
inside Camera RAW or inside Lightroom.
| | 00:27 | And then optionally just tweak the image inside of Lab.
| | 00:31 | So lets take a look at how that works.
I have got the Bridge trained
| | 00:34 | on the 00_introduction folder right
here inside the exercise_files folder.
| | 00:39 | And I have selected this image right here, Woman-3 RAW.dng.
| | 00:42 | And when I double click on her, this time we are
not going to open the image inside Photoshop,
| | 00:47 | we are going to open it inside of Camera RAW.
| | 00:49 | We are not going to develop the image
because it has already been developed.
| | 00:53 | I have gone ahead and applied the changes
that I think need to be applied to the image.
| | 00:57 | So here they are. You can look them over if you want to. This is
a balanced Histogram we have got, there is a very little in a way
| | 01:04 | of clipping going on, a little highlight
clipping, a little shadow clipping.
| | 01:07 | But if I was to Alt or Option drag this Exposure value right here,
which shows me the clipping inside of the image window there,
| | 01:15 | inside of the Preview, we are going
to see very few clipped colors going on.
| | 01:19 | Mostly we are seeing black, which means those colors, the black
colors are not getting clipped, which is a good thing of course.
| | 01:24 | I have gone ahead and elevated my blacks.
| | 01:26 | I have upped the Brightness a little bit.
| | 01:29 | I have upped the Contrast.
| | 01:30 | I have sent the Vibrance value quite high as you can see.
| | 01:33 | So now we are going to open the image
in Photoshop as a Smart Object.
| | 01:37 | So I want you to press the Shift key and notice I have got
the image set to open in Adobe RGB in the 8 bit per channel mode
| | 01:44 | which is sufficient when you are working in Lab.
| | 01:46 | So I'm going to go ahead and press the Shift key and that
changes the Open Image button to the Open Object button,
| | 01:52 | so the Shift-Click on that button in order to open
it up as a Smart Object here inside Photoshop.
| | 01:58 | Now it might take a moment, there it is. That looks
good and I will go ahead and zoom in on the image.
| | 02:03 | So this time we are going to be performing all the
modifications. There's not many that many as it turns out.
| | 02:07 | Let's just go ahead and call this ACR SO,
which is in Adobe Camera RAW Smart Object.
| | 02:14 | Now let's hit it with a Gaussian Blur, so actually before
I do that though, we want to set up the Luminance Mask.
| | 02:19 | So let's go to the Channels palette.
| | 02:21 | And the red channel is going to be the best
channel for our Luminance Mask because that is
| | 02:25 | where this portrait shot is going to be its brightest.
| | 02:28 | So I'm going to Ctrl-click or Command-click on
that red channel in order to load it as a selection.
| | 02:34 | Then go back to RGB, go back to the Layers palette.
| | 02:37 | I want you to go up to the Filter menu, choose Blur and
choose Gaussian Blur, if you are working along with me.
| | 02:44 | And let's go ahead and hit this with a
Blur value of 20 pixels and then click OK.
| | 02:49 | So high Blur value of course but then
we are going to turn around, right?
| | 02:52 | We are going to turn around and double click on this
little slider icon here, we have seen this a few times now
| | 02:58 | and we are going to change the mode to Overlay.
| | 03:00 | And I'm going to go ahead and leave
the Opacity set to 100% and click OK.
| | 03:05 | Now I'm going to protect the image a little better,
that is I actually want to reveal the Gaussian Blur more
| | 03:11 | in the highlight and protect the shadows a little bit more.
| | 03:14 | So I need to adjust this filter mask. Go ahead and
Alt-click here in the PC or Option-click on the Mac
| | 03:20 | on this filter mask in order to view it by itself.
| | 03:23 | And then I'm going to go up to the Image menu,
I'm going to choose Adjustments and I'm going
| | 03:27 | to choose Levels and I'm going to change the values like so.
| | 03:30 | I'm going to take this Black value up to 50, so that we are
really protecting the dark values like the eyes and the hair
| | 03:38 | and then I'm going to take this White point value down to 175
so that we are really opening up these areas inside the face.
| | 03:46 | And then I'm going to click OK to accept that
modification and next I'm going to up to the Filter menu
| | 03:51 | and just choose this first command Gaussian Blur.
| | 03:53 | It will reapply Gaussian Blur this time to the
mask with that same Radius value of 20 pixels.
| | 03:59 | Isn't that beautiful? I think that is a really
cool looking shot almost as a mermaid quality.
| | 04:05 | But it is just a mask, people, so Alt-click or Option-
click in order to return to the RGB version of the image.
| | 04:12 | Now let's go ahead and zoom in, in
order to take in what we have done.
| | 04:15 | This is without Gaussian Blur, this is with it.
| | 04:19 | And you can see already this image is just looking great.
| | 04:23 | I mean why do we need Lab, really?
| | 04:25 | Let's compare it to the other images. This is the
one that was untreated before I brought it in,
| | 04:30 | everything that we did was thanks to the Lab color space.
| | 04:33 | This is the one that is a little bit of a combo
of some Adobe Camera RAW modifications and Lab
| | 04:39 | and this is the one that is relying entirely on Camera RAW.
| | 04:42 | And so far we have not even switched over
to Lab, we are still working inside RGB.
| | 04:46 | Well let's change that, lets do make a few Lab modifications.
| | 04:50 | Now again this kind of stuff is optional when you are working
| | 04:52 | with RAW digital camera images, you
might or might not want to go to Lab.
| | 04:56 | I'm going to do it, I'm going to go up to the
Image menu, choose Mode and choose Lab Color.
| | 05:01 | And I'm going to be warned, hey, do you want
to rasterize your Smart Objects? I don't.
| | 05:06 | I want to go ahead and keep this
interaction of Smart Object and Smart Filter.
| | 05:10 | So I'm going to say don't rasterize it.
| | 05:11 | Watch what happens because we are going
to see a slight change happen on screen.
| | 05:16 | After I get settled with the progress, so try to ignore that.
| | 05:19 | Just watch the image down here to see how it changes.
| | 05:22 | And notice that the Gaussian Blur got spread out a little
bit more and actually I think has more becoming appearance.
| | 05:30 | So this is before and this is after.
| | 05:34 | So we are downplaying the highlights a little bit,
we are downplaying some of the volumetric differences
| | 05:40 | that is the chiaroscuro, the interplay
between highlights and shadows.
| | 05:44 | But I think the Lab version actually looks a little better.
| | 05:47 | Now let's say that we want to go ahead
and still bump up those Saturation values
| | 05:51 | because really our comparison isn't fair so far.
| | 05:54 | We have some very high Saturation values going
in the other two JPEG images as you can see here.
| | 05:59 | So better do the same thing with our Camera RAW image as well.
| | 06:03 | So I'm going to press and hold the Alt key or the Option
key in the Mac, I'm going to click this black/white icon,
| | 06:08 | choose the Levels command and I'm going
to call this A and B just to tell me,
| | 06:13 | that I'm making modifications exclusively
to the A and B channels.
| | 06:17 | You may recall those are analogous to Tint and
Temperature where Adobe Camera RAW is concerned.
| | 06:22 | I'll click OK. I'm going to switch from Lightness.
You can only edit one channel at a time in the Lab mode.
| | 06:29 | I'm going to switch from Lightness to A and
I'm going to click in the Black Point Value
| | 06:33 | and then I'm going to press Shift+Up arrow twice.
| | 06:35 | And then I'm going to Tab, Tab my way over to the
White Point Value and press Shift+Down arrow twice.
| | 06:41 | So in other words I'm making symmetrical
modifications, so just as I'm adding turquoise or,
| | 06:46 | if you prefer green to the image, I'm adding
crimson or if you prefer magenta to the image.
| | 06:51 | You'll see why I call these colors what I call them.
| | 06:54 | Next I'm going to switch from a to b and I'm going to click
in this Black Point Value again and press Shift+Up arrow twice
| | 07:01 | which adds cobalt blue to the image and then I'm going to tab,
| | 07:06 | tab and I'm going press Shift+Down
arrow twice to add yellow to the image.
| | 07:10 | And we are done. These symmetrical modifications allow me
to increase the Saturation of the image and that is it.
| | 07:15 | More on that later but for now go ahead and click OK
and this is the final modified version of the image.
| | 07:23 | So just so that we can see them all here, lets go ahead and fill
the screen actually with the image and Tab away the palettes.
| | 07:29 | This is the JPEG image that was corrected a little
bit inside of Camera RAW and a lot bit inside of Lab.
| | 07:36 | And then here is the last image the
one that was corrected primarily inside
| | 07:40 | of Camera RAW and then just a little bit inside Lab.
| | 07:43 | Now many of you are going to look at this final one and
say that is the one, especially compared to the JPEG file
| | 07:49 | or the slightly hybrid Adobe Camera RAW and JPEG file thing.
| | 07:55 | This one is that comes straight from the camera's
RAW file format, that is the best of them all.
| | 08:00 | And I'll tell you what, I agree but that is because
we are working from 10 bits of data per channel,
| | 08:05 | instead of just 8 bits of data per channel.
| | 08:07 | So we are working from better information in the
first place, given that the JPEG file is starting
| | 08:13 | with less information, whether corrected just inside
of Lab or with a little bit of help from Camera RAW.
| | 08:20 | I would say that is just utterly amazing.
| | 08:23 | So all kinds of stuff you can do with Lab here, all
kinds of different variations that you can apply.
| | 08:28 | But the amazing thing is, the thing
that I want you to remember is
| | 08:31 | that no matter what, it's better
than RGB and it's better then CMYK.
| | 08:36 | In the next chapter I'm going to tell you what
Lab is, we are going to tour the Lab Color mode,
| | 08:42 | so we have a sense of what this crazy mode is all
about and then after that we will start to begin
| | 08:47 | to see the amazing many, many things you can do in Lab.
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1. What Lab Color IsDon't fear the Lab mode| 00:00 | At this point I could start right in showing
you ways to correct your images in Lab.
| | 00:05 | If you are impatient to see me do just that,
skip to the next chapter. But be forewarned,
| | 00:10 | the next chapter takes all of what I have to show you in
this chapter for granted. Because we can't have a meaningful
| | 00:16 | conversation about what you can do in Lab
| | 00:18 | until you understand what Lab Color is.
| | 00:21 | For example, the letters in Lab, L-A-B, they stand for the 3 channels,
Lightness and two opposing color axis arbitrarily named A and B.
| | 00:30 | Lightness is pretty easy to understand but A and B, what the
heck is going on there? And there are more basic questions.
| | 00:37 | Why break Luminance and Color up in the first place? And if you
got to do that why not just two channels, Lightness and Color?
| | 00:44 | What about HSL? Remember that? Hue, Saturation, Lightness,
where does that fit in? And how does any of this compare to
| | 00:51 | RGB or CMYK? I mean forget all that.
How do you even mix a color in Lab?
| | 00:58 | These are all questions I had once upon a time,
| | 01:00 | which is why I sought out answers.
| | 01:03 | Here's what I found.
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| Why color is 3D| 00:00 | And actually Lab color is not the first
thing you attack inside a Photoshop.
| | 00:04 | It is not really topic for beginners.
| | 00:06 | So I'm assuming that you have a fair amount
of experience where the program is concerned.
| | 00:11 | But I find that even very, very experienced Photoshop users,
they rarely know what is going on under the hood and you have
| | 00:18 | to know what is going on under the hood in order to take on Lab
because it is all about examining the colors under the hood here.
| | 00:25 | So we are going to start very, very basically
where that under the hood concept is concerned.
| | 00:30 | I'm looking at this file called Why color is 3D.psd and for
those of you who are premium members or have access to the DVD,
| | 00:38 | you can go that exercise_files folder there in you
will find a folder called O1 what_it_is and therein
| | 00:45 | of course you will find this file Why color is 3D.psd.
| | 00:48 | And it bakes the question and it actually helps to answer the
question, why does color require three dimensions of information.
| | 00:56 | Why can't we just represent it using one channel, for example
or two channels even? Why do we have for example, Red,
| | 01:02 | Green and Blue, in case of RGB color, or Cyan,
Magenta, Yellow, those are primaries in case
| | 01:07 | of CMYK, or Lab of course in case of Lab color?
| | 01:11 | Well what I'm looking at here is essentially a
representation of another color model that is out there,
| | 01:18 | it is not really rendered inside a Photoshop the
way the others are but it is called Hue, Saturation,
| | 01:23 | Lightness and I have it broken out into
an independent layer as you can see here.
| | 01:26 | So the Lightness layer just one dimension of
information its gradient essentially going
| | 01:31 | from black at the bottom to white at the top.
| | 01:33 | So a single line of information right there.
| | 01:37 | On top of it, I'm going to add a layer
called Saturation, so go and click on it.
| | 01:41 | You can see inside of this layer thumbnail
it is going from white on the left hand side,
| | 01:46 | so no saturation, to high saturation,
a vivid red over here on the right hand side.
| | 01:50 | So it is going horizontally instead of vertically.
| | 01:53 | And when I turn it on, now we get a two
dimensional color space where we have light,
| | 01:59 | no saturation going on in the upper left hand corner;
dark, no saturation going on in the bottom left hand corner.
| | 02:05 | Up here in the upper right hand corner we
have light high saturation and then down here
| | 02:10 | in the bottom right corner we have dark high saturation.
| | 02:14 | But that doesn't give us all the hues that we want to.
| | 02:16 | Right now we are just seeing red just
as sort of dummy placeholder hue.
| | 02:19 | If we want to go in and see the various hues then
we have to add a third dimension of information,
| | 02:24 | in this case it would be the Hue layer, which is represented
here inside the sample file as an adjustment layer.
| | 02:29 | I'm going to go ahead and turn it on and then I'm
going to double click on the icon in order to bring
| | 02:34 | up the Hue/Saturation dialog box and you can see it is presenting
us with the three channels of information that would be available
| | 02:42 | to us if HSL was a color mode inside Photoshop.
| | 02:44 | Once upon a time it was back in the
old days but it is not any more.
| | 02:47 | So we already have Saturation rendered out,
we already have Lightness rendered out.
| | 02:51 | So in this case where this adjustment
layer is concerned it is good for Hue.
| | 02:54 | And you can see now that it can use this slider in order
to access all the other hues that are available to us,
| | 03:01 | visually that are available to us in the HSL spectrum.
| | 03:05 | Alright so going across the entire Hue wheel from,
as you can see here, because I'm over here negative
| | 03:11 | of a 170 actually, I will take it
all the way over to negative of 180.
| | 03:15 | We go from Cyan, then we go into Blue and then we
go into our Purples and our Lavenders and Magenta
| | 03:21 | and then we are going finally to Red in the middle
there and then if we proceed into the positive values,
| | 03:27 | we go Orange, Yellow, Green and finally back to Cyan.
| | 03:32 | Now if we were to some how render every single one
of those values, from negative 180 to positive 180,
| | 03:37 | every single one of those 360 steps- because
positive 180 and negative 180 are the same-
| | 03:42 | every one of those 360 steps out as separate frames in an
animation or some like that, we were to look at them all at once,
| | 03:49 | we would see the entire range of colors now that are
available to us inside the Hue/Saturation/Lightness space.
| | 03:56 | So that gives you sense that it why you need three
dimensions in order to render color in the first place.
| | 04:02 | In the next exercise I swear to you this is going to make more
and more sense as we go along here, in case if you're kind
| | 04:07 | of puzzling through this going, what in the world?
| | 04:09 | In the next exercise I'm going to show you, I'm going to
compare and contrast the three color models that are available
| | 04:14 | to us, the three different three
dimensional spaces, RGB, SMYK and Lab.
| | 04:19 | Stay tuned.
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| Device-dependant RGB and CMYK| 00:00 | In a previous exercise, I explained why you need three
dimensions of information in order to express color inside of
| | 00:07 | any piece of digital software or hardware
| | 00:10 | whether it's Photoshop or Illustrator or any of those or digital camera,
| | 00:15 | anything like that needs three dimensions of color
| | 00:17 | and I showed you that using an HSL diagram, a diagram that
involved the Hue, Saturation and Lightness layer mixed together.
| | 00:26 | The thing is there is no HSL color model inside
of Photoshop. If you go up to the Image menu
| | 00:31 | and you choose Mode, which is how
you get to the various color models,
| | 00:35 | you'll see that there is no HSL. There used to be in the
old days back in Photoshops 1 and 2 but there isn't anymore.
| | 00:40 | Instead what we have is our RGB Color, CMYK Color and Lab Color.
| | 00:45 | Now, I'm going to show you how the first two work inside of this exercise,
RGB and CMYK, and then I'll show you how Lab works in the next exercise.
| | 00:52 | Now we happen to be working inside of a Lab
image at this point, the one I have open,
| | 00:57 | because Lab encloses all of the colors that you can represent
using RGB and CMYK, at least in the theoretical universe here.
| | 01:06 | So the name of the image that I have open, this Lab image that
I was telling you about ,is The Big Three.psd, the big three meaning
| | 01:12 | the big three color models RGB, CMYK and L-A-B,
| | 01:16 | and it's found inside the O1 What It Is folder.
| | 01:20 | I have got a bunch of layers set up inside of this file and
I have some Layer Comps as well. Inside the Layer Comps palette,
| | 01:25 | you can see I have four Layer Comps. I am just showing you that
| | 01:28 | because that will explain the little magical slideshow I am about
to present to you. I have a keyboard shortcut that advances me
| | 01:34 | from one Layer Comp to the other just so you
know what's going on behind the scenes there.
| | 01:39 | Alright, anyway I'm going to tab away the palette. It's not really necessary
you open this file because I'm going to be demonstrating it to you here.
| | 01:45 | I'm going to tab away my palettes and
I'm going to switch to the Full Screen mode
| | 01:49 | and you can see the title of this, it's called the Big Three Color
Spaces Work and let's bring up the first color space, the one that's
| | 01:56 | the most common color space you are going to
work with inside of Photoshop and that's RGB.
| | 02:00 | Both RGB and CMYK are device dependent spaces,
| | 02:04 | meaning that the definitions of colors vary
depending on what device you are using.
| | 02:08 | Now, RGB is the space used by any light capture or projection
device. So anything that captures light or displays light
| | 02:17 | and in the capture department that would mean scanners
or digital cameras and in the display department,
| | 02:22 | that would mean your monitor, your screen
or your projection device, what have you.
| | 02:27 | In that case we are looking at a Red channel, a Green
channel and the Blue channel that interact as follows.
| | 02:32 | The darkest colors in any one of those channels is always going
to be black as you can see over here on the right-hand side
| | 02:38 | and the lightest color is going to be the color in question that
is red, bright red is the lightest color inside the red channel.
| | 02:44 | Bright green, a very, very bright green, almost yellowish
green is the brightest color represented by the green channel
| | 02:50 | and then a darkish blue is the lightest color
that can be represented by the blue channel.
| | 02:56 | So, you start with utter and complete blackness
and you build color on top of that inside of RGB.
| | 03:03 | Moving right along the next guy is CMYK and CMYK is specifically
designed to accommodate process color commercial printing.
| | 03:12 | Many color laser printers also use CMYK.
| | 03:15 | Your local Inkjet device probably uses some other combination
of colors but you are basically starting with page white
| | 03:22 | and you are building darker colors using inks on top of that.
| | 03:25 | So you've got three color primaries right here Cyan,
Magenta and Yellow which are opposites of Red, Green and Blue.
| | 03:32 | So, cyan is the opposite of red. Cyan ink actually absorbs red
light and bounces back green and blue, so the green and blue
| | 03:39 | light mix to form cyan.
| | 03:41 | And magenta goes ahead and absorbs the green light
| | 03:44 | and reflects back the red and the blue, so it looks like when
the two are mixed together, red and blue full blast mixed together
| | 03:50 | to form magenta,
| | 03:52 | and then yellow is reflecting blue to start blue right
over here and then it's reflecting back the bright green and
| | 03:57 | bright red and that forms yellow.
| | 04:00 | Then we have black, which is the key color, because you
don't really get rich blacks out of mixing cyan, magenta and
| | 04:06 | yellow together so the K is for the key color black. It's not really
one of the primaries but it does hold the shadows together nicely
| | 04:13 | and where any one of these plates of ink is concerned, the darkest
color you are going to get out of a single plate is that color.
| | 04:20 | So, it's going to from cyan over here on the darkest side
| | 04:23 | to white over here on the lightest side of
each one of these channels of information.
| | 04:28 | Now, the problem with rendering colors in
either RGB or CMYK is that it is device dependent.
| | 04:34 | So one screen for example in the case of RGB, one screen
is going to show you colors differently than another screen
| | 04:40 | and in the case of a printer for example, one printer is
going to show you an image differently than another printer.
| | 04:46 | So, if you mix a color using specific red, green and
blue values, those color ingredients are going to come out
| | 04:52 | differently on one screen than they come out on another.
| | 04:55 | The idea behind Lab is that its device independent so
that you can define a specific combination L-A-B values and
| | 05:03 | you're going to get a specific color, no matter what, you're going to get
that color on any screen or any output device and we'll see how Lab works
| | 05:12 | in the next exercise.
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| Device-dependant CIELAB D50| 00:00 | Now, that we know based on the previous exercise,
| | 00:02 | now that we know how the device dependent
color spaces work that is RGB and CMYK.
| | 00:08 | How does the device dependent color space
Lab or Lab as I prefer to call it, work.
| | 00:14 | Well, we are still working inside of this document called
the Big Three.psd, it's found inside the O1 What It Is folder
| | 00:20 | and I'm going to reveal the final Layer Comp which is this guy
right down here Lab and the specific variety of Lab that is used
| | 00:28 | by Photoshop is this guy right here. It's called
CIE and CIE, by the way, stands for the group,
| | 00:34 | the group that created this color space and they
are the Commission Internationale de l'Eclairage
| | 00:41 | and that's what four years of French gets you, people.
| | 00:45 | Obviously that wasn't my best subject but anyway
in English- that's why it's called CIE by the way-
| | 00:49 | in English that's the International Commission on Illumination
which would be ICI but still same group and it's called L*A*B
| | 00:57 | with asterisk between the L, the A and the B because this
was actually the second variety of Lab that was propounded
| | 01:05 | and this variety came out in 1976, the specs for this Lab space.
| | 01:10 | Before that we have this guy Richard Sewall Hunter. In 1948
he began crafting this what he was calling the Lab space
| | 01:18 | and you can know a little more about it actually by
going to www.hunterlab.com and that is Hunter Lab.
| | 01:24 | Because this is the Hunter Lab, the hunter laboratory,
which is why I prefer to call this color space Lab.
| | 01:31 | Because it did actually start with a lab once upon
a time, contrary to what you may have read elsewhere
| | 01:37 | and also I just think calling it the Lab color space
makes it a little less pretentious because RGB,
| | 01:42 | we are not going to pronounce that RiGaBa and it also stand
for something, it stands for Red, Green and Blue and CMYK,
| | 01:48 | you could say Ceemic, I have heard people
say Ceemak, which is ridiculous frankly.
| | 01:53 | It's C-M-Y-K; it stands for something, the Cyan,
Magenta, Yellow and Key, color black there.
| | 01:58 | Well, Lab doesn't really stands for
anything. The L stands for Lightness but the A
| | 02:01 | and B they are just variables essentially
for two different opposing color axes.
| | 02:08 | Alright, anyway then there is D50 right here. So we have
got CIE, Lab, D50 and the reason that this is D50 is
| | 02:15 | because you can define very specific L-A-B color values and
why it's D50 is because you need a white point in order
| | 02:22 | to define the Lab color values and have to mean something.
| | 02:26 | You have to setup a white point in advance
and the white point that Photoshop uses is D50.
| | 02:31 | That is 5000 degrees Kelvin, which is a bright sunshiny day.
| | 02:35 | If you don't care, you don't care. It doesn't
really matter that much but that's what's going
| | 02:38 | on with the Lab as it is defined inside of Photoshop.
| | 02:42 | So, it's a very specific definition even of Lab because
there are different Lab values you could be working with.
| | 02:48 | In a very general way, what's going on? Well we
have lightness, which is the luminance information.
| | 02:53 | This gradient right here looks just like the black ink
gradients but it's actually different in terms how it behaves.
| | 03:00 | It's the darkest to lightest color inside of the image then this
was one of the key things about this particular variety of color.
| | 03:07 | CIE, this group, the Commission Internationale
de l'Eclairage, they go way, way, way back,
| | 03:12 | and they had some other device independent color
definitions like XYZ and stuff going on back in the 30's.
| | 03:18 | But Lab was the first one that was perceptually
uniform, meaning that each increment,
| | 03:25 | each increment that you raise the Lightness value by was going
to deliver to you something that looked incrementally lighter.
| | 03:31 | So, each increment looked liked it was uniformly
lighter. Because the way that we see colors
| | 03:36 | and the way the computers represent colors, the way that
any hardware device represents color, is very different.
| | 03:41 | If we were to just go with what the computer
considers to be uniform, we would get a very,
| | 03:45 | very dark gradient that would have a mid-point right
about here actually and then suddenly go white on us.
| | 03:52 | In order to make it look nice and uniform for us though we have
Lab. We have this special treatment of the lightness information
| | 03:59 | and then we have got the color information represented
by two, as I was saying, two opposing color axes,
| | 04:05 | one of which is A, which is our Tint information.
If you are familiar with Camera RAW or Light Room,
| | 04:11 | they have got Tint controls and that Tint
control is the same as the A information here.
| | 04:15 | So we go with dark color inside of this
channel, we get green or a greenish color.
| | 04:20 | It's not really green; it's more of a turquoise.
| | 04:22 | I will explain that later.
| | 04:23 | Goes through to a neutral gray right there in the center and then
we, with a positive value, as we will see, we go over to magenta
| | 04:30 | or red, you will sometimes here it called red as well.
| | 04:33 | So, green, red, green and magenta, what have you in the
A channel and then for the B channel we have blue,
| | 04:38 | yellow and that's your temperature information.
| | 04:41 | Once again Temperature is how it's represented inside
of Camera RAW or Lightroom and that's how we get L-A-B.
| | 04:48 | Now, I have yet to answer the bigger question, which is how
in the world do these colors mix to form a full color image?
| | 04:55 | You might be able to imagine how RGB works maybe or CMYK, but
Lab, it looks like these things mix to form mud and I'm going
| | 05:04 | to answer that question, but of course in the following
exercises, just to give you a sense of how this is going to work.
| | 05:08 | In the next exercise, I'm going to explain how the
numerical color values work inside of the Lab space, something
| | 05:14 | that we have to understand and very exciting.
| | 05:16 | But we have got to understand what's going on there and then
in the exercise after that we will see the big Lab color wheel
| | 05:21 | where all of your colors will be shown
to you right before you there on screen
| | 05:25 | and then we will start examining the independent color channels.
| | 05:27 | It's exciting stuff. It's really, really
interesting, I swear to you. Stay tuned.
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| Color by the numbers (mixing Lab values)| 00:00 | In this exercise, I'm going to explain how you define colors
using numerical values inside each of the color spaces,
| | 00:07 | the big three here RGB, CMYK and Lab and we are
going to be taking a look at the Color palette here.
| | 00:14 | Pretty basic stuff as you will see and you are not going be
called upon to define colors all that much inside of this series,
| | 00:20 | this is mostly about image correction but even so
this information is going to inform how we work
| | 00:26 | with our images as you will see in future chapters.
| | 00:30 | I still got up the Big Three image, The Big Three.psd image
that's found inside the O1 What It Is folder and I'm going
| | 00:37 | to bring back my Color palette right here on screen and you can
see that I have got my Color palette set to RGB and you can do
| | 00:45 | that by going to the top right corner of the palette,
this little menu like on there and choosing RGB sliders.
| | 00:51 | We also have available to us HSB sliders, even though
we don't have access to an HSB space, we have sliders,
| | 00:56 | we have got CMYK Sliders and we have got Lab Sliders.
| | 00:59 | We can use any of the sliders in any of the spaces.
| | 01:03 | It doesn't matter.
| | 01:04 | I'm working inside a Lab image, it's the reason I
mentioned this but we can still work with RGB Sliders.
| | 01:10 | Now, if I was to define a color you can see that 000 that
equals black as a background color is selected right there.
| | 01:17 | If I were to raise the value like the red value
in this case, I would get a lighter red color,
| | 01:24 | incrementally lighter red as I go all the way up to 255.
| | 01:27 | So we have got 0+255 and 0+255, of course equals 255,
but if you consider 0 to be it's own unique integer
| | 01:36 | because you have one already right there,
notice that if I raise that value we have got 1
| | 01:40 | and then we have also got a unique integer 0
then we have got 256 variations for each one
| | 01:46 | of these channels, for each of one of the sliders that is.
| | 01:50 | So, if I was to mix full on 255 red with full on 255 green,
I would get yellow and I could mix other colors as well.
| | 01:57 | Now, this is device dependent.
| | 01:59 | In this case I would presumably be working if you have seen
any of other series, you are working inside of Adobe RGB
| | 02:04 | or you could be working inside of sRGB that's going to
characterize your red, green, blue color information right there
| | 02:11 | but you are going to get some variety of yellow no matter what.
| | 02:15 | Let's go ahead and skip ahead we have got HSB as well but
we are going to skip over to CMYK Sliders and in the case
| | 02:21 | of CMYK we are defining colors not using
luminance Levels which is we just saw a moment ago,
| | 02:27 | 0 through 255 but instead we are using ink percentages.
| | 02:30 | So, black -- well let's start with white
actually, I will go ahead and click on white here,
| | 02:35 | white is 0% of all of the inks mixed together, so we are just
seeing page white and if we start mixing higher percentages
| | 02:42 | of ink we start getting darker colors, so a 100%
ink, is this much cyan for example as we can have.
| | 02:48 | If we mix full on cyan with full on magenta we get something
approximating RGB blue which is what we are seeing right there,
| | 02:55 | it's not really going to be that bright and
vivid but it is going to be a blue on the page.
| | 03:00 | So we are working 0 through 100 in
this case, 101 different variations.
| | 03:04 | Now, really Photoshop is calculating 256 different
variations inside 8-bit per channel image no matter what,
| | 03:11 | but it's choosing to characterize
these color values as 0 through a 100.
| | 03:16 | Lab splits the difference between the two, it's
a little crazy but this is the way it works.
| | 03:20 | If you got the Lab Sliders right here, you will see that
-- let's go ahead and switch to something like black,
| | 03:26 | you will see that it's 000 once again just as it is with
RGB but luminance, notice this guy right here or lightness
| | 03:34 | if you prefer, lightness is calculated from 0 to 100.
| | 03:38 | So, it's essentially just like an ink,
it's essentially a percentage distinction,
| | 03:42 | a 101 different variations even though they are truly 256
different variations inside of an 8-bit per channel image.
| | 03:50 | Then where A and B are concerned, they are measured in terms
of luminance Levels but instead of going from 0 to 255,
| | 03:59 | 0 as you can see is the neutral color right in the
center, so it's not imparting any color information here.
| | 04:05 | If we want to impart color information one direction
we go up with a value to as high as 127, notice that,
| | 04:12 | so that would get us magenta in the case of A or
as low as -128 and again 0 is throwing things off.
| | 04:21 | So, you have got -128 all the way up to -1,
which is giving you your greenish colors,
| | 04:27 | notice that it looks very cyan in this case.
| | 04:29 | I will explain that in the next exercise but for
now that's your green essentially going on there
| | 04:35 | and we will see it renders green
actually if I take this lightness value
| | 04:38 | down to 50 you can see how it is
truly something resembling a green.
| | 04:41 | Anyway, we have got -128 to -1.
| | 04:44 | So those are our first 128 luminance Levels and then we have got
0, I will press the up arrow key to change it to 0 through 127,
| | 04:53 | those are our additional a 128 different luminance Levels there,
so altogether we have 256 variations inside the A channel.
| | 05:01 | The same thing is going on here, I will go ahead and
change this to 0 so that we neutralize that axes,
| | 05:07 | the same is going on for B. We can go from -128 over here
on the blue side to 127 over here on the yellow side.
| | 05:15 | All right, so that's how you work with the
numerical values in the event that you need
| | 05:19 | to define a specific color inside
of Photoshop, using the Lab sliders.
| | 05:24 | In the next exercise I'm going to show
what the wondrous world of Lab color looks
| | 05:29 | like when we examine the big Lab color Wheel, stay tuned.
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| The Hue/Saturation color wheel| 00:00 | Over the next couple of exercises we are going
to see colors mapped on to a circle subject
| | 00:04 | to the conventions of a few different color models.
| | 00:07 | Now, I'm not suggesting for a second that any of
these models or color spaces are absolutely circular.
| | 00:13 | If you have ever seen a scientific 3D color graph you
know that the color spaces looks somewhat like soft cones,
| | 00:20 | however mapping colors onto a circle serves as a
heck of an educational tool, it's very illuminating.
| | 00:25 | All right, so in this exercise I'm going to show you colors
in the HSL space, which also includes RGB and CMY mapped
| | 00:34 | on to a wheel, and then in the next exercise we will see colors
in the Lab space mapped on to a wheel and how things differ.
| | 00:41 | The name of this document is HueSat color
wheel.psd found inside the O1 What It Is folder
| | 00:47 | and what we are seeing are hue values wrapped
around the perimeter of this circle right here along
| | 00:54 | with declining Saturation values toward the center,
that's why the colors are becoming more gray and more drab
| | 00:59 | and more blanched essentially and I'm going to go ahead
| | 01:03 | and throw on the labels here so that
we can see how these colors map out.
| | 01:06 | This is subject to the conventions of the HSL color model
| | 01:09 | but we also were incorporating RGB and
CMY in this discussion, as you will see.
| | 01:14 | So, hue is measured as degree, so degrees on a circle,
from 0 to 360 degrees and 0, at 0 degrees we get red.
| | 01:22 | Each one of these big labels that has an icon associated with it,
| | 01:25 | those are industry-standard color
labels, everybody agrees on these terms.
| | 01:30 | So, we have got red here at 0 degrees, we have got
yellow here at 60 degrees, at a 120 we have got green,
| | 01:37 | then we have got cyan down here at 180, we have got blue at 240,
| | 01:41 | we have got magenta at 300 and we
have got red back here at 360/0.
| | 01:46 | Now, you don't need to be taking copious
notes or you don't need to memorize any
| | 01:49 | of those values, I'm just telling what's going on here.
| | 01:52 | Notice that three of these colors red and green, over
here a 120 degrees away and blue another 120 degrees away,
| | 02:00 | they all have a little screens associated with them because
they are part of the RGB space, they are the RGB primaries.
| | 02:06 | Opposite of each of these colors you
will see are the pigment complements.
| | 02:11 | So, we have cyan opposite red and we have got a
printer icon, so that's part of the CMYK space.
| | 02:17 | We have got magenta down here at another 120 degrees away,
it's also opposite green which is it's color complement
| | 02:23 | and then we have yellow which absorbs of
course blue light that is opposite of it.
| | 02:29 | So, we have got RGB and CMY incorporated into this
graph, now I have also added some other colors
| | 02:35 | at 15 degree increments, I have added color labels.
| | 02:37 | Now these are my labels I should tell you, I went through a great
deal of word trying to determine what these labels should be.
| | 02:43 | I have consulted all kinds of naming conventions
out there but they are still my naming conventions,
| | 02:48 | they are not industry standard, some of them we would
easily agree upon like orange here at 30 degrees,
| | 02:53 | others like peacock here at whatever degree,
this is a 100, whatever that would be 65 degrees,
| | 02:59 | you might take issue with but still they are good names, darn it.
| | 03:03 | Anyway, the ones that I want you to notice for purposes
of the next exercise because they will come up,
| | 03:08 | the ones I want you to notice are scarlet,
mid-way between red and orange, alright.
| | 03:13 | Then we have lime up here mid-way between yellow and green,
then we have turquoise mid-way between green and cyan,
| | 03:21 | we have cobalt, which is mid-way between cyan and blue.
| | 03:25 | If you had to name a blue, somebody showed
you a color and you say that is blue,
| | 03:28 | it would be cobalt because blue is
starting to get pretty purply actually.
| | 03:32 | Then we have got violet down here mid-way between
blue and magenta and then finally we have got lavender
| | 03:38 | over here mid-way between magenta and crimson.
| | 03:42 | So, it's more of magenta than it is red.
| | 03:44 | I just want you to notice those now and remember them later.
| | 03:48 | There is the Hue/Saturation color wheel, which incorporates
red, green and blue as well as cyan, magenta and yellow.
| | 03:54 | In the next exercise, I'm going to show you how
things differ when we switch to the world of Lab.
| | Collapse this transcript |
| The slightly skewed Lab color wheel| 00:00 | All right gang, now that we have seen the everyday average
Hue/Saturation color wheel that incorporates RGB and CMY,
| | 00:07 | let's switch over to the much less standard, little
known Lab color wheel and it's going to give you a sense
| | 00:12 | of how the colors shift inside of this wheel and how the colors
map with respect to each other, what kind of emphasis is given
| | 00:19 | to colors inside of Lab, because everything is supposed
to be Even-Steven in the world of Hue/Saturation
| | 00:25 | but that's not the way it works inside Lab as you will see.
| | 00:27 | So, I have got this image that's called Lab color
wheel.psd found inside the O1 What It Is folder.
| | 00:34 | Notice that I'm looking at my Layer Comps palette that I have
squeezed between the Layers and Channels palette just to put it
| | 00:39 | in this right hand stack so that we can keep track of the
Layer Comps at the same time we are seeing the image on screen.
| | 00:44 | Now, I'm resorting to Layer Comps because
there are a lot of layers inside of this image.
| | 00:48 | Originally we are starting off with a circular representation
of the colors that are found when we combine the A
| | 00:55 | and B axes with each other and we will
see how they map in just a moment.
| | 00:59 | But throughout this circle, the L value is
set to a 100 so our L value is maxed out.
| | 01:05 | These are the colors at maximum lightness.
| | 01:07 | Now, the problem with looking at the colors at maximum lightness
is that we don't really get a sense of the wide which array
| | 01:13 | of colors that is available to us, a lot of the colors are
just going white down in this region here as you can see.
| | 01:19 | So I'm forcing the third dimension into
this 2D image right here when we switch
| | 01:25 | over to the second Layer Comp, the one
that's called Smooth Even Darkness.
| | 01:29 | So, this is a smooth radio gradient essentially going from
black to transparent towards the outer edge here and imagine now
| | 01:37 | as I say I'm forcing the third dimension, imagine that we
have mapped the colors into the inside of a horn that's pointed
| | 01:44 | at us like a French horn if you will or a trumpet.
| | 01:46 | So that we are looking into the horn, the center is turning
black of course because we are loosing our light at the center
| | 01:52 | of the horn and then the colors are getting
lighter and lighter as they go outside.
| | 01:55 | So we are looking at the inside of a cone and
I'm just doing that so we can get a sense --
| | 01:59 | once we started subtracting lightness we are starting to
see lots and lots more colors inside the Lab circle here.
| | 02:06 | Now, I'm going to go ahead and add the A and B
axes line, so that we can see where I'm mapping A
| | 02:11 | and B. So I'm mapping the A axes
horizontally and the B axes vertically.
| | 02:16 | You can see that they are absolutely perpendicular
to each other in this theoretical world,
| | 02:21 | this tidy, wonderful, theoretical world of color.
| | 02:24 | Now, I'm going to add our primary colors, now we are mapping
these colors not at 60 degrees increments as in the case
| | 02:29 | of the Hue/Saturation color wheel but at 45 degree
increments and I'm relying on my naming conventions now.
| | 02:36 | So, we have lavender, we don't have magenta on the positive side
of the A axes, we have lavender and actually I will go ahead
| | 02:44 | and zoom in on this location here and I will
switch to my Eyedropper tool by pressing the I key
| | 02:48 | and notice that I have got my color palettes set to HSB sliders
and I'm going to go ahead and eye drop at this location.
| | 02:56 | Now, the value you are going to get is going to depend on
what RGB space you are working in, I'm working in Adobe RGB,
| | 03:02 | you might be working in sRGB or one of the others,
so you will get a slightly different result.
| | 03:06 | But notice if I eye drop right there, I'm getting 330,
which is more of that crimson color that I had on my chart.
| | 03:12 | It's absolutely not magenta, magenta is a 300 degrees
but if I start clicking around other locations
| | 03:18 | like if I start clicking toward the center of the graph so I
am lifting darker colors, I only get slightly different values,
| | 03:24 | like at this location I'm getting 318 degrees that's why I
am splitting the difference in calling this color lavender,
| | 03:31 | you could call it crimson, you could call it whatever you
want, the point is, it's not really technically magenta or red.
| | 03:37 | There is scarlet about 45 degrees up, there is yellow,
I think we can all agree that's yellow at the top,
| | 03:42 | the positive side of the B axes, we
have got lime over this location,
| | 03:46 | another one of those colors, I told
you to notice then and remember now.
| | 03:50 | Here is turquoise and that's midway
between green and cyan as you may recall.
| | 03:54 | There is cyan another 45 degrees along the graph,
there is cobalt on the negative side of the B axes,
| | 04:01 | there is violet 45 degrees later and finally on a
positive side of the A axes we are back to lavender.
| | 04:06 | So, whether or not you agree absolutely with my naming
conventions they are not the same as the Hue/Saturation wheel,
| | 04:14 | we are not going from green to magenta strictly speaking,
we are not going from blue to yellow strictly speaking.
| | 04:20 | We have slightly different colors going on.
| | 04:22 | Here is our numerical values, incidentally and I was telling
you how the most positive value you can have for either A
| | 04:28 | or B is 127, the most negative value you can how is
-128, all of my negative values are showing up as white,
| | 04:35 | all of my positive values are black, you can see
that I have mapped scarlet at 64 A and B right there
| | 04:42 | and you can check my work if you want to, if you zoom in on that
location for example here in switch over in the color palette
| | 04:48 | to Lab sliders and click right about here you will
see that I'm getting something very close to 64 A,
| | 04:55 | 64 B. I also happened to be getting something close
to 64 L but that's just coincidental, incidentally.
| | 05:03 | Anyway, so I have mapped out this graph meticulously by
the way just to make sure that we have these values setup,
| | 05:10 | we have equal amount A and B at Lime as well just
that it's a negative A with a positive B and so on.
| | 05:16 | If you don't see an A or B value, that's because it's set to 0.
| | 05:19 | So, at yellow we have got 127 B with 0 A and
at cobalt we have -128 B with 0 A and so on.
| | 05:27 | Just to give you a sense of how lightness affects
colors inside of Lab because it has a profound effect,
| | 05:34 | it makes the colors wander with respect to Hue/Saturation.
| | 05:37 | I have gone ahead and added strict A and
B bars above and to the left of the graph,
| | 05:43 | I have also noticed that that moves the
lavender and turquoise Labels a little,
| | 05:46 | squeezes them over to accommodate for these axes.
| | 05:48 | Now, notice here is my A axes, I'm going to go
ahead and Shift+Tab away my palettes for a moment.
| | 05:53 | Here is my A axes and so the multiple A axes because we are going
from negative over here on the left to positive values over here
| | 06:01 | on the right subject to different lightness values, a
100 for the top bar, 80 for the second bar, 55, 25 and 0.
| | 06:09 | Notice at a 100 our axes really appears to go from about
cyan to magenta and we start getting greener as we go darker
| | 06:18 | and we start getting more lavender, if you will, more crimson and
more red actually as we go darker as well on the positive side
| | 06:26 | of the axes, just something to bear in mind
so the lightness value does effect the color.
| | 06:32 | Also, notice that this isn't strictly speaking linear here.
| | 06:35 | I'm dropping from a 100 to 80 so a soft drop and then
a bigger drop from 80 to 55, a bigger drop still from 55
| | 06:42 | to 25 and a slightly smaller drop from 25 to 0.
| | 06:45 | I was telling you that one of the ideas behind Lab is that
lightness is perceptually uniform so that it should drop
| | 06:52 | down strictly speaking from a 100, 75, 50, 25 and 0,
however in my experience it doesn't quite work out that way
| | 06:59 | so that you have a more severe drop off in terms of
your perception of the lightness right at the beginning
| | 07:05 | when you first start dropping down those values and again that's
what I have experienced, you may experience something different
| | 07:10 | on your screen but I have worked with a lot of
different screens here, lot of different RGB spaces.
| | 07:15 | Anyway, we have got B axes setup the same way, positive
| | 07:17 | at the top this time again just yellows throughout really not
affecting the hue when we are reducing the lightness value
| | 07:24 | and down here at the negative side of the B axes we are
getting cobalts pretty much strictly speaking cobalts.
| | 07:29 | It gets a little bluer at the darker colors but not that much
bluer, it's pretty much sticking with the cobalt hue right here.
| | 07:35 | Just something to bear in mind you
know just FYI interesting stuff,
| | 07:39 | now here is where things I think get even more interesting,
let's go ahead and map out a few secondary colors
| | 07:44 | and the secondary colors happen to be what
we were initially our primary colors here,
| | 07:48 | red and green and something like
blue down here, magenta and so on.
| | 07:53 | I'm going to go ahead and circle by clicking on HSL primaries.
| | 07:56 | I'm going to go ahead and circle those hue
saturation primaries red, yellow, green, cyan,
| | 08:01 | blue and magenta and then we will go ahead and map them out.
| | 08:04 | So here is the RYGCBM map Red, Yellow,
Green, Cyan, Blue, Magenta map inside of Lab.
| | 08:12 | You can see how the two color wheels are somewhat rotated
with respect from each other so that if you want to think
| | 08:16 | of it this way you can, the Lab color
wheel is rotated down into the right
| | 08:21 | in a clockwise fashion with respect to the Hue/Saturation wheel.
| | 08:25 | But what's more important here is how the colors are distributed,
so if you see this axes line that goes with red toward the center
| | 08:32 | and this axes line that's associated with cyan, it's color
complement, they have been widened with respect to each other
| | 08:40 | so that we have more colors inside of the orange range, more
to work with there so more flesh tones and we have more to work
| | 08:46 | with inside of this orange to green range which favors
nature and we have more to work with where the greens
| | 08:54 | to the cyans are concerned which favors skies and take a look at
this way too, if you go from blue up here to yellow you can see
| | 09:03 | that this area has been expanded as well because these
guys are color complements in the world of Hue/Saturation,
| | 09:09 | so that we have really expanded all of our sky
tones, our sea tones and the sky tones are expanded.
| | 09:15 | What gets compressed is the area between blue and red, so that
violet to lavender zone gets compressed which is interesting
| | 09:22 | to know probably the area that should get compressed.
| | 09:25 | The whole idea here is that it's tracking
the way that we see colors better than RGB
| | 09:30 | and CMYK and the other device dependent color models.
| | 09:34 | Alright, so a bunch of FYI, a bunch of really terribly
interesting stuff that will come in the play of course later
| | 09:41 | when we look at practical applications in the next exercise, I
am going to show you something terribly, terribly theoretical,
| | 09:47 | we are going to descend or rather ascend I would say
into the world of imaginary color here inside Lab.
| | Collapse this transcript |
| Lab's wide world of "imaginary colors"| 00:00 | In this exercise, we are going to probe the world
of imaginary colors in the Lab color space.
| | 00:06 | Now, what am I talking about? Well bear this in
mind, Lab is all about getting away from the devices.
| | 00:12 | So we are not relying on the capture and display devices,
which require RGB and we are not relying on the output devices,
| | 00:18 | which require CMYK or some other ink variation.
| | 00:22 | We are not beholden to those colors spaces anyway.
| | 00:25 | We are working in this color space that is designed to
stimulate the world as our eyes and brains actually perceive it.
| | 00:32 | So we have got Lab on one side, seeing the world
the way our eyes do and then we have got our eyes
| | 00:37 | on the other side seeing the way the world our eyes do, but we
have got a middleman in between us and that is the RGB screen.
| | 00:45 | We can't get rid of that translator
that is forcing its way in between us.
| | 00:50 | Lab is just crying out on the other side of screen trying to show
us the world the way our eyes see it, but we can't really see it.
| | 00:56 | And so this world of colors that really can't
be accurately represented by RGB or CMYK,
| | 01:02 | these are what I'm terming the imaginary colors and they
really are imaginary, because we are never going to get to them.
| | 01:08 | We really aren't because no matter how we
end up displaying our Photoshop images,
| | 01:13 | they have to be going to screen or print somehow or other.
| | 01:16 | We can get closer to them overtime as we get better
technology, but still they are going to remain imaginary.
| | 01:21 | But it means that we have got a lot of headroom to work
with inside of Lab and that is going to really help us
| | 01:26 | out when we are applying practical applications
with the Lab color space in future chapters.
| | 01:31 | So let me just show you where these imaginary
colors are and just blow your mind a little bit,
| | 01:35 | you will just get a sense of what is going on.
| | 01:37 | I'm working inside of this HueSat color wheel.psd
document that we opened a couple of exercises ago,
| | 01:42 | of course it is found inside the 01 what it is folder.
| | 01:45 | Notice that I have got the Labels turned
on here inside the Layers palette,
| | 01:47 | but I have got this Adjustment Layer
that is turned off right now.
| | 01:50 | I'm going to turn it on and it is not going to change anything
right away because it's a Hue/Saturation Adjustment Layer
| | 01:55 | that is currently zeroed out, so nothing is going on.
| | 01:57 | I'm going to double-click on its icon to
bring up the Hue/Saturation dialog box.
| | 02:02 | You could play around with the Hue value if you want to
that is just going to rotate the Hues around the circle
| | 02:07 | that might qualifies your idea of fun, if
you don't have enough going on in your life.
| | 02:11 | Anyway it is kind of fun to watch once,
I have seen it happen too many times.
| | 02:16 | I'm going to change the Hue value back to zero, no sense
whatsoever in playing with Saturation but Lightness,
| | 02:22 | now is a point to this and what I want
to show you is that if you max out,
| | 02:25 | this is a relative Lightness adjustment now, bear in mind.
| | 02:28 | If I have Lightness set to zero, it is not going to make
any changes to the existing colors inside of the image.
| | 02:33 | So we are going to see these vividly saturated
Hue values along the perimeter of this circle.
| | 02:39 | If I go ahead and maximize the Lightness value, all of my
colors turn to absolute white, so I completely lose them.
| | 02:45 | If I minimize the Lightness value, I set it to
negative 100 then everything goes black on me.
| | 02:50 | The more or less you would expect it to be.
| | 02:52 | So we start to see colors as we enlighten the Lightness value,
we are really going to see colors in the mid-range right here.
| | 02:58 | This is sort of medium Lightness values
around zero and then things are going
| | 03:02 | to start blenching out as we get to high with Lightness.
| | 03:05 | So just bear that in mind, once again, see it remember
it in just a moment, I'm going to Cancel out.
| | 03:10 | Let us switch over to the Lab color wheel document,
now this is a final version of that document.
| | 03:17 | I'm going to switch over to my Layer Comps
palette and click in front of the L:100.
| | 03:22 | So this is an L value of a 100 or Lightness value of a
100 and yet we are seeing tons of colors going on here,
| | 03:28 | just worth bearing in mind, I'm going
to switch over to my Layers palette.
| | 03:33 | And notice three layers up in the stack,
above the Background Layer that is to say,
| | 03:38 | there is yet another Hue/Saturation Adjustment Layer.
| | 03:40 | The thing is the difference is we are working inside
of the Lab color space instead of inside of RGB.
| | 03:45 | I'm going to turn it on. Again it
does nothing because it is zeroed out.
| | 03:48 | I'm going to double-click on this guy and
actually you know what, I'm going to turn on my a
| | 03:52 | and b axis guys right there,
just so that we can keep track of them.
| | 03:55 | We can remember where the a and b axis are.
| | 03:58 | All right, now let us get back down here.
| | 03:59 | I will double-click on the Hue/Saturation thumbnail and now
if I increase the Lightness value, it doesn't do anything,
| | 04:07 | I just cannot go beyond the Lightness of a 100.
| | 04:10 | So I still have all of these colors showing up.
| | 04:13 | I just cannot get rid off them, we are missing some
colors in this range, they are just going white on screen,
| | 04:17 | bear that in mind, on screen my friends, because
this is an RGB device, but they are there.
| | 04:23 | Then watch what happens when I start reducing the value
beyond zero, things are getting darker and darker,
| | 04:28 | more and more saturated in many cases, we are getting
some rich vivid colors down in this low Lightness range.
| | 04:35 | Watch what happens when I go all the way negative?
| | 04:38 | They persist, the colors still live.
| | 04:42 | Now, not throughout, we are not really
seeing too much in a way of black, yellows.
| | 04:47 | We are not really seeing too much in a way of black
whatever you want to call these guys the turquoise colors,
| | 04:51 | but we are seeing black cobalt and we are seeing black
lavenders, black reds, flash magentas over here as well.
| | 05:00 | It is impossible to just completely take the
Lightness out of the picture and still have color left.
| | 05:05 | But it does still happen inside of Lab,
that is the kind of range that it gives us,
| | 05:11 | not only that I'm going to go ahead
and accept this for a moment.
| | 05:14 | I will just go ahead and click OK
inside the Hue/Saturation dialog box.
| | 05:17 | Not only that, I'm going to go ahead and expand
my Layers palette so that we can see this layer two
| | 05:21 | up from the Background Layer, that is called Lab circle.
| | 05:24 | I'm going to Shift+Click on the circle in
order to turn off that vector mask and at least
| | 05:28 | on this square layer mask for what it is worth.
| | 05:31 | But it's showing that we can't go ahead and map the Lab color
space into a square because we have A values going all the way
| | 05:38 | from negative to positive and we have B values
going all the way from negative to positive.
| | 05:43 | So that fills up a square space.
| | 05:45 | So we have got all of these colors out
here in the corners to work with this well.
| | 05:49 | They don't exist inside the Hue/Saturation wheel.
| | 05:51 | The Hue/Saturation wheel is a wheel, it
is a circle, theoretically once again.
| | 05:56 | But there is nothing even theoretically outside of that circle.
| | 05:59 | Whereas once again theoretically with Lab we have got a square
to deal with and then when you consider if I double-click
| | 06:06 | on the Adjustment Layer once again
and play with the Lightness value,
| | 06:09 | you consider that we have this entire
dimension of Lightness to play with.
| | 06:13 | We are extracting this Lab color space into a cube,
and we have just got loads and loads of colors to work
| | 06:20 | with here, outside of that spherical or conical space.
| | 06:25 | So it is all theoretical, it is all imaginary, if you will,
| | 06:28 | but it all does have practical applications
as we will see in future chapters.
| | 06:32 | So get site we have a ton of wriggle room, a ton of
color to extract from our images here inside Lab.
| | Collapse this transcript |
| Examining RGB and CMYK channels| 00:00 | Now that we have seen how you can
mix colors inside the Color palette
| | 00:03 | in the Lab Color mode we have seen what the Lab
Color mode looks like inside of that big color graph.
| | 00:09 | We have got an essence of what the purpose behind the Lab
Color is, let us see where the real action takes place,
| | 00:15 | which is here inside of the Channels palette.
| | 00:18 | I'm going to ahead and click on the Channels tab,
neighbor of the Layers and Paths palette here.
| | 00:22 | You can also go up to the Window
menu if you want and choose Channels.
| | 00:26 | Now the Channels palette is showing us the
individual colored channels inside of the image.
| | 00:30 | I'm not going to go into too much detail about how Channels
work because I have this entire series devoted to that,
| | 00:36 | it is called Photoshop CS3 Channels and
Masks and its available to you as part
| | 00:41 | of the lynda.com online training
library, it is nothing if not exhaustive.
| | 00:46 | But we will take a cursory look at these Channels to get
a sense of what is going on and then we will, of course,
| | 00:50 | spend a fair amount of time with Lab color Channels.
| | 00:53 | So here is this RGB image that I have opened
on screen, it is called flowers & face.jpg.
| | 00:58 | It is found inside the '01what_it_is folder.
| | 01:00 | It is a beautiful image, we are not going to need to correct
it because it is already nicely corrected here, looks great.
| | 01:05 | It comes to us from photographer Alexandra Alexis, one of my
favorite photographers, with iStockPhoto.com and we are not going
| | 01:13 | to correcting any photos until the next chapter.
| | 01:15 | The great thing about this image, however, it serves
as a great test case for examining the Channels
| | 01:20 | because it has a lot of different Hues inside of it.
| | 01:22 | We have these beautiful Crimsons over here on the
left side of the image and inside of the lips.
| | 01:27 | We have these wonderful, if pale, flesh tones and we have
some nice blue eye shadows, so we have that Hue going,
| | 01:33 | we have got the Greens and the Yellows
over here on the right side of the image.
| | 01:37 | So everybody is pretty well represented.
| | 01:39 | Let us check out what the individual Color Channels look like.
| | 01:42 | Now we can get to the various Channels by pressing Ctrl+1.
| | 01:45 | I'm not going to keep saying these
keyboard shortcuts over and over again.
| | 01:47 | I'm going to be using them, I'm
going to say them like once or twice
| | 01:51 | and then I'm just assuming that you know how to get around here.
| | 01:54 | So it is Ctrl+1 for the red channel and the reason we are going
to be using keyboard shortcuts is I'm going to hide this palette
| | 02:00 | in a moment, so that we can see the entire image all at once.
| | 02:03 | So it is Ctrl+1 for the red channel
that will be Cmd+1 on the Mac.
| | 02:06 | You can also click on it if you like.
| | 02:08 | There is Ctrl+2 or Command 2 for the Green channel, Ctrl
or Command 3 for the Blue channel and then we have got Ctrl
| | 02:15 | or Cmd+~ for the Full Color Composite and that ~ key
by the way is just up there in the American keyboards
| | 02:21 | in the top left corner of you keyboard
there, just next door to the 1.
| | 02:25 | All right, so here we go.
| | 02:25 | Let us check out these Channels,
now that we know how to get around.
| | 02:28 | Ctrl+1 for Red, there it is very light version
of the image because this is a portrait shot,
| | 02:33 | so there is a lot of Reds going on inside the image.
| | 02:36 | Here is the Green channel, it has the highest amount of detail
going on, so lot of contrast inside of the Green channel
| | 02:43 | and here is the Blue channel, it is going to look
the strangest where the RGB Channels are concerned.
| | 02:48 | But it is still a grayscale variation
on the image and they all are.
| | 02:52 | Here is Red once again, here is Green and
here is Blue, all reasonable if different,
| | 02:59 | grayscale variations on the Full Color Composite.
| | 03:03 | Let us compare that now to CMYK, I'm going to go up to the Image
menu, I'm going to choose the Duplicate command and I'm going
| | 03:10 | to go ahead and name this guy CMYK like so and click OK.
| | 03:14 | Now just naming an image, duplicating and naming it CMYK does
not make it CMYK, notice that CMYK image is still available to us
| | 03:22 | in the RGB space, so let us Shift+Tab our palettes back in
to view so that we can see this miraculous transformation.
| | 03:28 | You will see a slight change happening to the image on
screen here, so keep your eye on the Crimsons of the flowers.
| | 03:34 | Those are outside of the CMYK gamut.
| | 03:37 | So when I go up to the Image menu, choose Mode
and choose CMYK Color to perform the conversion,
| | 03:42 | you will see that those colors change a little
bit, they become more muted inside the CMYK image.
| | 03:50 | You will also see the Channels completely
transform here inside the Channels palette.
| | 03:54 | So they go from Red Green Blue to Cyan, Magenta, Yellow
and Black, which is Ctrl or Cmd+4 not surprisingly.
| | 04:02 | So let us switch between these Channels, I'm going
to go ahead and Shift+Tab away the palettes there.
| | 04:07 | This is the Cyan channel, the Cyan version of the channel,
again very bright and vivid inside of this portrait shot,
| | 04:14 | and it is not all that different from the Red channel.
| | 04:17 | I'm going to press Ctrl+Tab, that is the same keyboard shortcut
on both platforms, to switch over to the RGB version of the image
| | 04:23 | and then I will switch to the Red channel there.
| | 04:25 | So this is the red channel inside of RGB
and this is the Cyan channel inside of CMYK,
| | 04:31 | not too different there is Red again, there is Cyan again.
| | 04:35 | Now, in a perfect world they would be identical to each other,
| | 04:38 | they would be completely identical
because Cyan and Red are color compliment.
| | 04:42 | Cyan is absorbing the Red light and reflecting back Green and
Blue and therefore, perfect world as I say, identical Channels.
| | 04:49 | The world is not perfect.
| | 04:50 | Inks are impure, as they like to say.
| | 04:53 | Basically it is a much trickier process putting ink
on papers, then it is shining light from a monitor.
| | 04:59 | So we need that K Channel in order to fill things in an order
to fill in the shadows, because the inks are never going
| | 05:05 | to mix to form black, it is what comes down to.
| | 05:08 | So some of the detail associated with the Red channel,
here it is by the way there is the Red channel,
| | 05:12 | some of it has to be off loaded to the black channel.
| | 05:16 | It is what is happening here.
| | 05:17 | All right, since we are in the RGB image
I will switch to the Green channel.
| | 05:21 | So there is the Green channel, let us Ctrl+Tab back to the CMYK
image press Ctrl or Cmd+2 to switch the magenta channel.
| | 05:27 | So comparing contrast here, this is Magenta;
this is Green, here again very similar.
| | 05:32 | In a perfect world they would be identical, in this
imperfect world in which we live, they are very similar.
| | 05:37 | Here is Yellow, now inside the CMYK image Ctrl+Tab back
to the RGB, here is Blue, so Blue compared to Yellow.
| | 05:45 | Again, very similar, not quite identical, but
reasonable grayscale variations, as compared with.
| | 05:51 | Here is the Black channel, very different from
the full color CMYK image, very blown out.
| | 05:57 | And that is because we are just filling in the
shadow detail using this Black channel here.
| | 06:02 | Alright so I will go back to the CMYK Full Color Composite,
let's switch back or Ctrl+Tab back to the RGB image
| | 06:08 | and we will Ctrl+~ our way to the RGB
composite, that would be Cmd+~ on the Mac.
| | 06:14 | So that is RGB CMYK, every one of the
Channels with the exception of K potentially,
| | 06:19 | is a grayscale variation on the Full Color
Composite, something that we could recognize
| | 06:23 | and potentially work with, something
that is not going to scare us.
| | 06:26 | Let us Shift+Tab the palettes back in
to view here and we will take a look
| | 06:30 | at the fundamentally different appearance
of Lab color Channels in the next exercise.
| | Collapse this transcript |
| The strange (but powerful) Lab channels| 00:00 | In the last chapter, we saw how the individual color
Channels inside of an RGB image and at least the Cyan,
| | 00:06 | Magenta and Yellow channels inside
of the CMYK image are reasonable
| | 00:10 | if very different Grayscale Variations
on the Full Color Composite.
| | 00:15 | So they are at least recognizable if nothing
else, they are recognizable as being part
| | 00:19 | of the full color image in which we are working.
| | 00:22 | That really isn't the case for specially the
a and b channels inside of a Lab color image.
| | 00:29 | They are sufficiently bizarre and cruddy looking to, I would
say to strike fear in the hearts of many people who have come
| | 00:36 | across Lab images and tried to and just then modify them.
| | 00:38 | Let us take a look at those channels, why don't we?
| | 00:41 | Now I'm working inside of that original flowers &
face.jpg file which is the RGB version of the image
| | 00:48 | from photographer Alexandra Alexis of iStockPhoto.com,
found inside of the 01what_it_is folder.
| | 00:55 | I'm going to go up to the Image menu, I'm going
to choose mode and I'm going to choose Lab Color.
| | 01:00 | Now keep your eye for a moment on the RGB
image itself when I choose Lab Color in order
| | 01:05 | to convert it, we see no color change on screen.
| | 01:09 | You should see nothing changing on screen.
| | 01:12 | Whereas, I will go ahead and Shift+Tab away the palettes
for a moment and Ctrl+Tab to CMYK version of the image
| | 01:18 | that I still have open, that is the CMYK
version, see how the colors are dropping out.
| | 01:23 | The intensity of the Crimson color as here inside the
flowers is dropping away inside of the CMYK version.
| | 01:29 | So this CMYK and this is the brighter
more vivid Lab version of the image.
| | 01:36 | And we will just go back and forth between RGB and Lab
for a moment, I will press Ctrl+Z to go back to RGB
| | 01:42 | that is the RGB version of the image Cmd+Z on a Mac
and this is Ctrl+Z or Cmd+Z again to go back into Lab.
| | 01:47 | So you should not see any difference.
| | 01:49 | So here is the point, the change between RGB and
CMYK is well known to be a destructive modification.
| | 01:58 | In other words, you want to go once and only once in the CMYK,
you don't want go back and forward to RGB and then to CMYK
| | 02:05 | and then back to RGB and then to CMYK again, that is
going to harm the image over time, if not just right away.
| | 02:12 | Typically what you want to do is you want to perform all your
modifications inside the RGB or Lab color space and then go
| | 02:18 | to CMYK at the end if and only if your are going
to press, if you are going to a commercial printer.
| | 02:25 | Whereas, you can go back and forward between RGB and Lab
color, not as much as you like, but with greater flexibility.
| | 02:32 | Now I'm not going to go out there and say the change
between Lab and RGB is completely non-destructive, it is not.
| | 02:39 | It is slightly destructive.
| | 02:41 | Some of the Mask does change invariably two pixels
| | 02:44 | that were two different colors inside the
image will coalesce to become one color.
| | 02:48 | But I will tell you this, this guy out there, named Dan Margulis
| | 02:52 | who has written what I would say indisputably the
most comprehensive book on Lab color out there.
| | 02:58 | It is called Photoshop Lab color from Peachpit Press.
| | 03:02 | He claims to have converted back and forward between RGB
and Lab some insane number of times like ten or a 100
| | 03:09 | or something along those lines, without any market difference
inside of the image without any perceivable difference either
| | 03:16 | on the image on screen or the image in print
and he is out there claiming essentially it is
| | 03:21 | for all intensive purposes and non-destructive transformation.
| | 03:24 | I'm going to tell you it is some
what destructive, but not so much,
| | 03:28 | it is really going if you just go
back and forward like once or twice.
| | 03:32 | Just take it easy but feel free to wander
back and forward between RGB and Lab.
| | 03:38 | Alright but let us take a look at the
channels that is why we are here, right?
| | 03:41 | Here is the Lab image, the Full Color
Composite at the top of the Channel stack.
| | 03:45 | Then we have the Lightness channel, to make this
little lighter, so we can see the word lightness.
| | 03:49 | And then we have a and b. You can
already see they are weird creatures.
| | 03:53 | Let just go ahead and switch to lightness, which
we can get to by pressing Command or Ctrl+1.
| | 03:57 | Shift+Tab away those palettes.
| | 03:59 | Wow, it looks like a grayscale version of the image in fact,
| | 04:02 | this is like the best Grayscale Variation there
is, really that we have seen so far anyway.
| | 04:08 | There are folks out there that claim like this is
the way you should convert an image to Grayscale.
| | 04:12 | You should convert it to Lab and then you should
go up to the Image menu, you should choose Mode
| | 04:17 | and you should choose Grayscale, it will dump the a and b
channels, see it is going to say Discard other channels,
| | 04:22 | OK, and then you have got your Grayscale image.
| | 04:25 | If I Shift+Tab back to palettes, you can see
if I have got one channel Gray and that's it,
| | 04:28 | and that is the best possible Grayscale
Version of the image there is.
| | 04:31 | I have heard that claim, I will tell
you I completely disagree with that.
| | 04:35 | That is not in least true.
| | 04:37 | Shift+Tab away the palettes, Undo that
modifications, so that we are back inside
| | 04:41 | of the Lightness channels inside the full color
Lab image right there, the full color Lab image.
| | 04:46 | So back to Lightness channel but it is a very credible
Grayscale Variation, there is all kinds of ways to create,
| | 04:51 | really great black and white images inside a Photoshop.
| | 04:54 | This is not the best method, it is a method and
it is a nice Grayscale Version of the image.
| | 04:59 | Compare that to, Command or Ctrl+2 for the a channel.
| | 05:03 | Oh my goodness what is that?
| | 05:05 | What kind of train wreck have we
encountered where the channels are concerned.
| | 05:09 | That is not only, it is completely
bizarre and just weird but it is ugly.
| | 05:16 | I don't think that there is any denying that is an ugly channel.
| | 05:20 | It doesn't even have any contrast going on inside of that,
we have no highlights, no light colors, we have no shadows,
| | 05:25 | no dark colors, we just have a bunch
of nebulous mid tones in here.
| | 05:30 | So, fully on the A channel right.
| | 05:33 | Here is Ctrl or Cmd+3 for the B
channel, black also bad but the thing is, ok,
| | 05:39 | they look cruddy but these channels are awesome.
| | 05:42 | You will run learn to love them initially they are
repugnant, but over time you will come to like them.
| | 05:48 | I'm going to bring back the Channels palette.
| | 05:50 | I also want to show you what the two channels look like if you
click in the eyeball, in front in one of the hidden channels.
| | 05:56 | So that you can see both the 'a'
and 'b' channels at the same time.
| | 05:58 | Even when we are seeing the channels in color,
all of the rich color of the image rubbed of all
| | 06:04 | of its luminosity; it is still ugly to look at.
| | 06:07 | I just want you to get the sense of what is going on there.
| | 06:09 | In the next chapter we are going to be
exploiting this wonderful ugliness here.
| | 06:14 | We are going to be bringing out all kinds
of wonderful colors inside of the images.
| | 06:17 | But for now I just want you to know it is here
because it will and for more we do in the future.
| | 06:21 | And I really want to give you a sense of how these channels, how
is it that these two little dreadful like these a and this b,
| | 06:30 | these thing one and thing two of the Channels palettes
here, how do they blend together to create these colors
| | 06:36 | and how do they blend with Lightness in order to create
the Full Color Composite, this beautiful image right here.
| | 06:41 | I'm going to show you how that blending
works, beginning in the next exercise.
| | Collapse this transcript |
| How RGB and CMYK channels blend| 00:00 | Now, we are going to examine how the various channels in an
image, in a full color image, how they blend together in order
| | 00:07 | to create the full color composite, how does that process work.
| | 00:11 | Especially since we just have a bunch
of grayscale variations on the image.
| | 00:14 | I'm looking at by the way, the original version.
| | 00:17 | I have got to hit and restore the
original version of Flowers & face.jpg.
| | 00:21 | So, we are looking at the RGB version of the image.
| | 00:23 | How do these grayscale variations of the
image merge and mix to form the RGB composite?
| | 00:31 | Well, I'm going to explain how it works inside of RGB and
CMYK in this exercise and then in the final next exercise
| | 00:37 | of the chapter, I will show you how
the channels mix in Lab, in Lab.
| | 00:43 | First thing you need to know is that you can view the
color channels in color by going to the Preferences command
| | 00:48 | and the simplest way to do this,
press Ctrl+K, Cmd+K on the Mac.
| | 00:52 | Then we go over here to this guy, Interface and you turn on
Show Channels in Color and you can immediately see the channels
| | 00:59 | in color here inside the Channels palette in the background.
| | 01:03 | Now, the reason that these are not shown, when I click the
OK button there, the reason that they don't appear in color
| | 01:08 | in the first place by default is because these channels
are really useful for creating masks, Alpha Channels
| | 01:14 | and so on as I told you all about that in
my Photoshop CS3 Channels and Masks series.
| | 01:18 | It's hard to evaluate how you can mask an image if you are
seeing the channels in color, like it is very difficult
| | 01:25 | to read what that image looks like right there.
| | 01:28 | But this is the way Photoshop sees the channel.
| | 01:31 | So, the lightest color is red what used to be white, before it
was formerly white, it's now red and black shows up as black.
| | 01:38 | The Green channel, white shows up as green
and then black is black and then Blue channel,
| | 01:42 | white shows up as blue and then black is black.
| | 01:44 | Then you can turn on multiple channels at the
same time in order to merge them together,
| | 01:49 | in order to see what those two channels
look like when blended together.
| | 01:54 | So, that's RGB, let's take a look at
CMYK in the CMYK version of the image.
| | 02:01 | So, let's take a look at the Cyan channel which is now colorized.
| | 02:04 | The darkest color is cyan because we are on white paper now and
the lightest color is white and then in the Magenta channel,
| | 02:10 | black becomes magenta and white remains white.
| | 02:13 | In the Yellow channel, black becomes yellow and white
remains white and you can see what I'm talking about,
| | 02:18 | it's very difficult to read what in the world that channel
looks like when we are seeing it yellowized like this
| | 02:24 | and there is the Black version of the channels.
| | 02:26 | Looks the same as it did before when it wasn't colorized.
| | 02:28 | All right, now the reason I'm showing you this is
because they inform how the channels mix together.
| | 02:33 | So, what I'm going to do is I'm going
to switch to this image right here.
| | 02:37 | What I have opened is an image called RGB blending.psd and
it's found inside the Mode blending subfolder that's inside
| | 02:45 | of the O1_what_it_is folder and it's not only an RGB version
of the image as you can see here inside the Channels palette,
| | 02:51 | but if you switch over to Layers palette, you
can see that I have gone ahead and captured Red,
| | 02:56 | Green and Blue versions of the image, the actual Red, Green
and Blue channels, I have captured them pixel for pixel
| | 03:05 | and expressed them as layers inside the Layers palette.
| | 03:08 | Now, I'm going to mix them together.
| | 03:09 | So, I'm going to turn off everything but Red, actually
I have got the Background layer turned on as well,
| | 03:14 | that doesn't matter, but I have got the Red channel turned on.
| | 03:16 | Now, I'm going to turn on Green, I'm going to click on
the Green channel and I'm going to change it's Blend mode
| | 03:22 | from Normal to Screen and that's going to go ahead and blend
those two channels together subject to the rules of RGB imagery.
| | 03:32 | So, when you screen two layers together,
you get the exact same effect
| | 03:36 | as mixing two RGB channels together inside the Channels palette.
| | 03:41 | So, this is the exact same thing we would
get by mixing the Red and Green channels.
| | 03:46 | Let's go to the Blue layer right there, turn
it on and then change its mode to Screen
| | 03:51 | as well and we have the full color composite image.
| | 03:55 | So, it's screening these colors together.
| | 03:57 | Now, if you don't what the Screen blend mode does, it's basically
the same as putting let's say the Red image and the Green image,
| | 04:04 | expressing them as slides, putting them in separate
projectors and shining the two projectors on the same screen.
| | 04:11 | So, the color is incrementally lighting each other and that's
why we are getting these colors lightening on top of each other
| | 04:17 | in order to create the full color composite and if you don't
believe me that it's identical, then Alt+Click or Option+Click
| | 04:22 | on the eye ball in front of Background and
you will see just the background image.
| | 04:26 | Now, Alt or Option+Click again to see the image as it's expressed
by blending the Red, Green and Blue layers together subject
| | 04:32 | to the Screen blend mode, it is exactly the same.
| | 04:36 | How about CMYK?
| | 04:38 | Let's go ahead and switch over to the CMYK version of the image.
| | 04:42 | I'm calling this guy CMYK blending.psd, also found
inside of that Mode blending subfolder and you can see
| | 04:49 | that once again I have expressed the Cyan, Magenta, Yellow and
Black channels as independent layers inside the Layers palette.
| | 04:58 | If Screen allows us to merge color channels
together an RGB image, then if we want to darken,
| | 05:05 | if we want to heap these relatively light channels on
top of each other in order to create darker results,
| | 05:09 | then we want to use the opposite of the
Screen blend mode and that is Multiply.
| | 05:14 | So, I'm going to turn on Cyan and I'm
going to switch over to Magenta, turn it on,
| | 05:17 | make sure it's active and change
the mode from Normal to Multiply.
| | 05:22 | Multiply is like taking these two separate channels right here
Cyan and Magenta, putting them on different transparencies
| | 05:30 | and then placing them on top of each other
in a light table, so that the light has to go
| | 05:34 | through both transparencies, so that's
projecting the colors at us.
| | 05:37 | So, it has to go through more and more
colors that are layered on top of each other.
| | 05:41 | It's also analogous to just laying ink on top of ink on
top of ink as happens it the commercial printing process.
| | 05:48 | So, anyway, we have got magenta mixing with cyan exactly
like they do inside the Channels palette, let's go to Yellow,
| | 05:54 | turn it on, switch it's Blend mode to Multiply, we get the
color version of the image without any of the shadow detail.
| | 06:02 | So, now let's make the Black channel active,
turn it on and change it to Multiply as well
| | 06:09 | and we get the full color composite version of the image.
| | 06:11 | Again, don't believe me, let's prove it,
Alt+Click or Option+Click on the eye ball in front
| | 06:15 | of the Background layer, it looks exactly the same.
| | 06:17 | Alt or Option+Click on that eyeball to
show all of the layers looks the same.
| | 06:21 | We do have a perfect match.
| | 06:24 | So, if we are mixing RGB channels together subject to the
Screen blend mode and we are mixing CMYK channels together,
| | 06:31 | subject to the Multiply mode, how does Lab work?
| | 06:35 | What Blend mode is analogous there?
| | 06:37 | Well, I will show you, you might be able to guess,
if you know a thing or two about blend modes,
| | 06:40 | but I will show you exactly how it works in the next exercise.
| | Collapse this transcript |
| How channels blend in Lab| 00:00 | So, in the previous exercise, I showed you how Photoshop
mixes the RGB channels subject to the conventions
| | 00:06 | of the Screen blend mode, the exact same mathematics going on.
| | 00:10 | It mixes the CMYK channels together
using the Multiply blend mode.
| | 00:14 | What Blend mode must be at work where Lab color is concerned?
| | 00:18 | And by the way, this all happens under the
hood, you don't have to worry about this at all.
| | 00:22 | You don't have to know what Blend modes
that Photoshop is using in the Background.
| | 00:27 | I just find it to be personally illuminating,
that's why I'm sharing this with you.
| | 00:31 | In fact it kind of makes sense, what's going on here.
| | 00:35 | Let me show you, I'm working in a Lab image, it's called
Lab blending.psd found inside of the O1_what_it_is folder,
| | 00:42 | here in the Channels palette we can
see the Lightness, a and b channels.
| | 00:45 | I have set the channels to display in color by pressing
Command or Ctrl+K to bring up the Preferences dialog box
| | 00:52 | and I go to Interface and I have got
Show Channels in Color turned on.
| | 00:56 | So, when we take a look at the Lightness channel, it appears as
a grayscale image, because it's just the luminance information.
| | 01:02 | When we take a look at the a channel, it's no longer this glob of
gray, it is instead a glob of these sort of indistinct lavenders
| | 01:11 | and grays and turquoise colors and here is b, we now have our
cobalts and our grays and our just these lack luster yellows,
| | 01:19 | how in the world do we go from these yellows
right here to these beautiful yellows in the case
| | 01:24 | of the full color composite, just
these bright vivid yellows here.
| | 01:28 | Well, you can take a look at these two
channels at the same time, I showed you what a
| | 01:31 | and b look like together, they don't look like much.
| | 01:34 | But if we take a look at Lightness
and one of the channels together,
| | 01:37 | we start to get a better impression,
so I will turn off a for a moment.
| | 01:40 | So, we can see just Lightness and b and now,
| | 01:42 | that luminance information is really dRAWing
forth the yellows and the cobalt colors.
| | 01:47 | But we are still left with just yellows and cobalts
and we can see that if I turn off b and then turn on a,
| | 01:52 | we are really dRAWing forth that lavender information or that
crimson if you prefer and that turquoise information over here,
| | 01:59 | but it's still lavender and turquoise, it's not the green.
| | 02:03 | We need to bring in the green by
bringing in that b channel right there.
| | 02:07 | So, how does that work?
| | 02:08 | Well, let's go over to Layers palette and again I have set
things up, so I have captured the Lightness channel right there
| | 02:13 | and the a channel which is the tint channel of course and the b
channel which is the temperature channel where Lab is concerned.
| | 02:20 | Inside of this Lab blending.psd document,
how do we blend them together.
| | 02:24 | Well, let's turn on just Lightness along with the Background
Layer in the background there, it's set to the Normal blend mode,
| | 02:29 | leave it that way, go to Tint, go
ahead and click on it, turn it on.
| | 02:33 | We will change its mode.
| | 02:36 | I was telling you that there is Multiply and there is that some
of the modes are missing now inside of the Lab color space.
| | 02:41 | We have got Multiply for similar case, Green for RGB.
| | 02:44 | We need a combination of the two for Lab and
their combination is Overlay, check it out.
| | 02:52 | Choose Overlay and you mix that Tint layer that a channel along
with the Lightness layer there, the Lightness information subject
| | 02:59 | to the exact same rules, the exact same mathematics
that have worked inside of the Channels palette.
| | 03:05 | Let's go to b, make it active, turn it on
and change it from Normal to Overlay as well.
| | 03:11 | And we have the full color composite people, we dropped out those
grays, we kept the color information, that's how it work inside
| | 03:18 | of those two channels, mixed it with the luminance
information from the Lightness layer right there
| | 03:22 | and we get the full color composite, the exact same thing.
| | 03:24 | Just to compare and contrast, Alt+Click on the eyeball,
| | 03:27 | Option+Click on the Mac to show just the
Background layer, that's how it looks.
| | 03:30 | Alt+Click or Option+Click again to show the
composite of all these layers right here
| | 03:34 | and they look pixel for pixel exactly the same.
| | 03:38 | So, that's what's going on with Lab, I hope that helps, I
hope that makes sense, I know I haven't passed a long a lick
| | 03:45 | of practical application of the Lab Color model yet,
but that's about to change starting in the next chapter.
| | Collapse this transcript |
|
|
2. What Lab Color Can DoBad becomes great, great becomes better| 00:00 | Now that we have seen how Lab color works,
it's time to see what it can do
| | 00:04 | and what it can do is blow your mind.
| | 00:07 | I mean that quite seriously.
| | 00:09 | Notice I didn't say literally. Lab will not
explode your brain. Trust me, I'll see to that.
| | 00:15 | Rather Lab will have a profound effect on you. It will surprise
you with its power, it will amaze you with what it can do,
| | 00:22 | it will blow your ever-loving mind.
| | 00:26 | For example, first thing I am going to have
you do is open an image that looks great.
| | 00:30 | Not a thing wrong with it.
| | 00:31 | And then I'm going to show you how to correct it in Lab and then
you are going to look at the old version and think, "Oh my God!
| | 00:37 | The corrected one is so much better." Later, we'll take a terrible
image, one of those things that just makes you think, "Bag it!
| | 00:44 | This isn't going anywhere" and we're going
to turn it into something fairly awe inspiring.
| | 00:49 | That's Lab for you, take something great, make it better; take
some awful, make it great. I mean look what it did for me. Here,
| | 00:58 | Let me show you.
| | Collapse this transcript |
| Cheapening a perfectly good image in RGB| 00:00 | We are going to start things off, one of the most practical
applications of the Lab color space there is, is that you can take
| | 00:06 | a perfectly good image,
nothing wrong with it in all the world,
| | 00:09 | and make it way better.
| | 00:12 | That's what we are going to be doing. In this exercise
we'll show you how we might approach such an image in RGB,
| | 00:18 | a rather feeble attempt I have to warn you,
| | 00:20 | and then in the next exercise we'll do it in Lab, not feeble at all.
| | 00:24 | So, we're working inside of another photograph
| | 00:28 | from that same photographer, Alexander Alexis
| | 00:30 | of istockphoto.com, and it's the same
model too. I don't know what her name is.
| | 00:34 | But it's just a different shot from that
same series as we saw in the previous chapter.
| | 00:39 | This image is called Flowers & face II.jpg and
it's found inside the O2_what_it_can_do folder.
| | 00:45 | As I say, there is nothing wrong with this photograph.
It's a beautiful photograph with all kinds of hues and
| | 00:51 | just wonderful makeup, beautiful model, lovely flowers.
| | 00:56 | But the one thing I would say after looking at the
image for a little while is it lacks a little bit of punch,
| | 01:02 | which is a heck of a comment to make about an
image that has this much punch associated with it.
| | 01:06 | But it could use some darker blacks,
| | 01:10 | now that I sort of contemplate it, and I could stand to have
a little bit more saturation associated with this image.
| | 01:16 | I want the colors to really punch,
more than they are already punching.
| | 01:20 | So, I am working inside of an RGB image at this
point, you can see it's RGB up here in the title bar.
| | 01:25 | I'm going to go over here to the Layers palette.
I could just apply the Hue/Saturation command
| | 01:29 | from the Image, Adjustments submenu right here.
| | 01:32 | As long as we are working in Lab and we are talking about
this great color space, let's stick to some really great habits
| | 01:38 | and we'll go ahead and apply an Adjustment layer here.
| | 01:41 | I'm going to press the Alt key or the Option key
on a Mac and I am going to click this black/white icon
| | 01:45 | and I'm going to choose Hue/Saturation,
| | 01:47 | which is ostensibly the best command inside Photoshop anyway
| | 01:52 | for increasing the saturation of an RGB image.
| | 01:55 | That we see in Lab, we use a totally different command. Alright, so
I'm going to go ahead and choose Hue/Saturation and because I had
| | 02:01 | the Alt or the Option key down, it'll ask me what I want to name
this image and I am just going to call it raise sat or something
| | 02:06 | so that I know what it's doing, it's raising the saturation
| | 02:08 | and I'll click OK.
| | 02:11 | And then I get the Hue/Saturation dialog box. Let's go
ahead and click inside of the Saturation value here and
| | 02:16 | I'm going to press Shift+Up arrow
| | 02:18 | let's say four times in a row.
| | 02:20 | So, we're raising the Saturation to +40
| | 02:24 | and I'll click OK in order to accept
that modification. And that's great in a way.
| | 02:30 | If I click off the eyeball there in order to reveal the
original image, she does now look a little pale, a little pallid
| | 02:36 | by comparison to the increased saturation version of the image,
which certainly has more vivid colors, you have to give it that.
| | 02:43 | However, I would call this version of the image garish
| | 02:48 | and not just because the colors are just flying out of control
here, but also because we are losing definition inside of
| | 02:56 | the stems and inside of the flowers petals and inside of her
lips and so on. Let me go ahead and turn that eyeball off again
| | 03:01 | and you will see that we have some nice
volumetric detail and when I say volumetric detail,
| | 03:05 | I mean that we can see the chiaroscuro, the shadows and the highlights
that embellish this stem right here and make it look really sculptural,
| | 03:15 | like it's coming out at you. You want
that obviously in this kind of photograph.
| | 03:18 | As soon as we raise the saturation
using the Hue/Saturation command,
| | 03:23 | we're starting to flatten that detail.
| | 03:26 | So, it's becoming more shallow and we certainly don't
want that. You can see it happening in other portions
| | 03:31 | of the photograph as well if you play around with that.
| | 03:34 | All right, so that's one way to work, that's the RGB way
to work. I could also go ahead and pile on another command,
| | 03:40 | if I wanted to go back down here to the background.
| | 03:42 | And I could Alt or Option+Click on the black/
white icon, I could choose the Levels command
| | 03:48 | and in this case, because I have the Alt or Option key
down, bringing up the New Layer dialog box once again.
| | 03:53 | In this case, I am going to go ahead and call this
| | 03:56 | blacker blacks or something along those lines because I want to
increase the darkness of the pupils and the other dark colors here
| | 04:03 | and I'll click OK.
| | 04:05 | I'll just go ahead and raise this black point here to the
other side of the valley. Notice this little valley inside
| | 04:12 | the Histogram right there. So we're cutting those colors off.
We are going to go ahead and clip those blacks, it's actually-
| | 04:18 | it will work okay for us I think and I will click OK.
| | 04:20 | Now, I will go ahead and Alt+Click on this eyeball or
Option+Click on this eyeball in front of Background so that
| | 04:26 | we're seeing the before version of the image. So that's before.
Alt+Click again or Option+Click again, that's after and
| | 04:32 | she certainly has a lot more punch associated with her,
but once again, we still have that flatness.
| | 04:36 | There's no getting around that since we applied
such a heaping helping of the Saturation value
| | 04:41 | and now we're loading two commands on top of each other which means
we are starting to get a little bit destructive. It would be nice
| | 04:47 | if we could make all of our changes with a single Adjustment layer.
Well, I have got news for you, we can do a heck of a lot better job
| | 04:54 | and we can use the single adjustment layer if we work with
the Lab color space as we are going to do in the next exercise.
| | Collapse this transcript |
| Making a great image even better in Lab| 00:00 | Now, that we have seen how to cheapen
a perfectly good image in RGB
| | 00:04 | and I have to say we have taken this beautiful
woman right here, beautifully photographed as well,
| | 00:10 | and we have turned her into an absolute harlot.
| | 00:12 | I don't feel good about what we have done.
| | 00:14 | I feel quite remorseful.
| | 00:16 | We did a bad thing, folks.
| | 00:17 | We are going to see how to take a great
image and make it look even better in Lab.
| | 00:23 | So, what I want you to do, I'm working inside of a catch
up document that represents the results of what we did
| | 00:28 | in the previous exercise and it's called Much too
garish.psd, because I want to show you a little trick
| | 00:34 | for taking a layer and extracting it into a new document.
| | 00:37 | So, I'm going to click on the Background layer here at
the bottom of the Layer stack and I'm going to press
| | 00:42 | and hold the Alt key or the Option key on the Mac and I'm
going to drag that Background layer onto the little Page icon.
| | 00:49 | As soon as I release because I have Alt or Option down
and forcing the display of the Duplicate layer command,
| | 00:53 | rather than duplicating the layer inside of this
same document, we will send it to a new document,
| | 00:58 | by going to the little document, pop up menu, choosing New
and then we can name the document something like Lady Lab
| | 01:05 | or something along those lines and
click OK in order to create the image.
| | 01:09 | So, notice that this is a flat image.
| | 01:11 | This is the original image as it was captured and
posted by Alexander Alexis of istockphoto.com.
| | 01:18 | Now, let's go ahead and convert her to the Lab mode by going
up to the Image menu, choosing Mode and choosing Lab color.
| | 01:25 | She is now a Lab image.
| | 01:27 | Now, we could increase the saturation of this
image in exactly the same way we did inside RGB,
| | 01:33 | which is to say using the Hue/Saturation command.
| | 01:35 | I could go ahead and press the Alt
key or the Option key on the Mac,
| | 01:38 | click and hold on the black/white icon
and choose the Hue/Saturation command.
| | 01:41 | Let's go ahead and name this guy raise sat once again,
click OK, brings up the Hue/Saturation dialog box.
| | 01:49 | Click inside the Saturation value, Shift+Up
arrow four times in a row and click OK.
| | 01:55 | Let's go ahead and compare these two documents, this is a
Ctrl+Tab to see the RGB version of the image and this is Ctrl+Tab
| | 02:03 | to see the Lab version of the image, it's still too garish.
| | 02:07 | It's just garish in different ways where
accentuating the lips or making them pinker
| | 02:12 | than we did inside of the RGB version of the image.
| | 02:15 | As you can see this is the RGB version, this is the Lab version.
| | 02:19 | What I'm trying to tell you is that
Hue/Saturation still misbehaves,
| | 02:23 | even inside the Lab mode, it's not giving us the results we want.
| | 02:26 | Now, you can use Hue/Saturation, you can give an image a
little bit of a saturation bump if you want to inside of Lab.
| | 02:33 | But I just wouldn't go this far.
| | 02:34 | I wouldn't go as high as +40 because it's just too much.
| | 02:38 | So, let's go ahead and turn off that raise sat adjustment layer.
| | 02:41 | So, if that's not the way to go, what is?
| | 02:43 | I will show you.
| | 02:44 | We can do it all in one command.
| | 02:45 | We can go ahead and sync those shadows, make them nice and black
and we can raise the Saturation values using a single command
| | 02:51 | and that command can be either Levels
or curves, you can work either way.
| | 02:55 | We are going to start with Levels
because it's easier way to work.
| | 02:58 | We will move on to curves later.
| | 03:00 | So, I'm going to click on the Background layer here to
make it active that I'm going to Alt or Option click
| | 03:05 | on the black/white icon and choose the Levels command and I
am going to call this one blacks & sats in order to indicate
| | 03:13 | that we are correct in the blacks and the saturation
values, click OK in order to bring up the Levels dialog box.
| | 03:19 | Now notice whereas when you are working on an RGB image
with a Levels command, by default you will be working
| | 03:25 | on the RGB composite which is to say all channels
at the same time that is not even possible
| | 03:31 | when you are applying the Levels command to a Lab image, you
have to work on one channel at a time, that's your only option.
| | 03:37 | So, we will start with Lightness and I'm going to go ahead
and increase this black point value to about 20 in order
| | 03:45 | to scalp those values right there, sync them to black.
| | 03:48 | So, we are going to clip those darkest
colors inside of this image.
| | 03:52 | Now, you can see we now have darker darks.
| | 03:55 | So, this is before if I turn off the Preview
checkbox, this is before, this is after.
| | 03:59 | Now, it doesn't really take care of the
image though, it needs more color punch.
| | 04:04 | So, let's go ahead and switch over to the a channel and
we will see this tiny little histogram, remember that a
| | 04:10 | and b are fundamentally gray channels, they
are midtones without any highlights or shadows
| | 04:17 | and that's the way the histogram is going to show up as well.
| | 04:19 | So, you are going to see a bunch of midtones there,
| | 04:20 | you are not going to see any highlights,
you are not going to see any shadows.
| | 04:24 | So, what we need to do is expand this range of grays right
here, so that we have a little bit of shadow and a little bit
| | 04:31 | of highlight and that's going to
increase the punch of the a axis.
| | 04:36 | Now, we will turn around and do the same thing for the b axis.
| | 04:38 | So, here is how it works.
| | 04:39 | If we want to get a similar effect,
it's not going to be the same.
| | 04:42 | It's a similar effect to raising the Saturation value to 40.
| | 04:45 | As I say, this is rough, by the way.
| | 04:47 | We are just trying to get something that's roughly the same.
| | 04:49 | I will go ahead and raise this black point value here to +40.
| | 04:53 | So, I will select it as I have and then I will
press Shift+Up arrow four times in a row like so.
| | 04:58 | Now, because we are adding shadow to the a channel, that means
we are darkening the a channel, so we are trending the image
| | 05:05 | as you may recall to our turquoise or green if you prefer.
| | 05:09 | Then I'm going to Tab+Tab over to the white point value and
I'm going to press Shift+Down arrow four times in a row.
| | 05:16 | So, we get a value of 215 right there, so you
should have 40 on the left, 215 on the right
| | 05:20 | and we are making the image more lavender or crimson or
magenta or red or however you want to think about it.
| | 05:27 | But we are balancing now the a axis, but we aren't balancing
the b axis or favoring the pinks inside the image especially
| | 05:35 | over the other color values here, particularly the blues that
could stand to have a little more punch, believe it or not.
| | 05:43 | The yellows inside the image as well.
| | 05:46 | So, we will move on to the b channel right
there and you can use these keyboard shortcuts
| | 05:50 | as well saying keyboard shortcuts we had in the Channel palette.
| | 05:53 | So, Ctrl+1+2+3, Cmd+1+2+3 on the Mac to switch channels.
| | 06:01 | I just find it's a little clunky on the
PC, that's why I'm choosing these options.
| | 06:06 | You can have to hold the key down on the
PC, on the Mac, it works much better.
| | 06:11 | So, I'm going to go ahead and click in the black point value
there and I'm going to press Shift+Up arrow four times in a row
| | 06:21 | like so and we are now adding shadow,
adding darkness to the b channel.
| | 06:26 | So, we are making the image more blue or more
cobalt or however you want to think about it.
| | 06:33 | Then I'm going to press the Tab key twice in a row in order to
highlight the 255 value, the white point value and I'm going
| | 06:42 | to press Shift+Down arrow four times in order to reduce
that value to 215 and that balances the entire image now
| | 06:51 | at this point, because we are adding yellow to the image,
which is balancing the blue and that by balancing the b axis,
| | 06:57 | we are offsetting the changes we made to the a axis and notice
that we are keeping our changes to the a and b axis identical.
| | 07:04 | So, here is b, 40, 215 no change to the Gamma value,
here is a, 40, 215 not change to the Gamma value.
| | 07:13 | So, if the colors in the image were
already balanced than the first place,
| | 07:16 | no color cast in other words then keep your
modifications identical, keep them nice and symmetrical
| | 07:22 | and then whatever you want to do to
the Lightness channel, up to you.
| | 07:27 | All right, now click OK in order to accept that modification
| | 07:32 | and this is our beautifully rendered
highly saturated version of the image.
| | 07:36 | Notice that our stems are still nice and sculptural, so
this is before if I turn that one adjustment layer off,
| | 07:42 | you can see that we had sculptural detail
before, but it is a paled image by comparison,
| | 07:46 | kind of pasty, by what we have now, here it is after.
| | 07:50 | Oh my goodness!
| | 07:51 | Look at those rich colors, let's go ahead and compare it
to the not so good RGB image, the harlot of an RGB image.
| | 07:56 | I will go ahead and Ctrl+Tab over there.
| | 07:57 | There it is, see?
| | 07:58 | Garish, beautiful.
| | 07:58 | You get what I'm saying, so we are taking a perfectly good
image and we are making it just absolutely sync in Lab.
| | 08:01 | An amazing simple professional application of the Lab Color mode.
| | 08:03 | If you learned nothing else, learn this about Lab
and you will make your images that much better.
| | 08:05 | In the next exercise, we are going to see what to do if we just
rebalance the colors ever so slightly, once again, inside Lab.
| | Collapse this transcript |
| Saving a Lab image file| 00:00 | All right, I want to squeeze in one additional
bit of information where this image is concerned.
| | 00:05 | Before we move on to the topic of balancing colors, favoring
one color over another when we are performing a Lab edit
| | 00:11 | which I will show you how to do in the next exercise.
| | 00:13 | I want to show you how to save a Lab image.
| | 00:16 | It's mostly pretty brain-dead, but
there are a couple of things to note.
| | 00:20 | So, I have got this Lab version of the image, this
corrected Lab image that I created in the previous exercise
| | 00:26 | and you may recall it's so beautiful, so nicely done, this is
the corrected Lab image by comparison to the corrected RGB image
| | 00:34 | which is way to garish, lots of flat color is going on here,
here is Lab once again, much better, nicely rounded details
| | 00:43 | and of course this is the image compared
to its original paled cell.
| | 00:46 | So, it definitely needed the correction,
even though it's great image to begin with.
| | 00:50 | So, let's go ahead and save it out by going up to the
File menu and in this case because I created a new image,
| | 00:55 | I could just choose Save command or I could choose Save As.
| | 00:58 | I will go ahead and choose Save As.
| | 00:59 | Just be careful, it's best practice.
| | 01:02 | Now, you will know that you can not save to JPEG anymore, you
can save and RGB image to the JPEG, you can save a CMYK image
| | 01:08 | to the JPEG, you can not save a Lab image to JPEG.
| | 01:12 | You can go to the native Photoshop format, which is what I would
use in this case or you could go to TIFF, if it's a flat image,
| | 01:18 | you might want to use TIFF, if you are working with a layered
image, I would suggest the native PSD file format here.
| | 01:24 | Notice you are saving the layers, so that's a good thing
to do, but also notice you can not select a color profile.
| | 01:31 | So, just as you can select is you are advised to select
a profile when you are saving RGB image or a CMYK image.
| | 01:38 | You are neither advised nor can you save an ICC profile
along with the Lab image, the reason, because there is one
| | 01:45 | and only one Lab offered by Photoshop,
one and only one flavor of Lab.
| | 01:51 | CIELabD50, that's the only one you got.
| | 01:55 | So, there is no reason to profile it because that profile
is going to automatically be assigned to this image.
| | 02:00 | So, go ahead and click Save in order to Save that file out and
that's all there is to it, I just wanted no JPEG, no ICC profile.
| | 02:08 | In the next exercise, I will show
you how to balance those colors.
| | Collapse this transcript |
| Favoring yellow to balance skin tones| 00:00 | In this exercise, we are going to see how to
balance the Saturation values again, raise them up.
| | 00:06 | We are also going to do a little bit of brightness tweaking
and while we boost the Saturation values in the image,
| | 00:12 | we are also going to warm up the skin tones a little bit.
| | 00:15 | So, we are going to favor the skin tones,
balance out the colors a little bit.
| | 00:19 | The name of the image that we are going to
use this time around is this guy right here,
| | 00:22 | it's called Cello punk.jpg found inside the O2_what_it_can_do
folder and this image comes to us from photographer Pascal Genest
| | 00:31 | of istockphoto.com and it's a really great image.
| | 00:34 | You can see he has got this excellent dull hair
and he also has his wonderful artificial irises.
| | 00:40 | He has to be wearing some contact lenses.
| | 00:44 | I wish I had those contact lenses.
| | 00:45 | Although probably they get a little itchy after a while.
| | 00:47 | But I really want to punch up the colors in this image,
even though they are already through the roof, right?
| | 00:53 | I mean this hair couldn't be much bluer, but as
you will see of course inside the Lab Color mode,
| | 00:57 | in most certainly could be bluer, but we could
bring out the colors on the face a little bit,
| | 01:02 | we sort of make him a little yellower, because
right now he is a little too pink I think.
| | 01:08 | We might even bring out the colors in the cello, what the hack.
| | 01:11 | All right, so I'm going to go ahead and zoom out a
little bit here, this image is an RGB image to begin with.
| | 01:16 | So, we are going to go ahead and convert it over to Lab, by
going up to the Image menu, choosing Mode and choosing Lab color.
| | 01:23 | Now, I'm going to Alt or Option+Click this
black/white icon and choose the Levels command
| | 01:28 | and I will call this guy color enhance like so.
| | 01:31 | Then I will click OK in order to bring up the Levels dialog box.
| | 01:34 | Now, right now I'm not going to do anything to
Lightness, we will come back to that in just a moment.
| | 01:38 | Let's start with a and b. So, let just do our
standard increase saturation thing that we did before,
| | 01:44 | press Shift+Up arrow four times and then I will Tab-Tab to
the white point value and press Shift+Down arrow four times,
| | 01:51 | we should be looking at values of 40 and 215.
| | 01:54 | Now, this is starting to looking like magical
numbers like every time you approach an image,
| | 01:58 | you are going to want to give it 40
and 215, that's not actually true.
| | 02:01 | It just happens to work for these highly saturated images here.
| | 02:04 | Otherwise we are going to start clipping the colors and
the a and b channels where these images are concerned.
| | 02:09 | Later we will do different values that you will see.
| | 02:11 | Now, I'm going to press Ctrl+3 or Cmd+3 on the Mac in
order to switch over to the b channel and I will go ahead
| | 02:18 | and click inside the black point value,
press Shift+Up arrow four times in a row.
| | 02:22 | Makes the image very blue as you can see, it is possible to make
that dull hair even bluer and then I will press Tab-Tab to get
| | 02:29 | to the white point value and press
Shift+Down arrow four times in a row.
| | 02:33 | But let's say I'm going to go ahead
and zoom in on this space once again.
| | 02:35 | Let's say we want to yellow up that skin which sounds like a
strange thing to do, why would we want to add yellow to the skin,
| | 02:42 | that sounds to me like make him look jaundiced
which he certainly doesn't need at this point.
| | 02:47 | But in truth, the skin is a little too pink and if want to
tan it up, then we are not actually making the image darker
| | 02:54 | or the skin darker as if he actually has a tan,
we are just adding a little sunlight to the image
| | 03:00 | if you want to think of it that way to the skin tones.
| | 03:02 | I'm going to press Shift+Down arrow a fifth time, notice
how that adds a little bit of healthy yellow to the image,
| | 03:08 | so it's offsetting that sort of lavender tone, that
sort of crimson tone that we have to the skin right now
| | 03:13 | and I will press Shift+Down arrow once again to take it to 195.
| | 03:18 | So, we are taking 60, we are shaving
60 of the white point value here.
| | 03:22 | So, we are setting all of these colors of whites who were ever
so slightly clipping to the colors inside of the b channel here.
| | 03:28 | That gives them the nice sort of healthy yellowness.
| | 03:31 | Now, if we have gone too far, which we may have, let's go
ahead and click OK in order to accept that modification.
| | 03:37 | If on balance, you feel like you have gone too far with
your color modification, this is before and this is after
| | 03:44 | and by going too far I mean maybe we have made his skin look
a little too yellow or maybe this is even more important,
| | 03:50 | we are starting to lose detail inside of an area of the image.
| | 03:53 | So, this is before down here in the cello, this is before,
we see a lot of woodgrain going through the image right here
| | 04:00 | with some pealing varnish, that's good, nice little
touch there and this is after we increase the saturation
| | 04:07 | and notice we are starting to lose a little bit of a grain
close to this steamy poo thing that's part of the cello.
| | 04:13 | I should remember what that's called,
I used to play a violin, but I can't.
| | 04:16 | So, I'm going to reduce the opacity value in
order to tone down this correction a little bit.
| | 04:20 | I'm just going to press the 7 key to
take the opacity value down to 70%.
| | 04:24 | You can see that we regained some of that grain.
| | 04:26 | So, if you go too far as opposed to going back into the Levels
command and tweaking those values because that's kind of a pain
| | 04:31 | in the neck, you can just reduce the
Opacity value for the Adjustment layer.
| | 04:35 | Now, I'm going to go ahead and zoom out a little bit more.
| | 04:38 | So, we can take in the entire image again.
| | 04:40 | Now, let's say I want to deepen the colors just a
little because there is a lot of blown highlights,
| | 04:44 | this is a high key image that's fine, has a nice look to it.
| | 04:47 | But let's say I just want to sync the
flush tones, just a little bit here.
| | 04:51 | So, I will go ahead and double click on my Adjustment layer
| | 04:54 | and that little Adjustment layer icon
to bring up the Levels dialog box.
| | 04:58 | I'm going to click in my midtone value right to the Gamma value
and I'm going to press Shift+Down arrow three times in a row
| | 05:04 | to darken up this area of the skin, pretty nicely, it's a
lot of darkness that I'm applying there, but I like it.
| | 05:10 | I will go ahead and click OK.
| | 05:13 | You might not want to go that far normally, but for the sake
of really seeing what we can accomplish here inside of Lab,
| | 05:18 | I want to go maybe just a little bit, to give it that extra mile.
| | 05:21 | Now, one thing that you might very well disagree with
and I would not blame you at all is you might say,
| | 05:26 | all these corrections are pretty darn good, this is
before, this is after, his skin certainly benefits
| | 05:32 | from this modification, his hand should benefit as well.
| | 05:35 | This part of the cello appear, this is before, this is
after, has a nice resonance going on inside of that -
| | 05:43 | once again that nicely sculptured detail right there.
| | 05:46 | But, what about the dull hair, did
it really need any more bluing?
| | 05:51 | I don't think so.
| | 05:51 | This is before and this is after, it was really sufficiently blue
in the first place and we are starting to flatten a little bit
| | 05:59 | of the detail that was already pretty
flat to begin with, inside of this hair.
| | 06:02 | So, why don't we back off to the blues and just the blues?
| | 06:07 | And I will show you how we accomplished
that in the next exercise.
| | Collapse this transcript |
| Dropping out the blues| 00:00 | In this exercise, I'm going to show you how to
back a correction off of the single group of colors,
| | 00:06 | which is something that we can do
using the Luminance Blending options
| | 00:10 | which work a little differently in the
Lab mode than they do inside of RGB.
| | 00:14 | Now, I'm working inside of this corrected
image and it's a catch-up document
| | 00:19 | that I'm calling He plays blue.psd that's
found inside of the O2_what_it_can_do folder,
| | 00:25 | so called because he is talented, he doesn't have to play blue.
| | 00:29 | But he does of course, he is playing, but
he doesn't need to play quite this blue.
| | 00:34 | So, we have gone too far with the dull hair and the artificial
irises, this is before and this is after, nice changes elsewhere,
| | 00:42 | but the blue has to go, the extra blue that is to say.
| | 00:45 | So, rather than double clicking inside of the thumbnail
right here, the Levels thumbnail which would bring
| | 00:51 | up the Levels dialog box as we have seen, I
am going to go ahead and cancel that there.
| | 00:55 | Double click over away in the blank area of the layer, not in
the layer name either, but in the blank area in order to bring
| | 01:01 | up the big layer style dialog box and notice that we
have all kinds of blending options to choose from.
| | 01:07 | Down here are our Luminance Blending sliders
and I tell you all about those again.
| | 01:13 | I tell you how those work inside of my
Photoshop CS3 Channels and Masks series.
| | 01:18 | I believe it's in Chapter10 actually, if you
remember, of the lynda.com Online Training Library.
| | 01:24 | They work a little differently though where Lab is concerned.
| | 01:27 | So, you can either modify these values
according to the Lightness settings.
| | 01:33 | So, in other words I could drop out the shadows like
so by dragging this first black slider triangle,
| | 01:41 | so that I'm creating holes where the
shadows are inside of this Adjustment layer
| | 01:46 | or I could drop out the highlights as well like this.
| | 01:49 | Of course that looks wretched, we have
all kinds of prompts going on there.
| | 01:52 | So, let's put those guys back where they were.
| | 01:54 | What we want to do is remove the blue.
| | 01:56 | So, we are going to switch this Blend
If value from Lightness to b which is
| | 02:01 | where we have our blues, right the cobalts through the yellows.
| | 02:03 | I'm going to go ahead and choose b right there and
we can see, there is our cobalt, there is our yellows.
| | 02:09 | I'm going to go ahead and drag this value over.
| | 02:11 | Notice as I do, I'm dragging this
black point over to the right here
| | 02:15 | as I do I'm getting rid of the corrections in the blue area.
| | 02:19 | So, here is the corrected blue that is the bad correction and
here -- look at that hair, look at that dull hair right there
| | 02:27 | and see how it gets revealed as I drag this black slider
triangle over to the right I the farther I take it over,
| | 02:35 | the more that we are going to see that we are sort of running
aria inside of this image, we are creating some bad skin
| | 02:43 | as if he got sun burnt and sort of pealing right there.
| | 02:46 | And we also have some problems up here in this
region especially let's see if I drag this back down,
| | 02:51 | we have got there is the problems right there.
| | 02:53 | You can see that we have got some brittle jagged transitions.
| | 02:57 | What we need to do is we need to create some fuzziness
inside of these corrections, we need to create a little bit
| | 03:02 | of what's called a fuzzy drop off and I'm going to do
that by Alt dragging or Option dragging the right half
| | 03:10 | of the slider triangle over to the right a little
bit and that separates the triangle into two pieces
| | 03:15 | so that we have a soft drop off in this region right here.
| | 03:18 | So, we are saying that anything that has a luminance level of
154 or higher and no longer is Photoshop talking to us in terms
| | 03:26 | of 0 being the middle and 127 being the top and negative
128 being the bottom and so they are just talking
| | 03:33 | to us in 0 through 255, it sometimes does that.
| | 03:36 | So, it's a little confusing when we are
working inside these various dialog boxes,
| | 03:40 | because they all choose to express Lab a little differently.
| | 03:42 | But anyway, this one we are saying anything that
has a brightness value, a luminance level of 154
| | 03:47 | or higher is going to be opaque, so the yellows are opaque.
| | 03:50 | The cobalts, 125 or lower are going to be transparent and this
area between 125 and 154 is going to be a smooth drop off.
| | 03:58 | Now, that doesn't necessarily work all that well
for the skin, thought it's good for this guy
| | 04:02 | or the background, but it doesn't work that well for the skin.
| | 04:04 | So, let's go ahead and take these values farther apart.
| | 04:06 | I'm going to take the right hand side of the triangle up to
200 and I'm going to take the left hand edge of the triangle,
| | 04:15 | the left half down to 30 like so
and we have that big drop off now.
| | 04:20 | So we should have a very subtle transition.
| | 04:23 | That's going to service well even in this brow area that's
where we are still leaving a little bit of brittleness.
| | 04:30 | But you can see it's much better than it would be if we were
to just go ahead and sort of move these values closer together.
| | 04:35 | So, this is the way the image looked when the
two halves of the triangles were very close,
| | 04:40 | you can see that brow right there is
becoming more pronounced, more jagged.
| | 04:46 | All right, so let's go ahead and take
these values back to where they were.
| | 04:49 | You have to inspect the image pretty darn
closely when you are doing this kind of work,
| | 04:52 | it's basically what I'm trying to emphasize.
| | 04:54 | So, go ahead and sort of drag the image around,
| | 04:56 | take a look at the various transitions,
it should look pretty good at this point.
| | 05:00 | Go ahead and click OK in order to accept that modification.
| | 05:03 | Let's go ahead and zoom out, so just to give you a sense of
what we accomplished here inside this exercise, this is before
| | 05:10 | and you can see that there hair has
gone little bit too far right there.
| | 05:12 | This is after, we have a little more detail left in the hair,
that's the original detail inside of that hair, so that's good.
| | 05:18 | We have a nice correction overall, so
let's go ahead and zoom out to 50% there.
| | 05:22 | This is the before version, the original version
as posted by Pascal Genest at istockphoto.com
| | 05:29 | and this is the corrected version here inside Lab.
| | Collapse this transcript |
| Correcting a very bad image in RGB| 00:00 | Now that we have seen how to take
some beautifully captured photographs
| | 00:03 | and make them look even better with
the help of the Lab Color mode.
| | 00:07 | Let's see how to take a really bad
photograph and make it look better.
| | 00:11 | So, the idea is that you can dRAW forth colors where either
you have very little color to work with in the first place
| | 00:18 | or seemingly no color at all as in
the case of this image right here.
| | 00:23 | God light.tif, so called because we have the
streaks of light raining down from the heaven.
| | 00:29 | So, it's a typical God light shot here, with the exception
of the fact that barely has any contrast and it doesn't seem
| | 00:36 | to have really anything in the way of color saturation
for all intensive and purposes like a grayscale photo.
| | 00:43 | But there are colors there, now this image is found inside
the O2_what_it_can_do folder if you want to open it on up.
| | 00:50 | We are going to take this image and we are going to dRAW forth
this image right here and those are natural colors folks,
| | 00:56 | these are not colors that I painted in, I didn't
add the Photofiltre or anything like that,
| | 01:01 | these are all colors that are actually extent
inside of this image right there, believe it or not.
| | 01:08 | Now, this correction was created in the
Lab Color mode and you are going to be able
| | 01:13 | to get much better result in Lab than you are RGB.
| | 01:16 | For example, here is what I'm able to accomplish
in RGB, not bad but not this good either.
| | 01:23 | So, let's go back to the image that hand here.
| | 01:25 | Let's start things off by attempting a
correction in RGB and this is an RGB image.
| | 01:31 | I'm going to go ahead and Tab back my palette.
| | 01:33 | You can see the Histogram palette up on screen here.
| | 01:35 | So, we have just got a bunch of mid tones to work with, almost
nothing in a way of highlights, nothing in the way of shadows.
| | 01:42 | So, the first thing that we need to do is hit it with
the Levels command in order to increase the contrast.
| | 01:46 | So, I'm going to go ahead and press the Alt or Option key and
click the black/white icon and choose Levels and that will bring
| | 01:53 | up the New Layer dialog box, I will call this guy Contrast
and I will click OK and that brings up the Levels dialog box.
| | 02:01 | Now, possibly the easiest thing to do here, just to get a sense
of what kinds of shadows and highlights we have available to it.
| | 02:08 | The easiest thing to do is to click on the Auto button,
| | 02:10 | which invokes the Auto Levels function
here inside the Levels dialog box.
| | 02:14 | That goes ahead and corrects the
image on a channel by channel basis.
| | 02:17 | So, notice that we don't have any values
assigned here inside the RGB composite view.
| | 02:23 | So, I have to press Ctrl+1 or Cmd+1 on the Mac in order
to switch to the Red channel for example and then I can see
| | 02:28 | that the black point and the white point had been altered.
| | 02:31 | The Gamma value is not altered at all by
Auto Levels and there is the Green value.
| | 02:37 | So, you can see each one of the channels is
altered independently, thanks to Auto Levels.
| | 02:43 | The problem with working that route, it sometimes can be
actually quite successful, but the problem, the downside,
| | 02:48 | the potential downside is that you are going to introduce
colors that are not really native to the photograph.
| | 02:53 | What if you would prefer to adjust all of the channels in kind?
| | 02:58 | Why, then you would click on the Options button right
here and instead of enhancing Per Channel Contrast,
| | 03:03 | you would enhance the Monochromatic Contrast.
| | 03:05 | So, go ahead and click on that item and now we
will see this invokes the Auto contrast function
| | 03:11 | as you can see there in parentheses inside of that hint.
| | 03:14 | I will go ahead and click OK and what that does is it applies
the exact same modifications inside each one of the channels.
| | 03:20 | So, here I'm looking at the Green channel, 59, 217.
| | 03:23 | If I go back to the Red channel, 59, 217.
| | 03:26 | Now, I don't want it to be quite that type.
| | 03:28 | Notice that the black point is just sort of abutted right against
that histogram, against the far edge of the histogram there.
| | 03:37 | It's going into it, just ever so slightly and that means we are
going to get a lot of contrast, but it also means that we have
| | 03:43 | that potential for increasing the amount of noise in the
image or for quite that type to the edge of the shadows there.
| | 03:50 | Because we are going to be bringing out a ton of noise
| | 03:52 | in this image no matter what we do, I
suggest that we ease up on this value.
| | 03:57 | So, I'm going to take it down to 55 and then I'm going to Tab
over to the white point value and I'm going to take it up to 230
| | 04:04 | and then I'm going to Shift+Tab back to the
Gamma value, Shift+Up arrow to take it to 1.1.
| | 04:09 | So, 55, 1.1 and 230 and I'm going to do the exact same thing
for the Green channel, 55, I'm going to just enter those values,
| | 04:16 | 1.1 and 230 and then for the blue channel, we are going
to be operating pretty much the same, 55, 1.1 again.
| | 04:25 | But rather than going with 230 which would retain
the natural colors that were captured by the camera,
| | 04:31 | I'm going to introduce the little bit of
additional blue by taking this value down to 220.
| | 04:36 | So, we are emphasizing the blues
by reducing the white point value.
| | 04:40 | In other words we are making more
of the colors blue inside the image.
| | 04:43 | All right, then I'm going to click
OK to accept that modification.
| | 04:46 | So things look better, this is before, this is after still
pretty nebulous, but we do have a little bit of contrast going on
| | 04:53 | and we are spreading out the histogram as you
can see here inside the histogram palette.
| | 04:56 | It has got lot of gaps in it, so it is not a good histogram
but it's a better looking image than it was before.
| | 05:02 | Now let's bring out the color saturation by Alt or Option
clicking on the black/white icon, choosing Hue/Saturation.
| | 05:08 | Go ahead and call this guy up sat, click OK.
| | 05:12 | You can take the Saturation value as high
as a 100 if you are crazy and you want
| | 05:16 | to just completely damage the image
beyond all possible recognition there.
| | 05:21 | We do want to take it really ultrahigh, partially
because we want to bring out those colors partially
| | 05:26 | to see how raising the color saturation to this
extent inside RGB doesn't work all that well
| | 05:32 | but it really works pretty darn well inside of Lab.
| | 05:35 | Anyway, so we are going to take it up to 85, +85 which is really
super high, you would pretty much never do that in real life.
| | 05:41 | But we are going to the Mac for this image, click OK in order to
accept that modification and go ahead and zoom in on the image
| | 05:48 | if you care to and you will see that we
have got all kinds of problems going on now.
| | 05:53 | We are bringing out a lot of noise,
we have a ton of banding going on now.
| | 05:58 | We can get rid of some of that, we can limit that to an extent
| | 06:01 | by focusing the Saturation value that
we just applied on just the saturation.
| | 06:08 | The weird thing about the Saturation function inside the
Hue/Saturation command is that it effects luminance Levels
| | 06:14 | and if you wanted to just effect color saturation, then
you need to apply it to the Saturation values or you need
| | 06:20 | to actually choose Saturation from a Blend Mode pop up menu and I
am going to do that and notice how things calm down quite a bit.
| | 06:27 | When we apply that function now, we still have a
lot of noise, if you have to zoom in some more,
| | 06:31 | you can see all kinds of color noise going on.
| | 06:33 | But we don't have the degree of luminance
noise that we had just a moment ago.
| | 06:38 | So, this is the color corrected version of the photograph,
this is the original one, we just opened a moment ago.
| | 06:44 | This is the corrected version here inside of the RGB mode.
| | 06:48 | It's better, I won't go so far as to say it's best, you can see
may I look over here in the upper right corner of the image,
| | 06:54 | you can see that we have quite a bit of luminance noise going
on over here and we are not going to get quite that much,
| | 06:59 | we are going to get some in Lab Color mode,
but not as much as we get here in RGB.
| | 07:04 | But there is one more thing we need to do and that is
we need to sharpen this image, it's just too cloudy.
| | 07:10 | We need to have more sharpness associated,
more details associated with this God light.
| | 07:15 | So, we are going to apply some sharpness in the next exercise.
| | Collapse this transcript |
| Sharpening luminance independently of color| 00:00 | In the previous exercise, we took a
terrible image. We took this guy right here.
| | 00:05 | This low contrast, exceedingly low color cloud image
| | 00:10 | and we corrected it. We corrected the colors, the contrast and
the saturation values here in RGB to the extent that we could
| | 00:19 | and so we have pretty much blown the saturation values
to the roof. We had to raise the saturation value to +85,
| | 00:26 | which is craziness.
| | 00:27 | Now we need to add some additional craziness by sharpening this
image so that we can draw forth the detail and we're going to
| | 00:33 | do that the smart way by adding a Smart Filter and we are
actually going to be applying the Smart Sharpen function.
| | 00:40 | And if you are interested in information about sharpening,
I am kind of assuming you know a thing or two here.
| | 00:45 | If you are interested for the full story on sharpening,
you can check out my Photoshop CS3 Sharpening images series
| | 00:52 | that's part of the lynda.com Online Training Library.
| | 00:55 | But here's what we're going to do. We are going to go down here
and it explains basically why I am approaching this the way I am.
| | 01:00 | This is just the smartest way to go.
| | 01:02 | I am going to click on the Background layer to make it active and
by the way I am working inside of a document, I went ahead and
| | 01:07 | saved my progress so far as RGB clouds.psd,
found inside the 02 What It Can Do folder.
| | 01:13 | I'm going to go ahead and convert this image to a Smart Object by
going up to the Filter menu and choosing Convert for Smart Filters.
| | 01:20 | You may see this warning that's telling you that you are making
a Smart Object. Just go ahead and click OK or you could say
| | 01:26 | Don't show again and then click OK if you like.
| | 01:28 | And that's going to go ahead and turn that layer into a
Smart Object. Let's call it RGB SO, so we know where we are
| | 01:35 | and next what I am going to do is
| | 01:38 | I am going to go up to Filter menu, I am going to
choose Sharpen and I am going to choose Smart Sharpen.
| | 01:43 | That brings up the Smart Sharpen dialog box. I am going to
go ahead and increase these values pretty significantly here.
| | 01:50 | We don't have much in the way of real detail inside
this image. All of the edges are pretty nebulous
| | 01:57 | or cumulus if you prefer.
| | 01:59 | So I am going to have to take that Radius value through the roof
really high. Another through the roof analogy for our sky image here.
| | 02:05 | I am going to take this to 12, 12 pixels which would be
again madness for a typical, everyday, average image,
| | 02:12 | but for this guy it's what we need. You can see now we
are starting to bring out some of the detail in the image
| | 02:17 | and then I'm going to raise the Amount
value, just for laughs, up to 250%.
| | 02:24 | Further craziness. Look at that image.
It's starting to really fall apart
| | 02:27 | and then I will change Remove from Gaussian Blur to Lens Blur.
Lens Blur is better for fixing the focus of digital photographs
| | 02:36 | and you can see that things actually settle down a little
bit in the background there. If you were keeping an eye out.
| | 02:40 | Now I will go ahead and click OK
| | 02:42 | in order to accept that modification
| | 02:45 | and we do have a sharpened
version of the image most certainly.
| | 02:50 | Now it may take a few moments here for
the Smart Sharpen function to apply because
| | 02:56 | the thing about Smart Objects, even though
they are very flexible, they aren't very fast.
| | 02:59 | And I am going to grab that Filter Mask right there. I am just
going to throw it away. I am just going to drag it to the trashcan
| | 03:04 | because we don't need it right now and it's easier to recreate if you need
it later. Just gobbles up a bunch of room here inside the Layers palette.
| | 03:11 | Now the big problem, if you zoom-in on this image,
you are going to see all kinds of horribleness now.
| | 03:16 | Even though the image overall looks pretty darn better actually,
| | 03:20 | the details inside the image are pretty messed up. We are starting
to draw out all kinds of weird patterns inside of the photograph.
| | 03:28 | All kind of banding and weird sort of puddles
| | 03:31 | that are forming inside the clouds, we don't want that.
| | 03:34 | Now what we are doing here is we're- notoriously when you
are sharpening inside of RGB, you are sharpening each one of
| | 03:41 | the color channels independently and that means you're exaggerating
any differences between the information in the Red Channel
| | 03:46 | and the Green Channel and the Blue Channel and as a result
you can end up creating these very colorful sharpening artifacts.
| | 03:52 | If you want to get rid of the colorfulness of it
then you want to double click on this little guy here,
| | 03:57 | this little Blending Icon. Go ahead and give it a double click. That
will bring up this little Blending dialog box. So you have to get down
| | 04:03 | with a progress report.
| | 04:05 | Photoshop has a rather irritating habit
of having to reapply Smart Filters
| | 04:10 | at the drop of a hat really.
| | 04:13 | All right, there we go. We now have the Blending Options function.
| | 04:16 | Let's change the Mode from Normal to Luminosity. So we
are only affecting the luminance levels inside the image
| | 04:23 | and we're not exaggerating the color discrepancies and that's going to
calm things down. Did you see all those little color puddles went away?
| | 04:29 | We still have luminance banding, which is
not nearly so bad as what we had before.
| | 04:33 | Now go ahead and click OK. This is just a standard
thing you do when you are sharpening images in RGB
| | 04:37 | and as we'll see, this is the standard
thing you do when you are sharpening images
| | 04:40 | inside the Lab mode as well.
| | 04:42 | And that is the corrected version in RGB. Now I
could do some other things. I could go different ways.
| | 04:48 | I could double-click on the Levels Adjustment layer, make some
modifications, if I wanted to draw forth different colors and so on
| | 04:54 | and so on. So you could certainly spend a lot more time on
this image if you wanted to but from this point on everything
| | 05:00 | we've done so far is pretty quick. From this point on you can spend a lot of
cycles, that is you're going to spend a ton of time getting very little done.
| | 05:08 | Making that kind of 10% incremental progress
whereas we could just switch over to Lab
| | 05:13 | and make all kinds of additional progress in a lot
less time and that's what we were going to begin doing
| | 05:19 | in the next exercise.
| | Collapse this transcript |
| Correcting a very bad image in Lab| 00:00 | In the exercise, we are going to begin to reattempt
to correct this dismal photograph right here
| | 00:06 | but this time inside the more powerful Lab Color mode.
| | 00:10 | Now it's amazing that we were able to get this
far in RGB in just a matter of a few minutes.
| | 00:14 | We were able to transform this into this in the RGB Mode and
it just proves how powerful Photoshop is that you can do that.
| | 00:22 | However, we are not taking advantage of all of the power of
Photoshop the most we get to here inside the Lab Color mode.
| | 00:28 | Now it will take us a few exercises just to get
here but we will do it if you stick with me.
| | 00:33 | All right, now this is the original
image, go ahead and open it up.
| | 00:36 | This is the God light.tif file found
inside the 02 What It Can Do folder.
| | 00:39 | If you have been working right along with
me go ahead and save off that RGB correction
| | 00:44 | as a different file and then reopen this one.
| | 00:47 | The first thing we are going to do is go up to the Image
menu, choose Mode and choose Lab Color in order to convert it
| | 00:52 | to Lab color space, that doesn't automatically correct
the image of course, it looks the same as it ever did,
| | 00:58 | but we have managed to transform the RGB
Channels into Lab Channels into Lightness,
| | 01:05 | A and B and check it out here is our Lightness Channel
looks more or less like you think it would look
| | 01:10 | and it's just a gray scale version of this
which is to say not too different actually,
| | 01:15 | but check out A and B, you thought they were bad before.
| | 01:20 | Well, we are looking at those really great photographs.
| | 01:23 | When you are looking at a really low color photograph like
this one here, you have got virtually nothing to play with.
| | 01:27 | Check out the Histogram inside the Histogram palette here.
| | 01:30 | I will go ahead and click the Update button so we can see it.
| | 01:32 | In all of its splendor there is the
B Histogram, just a little dinky guy.
| | 01:36 | Just kind of a column in the middle
of this box here and if you thought
| | 01:40 | that was bad checkout A. I will go
ahead and click on the A Channel.
| | 01:43 | Just like the cutest little histogram on the face of the planet.
| | 01:46 | Almost nothing to work with.
| | 01:47 | It's just kind of this sapling of a histogram, crying out
for us to water it and that's what we are going to do.
| | 01:54 | So click back on Lab Version of the image.
| | 01:56 | Let's switch to the Layers palette.
| | 01:58 | All right, let's go the bottom of the Layers palette here.
| | 02:00 | Alt or Option+Click in the black white
icon, choose the Levels command once again.
| | 02:03 | We will start with Levels anyway.
| | 02:04 | We will see if we could make more progress
with curves but we will do that later.
| | 02:09 | Let's go ahead and call this one color enhance, sort of
words to that effect and click OK because as you may recall,
| | 02:16 | we can both correct the contrast and the saturation
from the Levels Command here inside the Lab Color mode.
| | 02:23 | The Lab Channel is active.
| | 02:25 | Let's just go ahead and click on
Auto to see what it comes up with.
| | 02:27 | Now Auto unlike what we saw when we are working in RGB, the Auto
function doesn't change all of the RGB Channels independently
| | 02:36 | of each other or even all of the Lab
Channels independently of each other.
| | 02:40 | Rather it just changes the active channel,
which is Lightness and notice if we click
| | 02:44 | on Options, you don't have the same options this time.
| | 02:45 | You lose all those little radio buttons that we saw before.
| | 02:49 | So we just have one auto function to choose from.
| | 02:51 | It's a little tied to the histogram once
again so I'm going to take this value
| | 02:54 | down from 61 to 60, so it's just ever so slightly down.
| | 02:57 | Going to leave the Gamma value alone for now and let's
go ahead and raise the white point value up to 230.
| | 03:03 | So we are just giving ourselves little more
wiggle room trying to avoid the noise once again.
| | 03:07 | We are still going to get a lot of noise but maybe not so much.
| | 03:10 | All right, now let's go to a, our little V Histogram here
in a that were going to try to just spread out like crazy.
| | 03:17 | Now that is going to create noise.
| | 03:18 | Nothing to be done about that.
| | 03:20 | That's just the way it is.
| | 03:21 | But check it out.
| | 03:21 | We are really going to spread it.
| | 03:22 | I'm going to click inside of the Black Point Value and I'm
going to press Shift+Up Arrow 10, count them 10 times in a row
| | 03:29 | to get a value of a 100 and that turns the image this
incredible shade of turquoise as it would any image of course.
| | 03:37 | Now, click in the White Point value and let's press
Shift+Down Arrow 10 times in a row until we get a value of 155
| | 03:43 | and that balances out the turquoise by introducing that crimson
or magenta or red or whatever you want to call it, lavender.
| | 03:50 | All right, so the A Channel looks balanced by
the way it doesn't look like we have any color.
| | 03:54 | We have a little bit of crimson down here at the bottom
of the clouds, just kind of nice and that's about it.
| | 04:00 | All right, let's switch over to B.
That's going to give us some more color.
| | 04:03 | Click in the Black Point Value.
| | 04:04 | Let's just go ahead and change it to a 100 as we know
that's what we want, if we were going for symmetrical values
| | 04:08 | which we are right now and then tab, tab and 155 for this guy.
| | 04:13 | So first we made the image really super
cobalt and now we were balancing it
| | 04:16 | with yellow and this is the version of the image we get.
| | 04:18 | Now bear in mind when we were using the Levels
Command like this, we have got four different options,
| | 04:24 | four different values to balance out our
saturation as opposed to just one mallet
| | 04:29 | of a Saturation value inside the Hue/Saturation
dialog box we have four values to play with.
| | 04:33 | That gives us a lot more control as well as of
course, a lot more responsibility and so it's going
| | 04:38 | to take you a little extra time but
let's make some creative decisions here.
| | 04:41 | Guess what's coming.
| | 04:42 | Let's say I decide for example that I want more blue in the sky.
| | 04:45 | Well here I'm in the B Channel.
| | 04:47 | So I will click the Black Point, which is blue.
| | 04:49 | So blue is over here in the left and yellow is over here
in the right and I'm going to take these value up in order
| | 04:56 | to introduce more blue and I press Shift+Up Arrow
then Up Arrow few times by itself to get a value
| | 05:01 | of 115 that gives us a lot of blue as you can see.
| | 05:04 | That's too much so let's balance it out with a
little bit of additional yellow by taking this value
| | 05:08 | down to reduce the yellow value in order to make it
yellower and actually we will take that value down to 147,
| | 05:15 | not all the way down to 145 but 147
and now that's looks pretty good.
| | 05:19 | Now we need to balance our big modifications, our exaggerate
modifications in the B Channel with some exaggeration
| | 05:25 | to the A Channel because we need to balance
out the opposing excess, don't you know?
| | 05:30 | Let's click in the little turquoise value right here.
| | 05:32 | So turquoise on the left, crimson if you will on the
right and I'm going to take this value up to 108, tab,
| | 05:39 | tab over to crimson and take this value down to 146.
| | 05:43 | That looks pretty good and then I will click
OK in order to accept that modification.
| | 05:47 | Just to give you a sense of what we have accomplished my friends,
my fine friends, oh, by the way I want to tell you one thing,
| | 05:53 | this is a little bit of an aside, and then
I will show you what we have accomplished.
| | 05:55 | Notice how when I'm adding Adjustment Layers you are not
seeing a mask, you maybe seeing layer masks that are taking
| | 06:01 | up this atrocious amount of room, if you don't
need them there is no point to having them there.
| | 06:05 | So here is what I suggest you do, just
in case you are wondering how I got here.
| | 06:08 | I clicked this little menu Icon and I chose palette Options
| | 06:12 | and inside this dialog box I turned
off Use Default Masks on Adjustments.
| | 06:16 | It's On by default.
| | 06:17 | You turn it off because it's an evil
little option, turn it off, click OK.
| | 06:22 | It's easier to add masks when you need them in my opinion.
| | 06:25 | So evil was that?
| | 06:26 | That wasn't fair, not evil just menacing.
| | 06:29 | All right, so let's tab away to palettes.
| | 06:31 | Here is what we were able to accomplish so far in Lab.
| | 06:34 | This is what we got in RGB.
| | 06:36 | So there are slightly different results.
| | 06:37 | Not only do we have a lot of sharpening
going on inside the RGB image,
| | 06:40 | we will come to that in the next exercise
but the colors look little bit different.
| | 06:44 | So we have got a little bit of rosiness in the
highlighted portion of the sky here inside of RGB whereas
| | 06:50 | in Lab it's a little bit yellow or a little bit more
neutral and then there is some differences going
| | 06:55 | on down here at the bottom of the sky and so on.
| | 06:58 | You do not want to spin your wheels trying
to get exactly the same results in RGB
| | 07:01 | and Lab because they are fundamentally different color models.
| | 07:04 | You are by definition going to get slightly
different results out of these two color modes.
| | 07:09 | Just bear that in mind.
| | 07:10 | Anyway here is the corrected version of the image so far.
| | 07:13 | It's not really what we were finally going for.
| | 07:15 | This is the final version of the image that
we are going for but we will get, have faith.
| | 07:19 | In the next exercise, we are going to sharpen
the detail inside of this photograph in Lab,
| | 07:24 | then you will see how that is both potentially different
than it is in RGB and actually exactly the same.
| | 07:32 | Stay tuned.
| | Collapse this transcript |
| Sharpening the Lightness channel| 00:00 | Alright gang it's time to sharpen this image that
we have corrected inside of the Lab Color mode.
| | 00:06 | I'm working inside of a catch-up document so I
have saved my progress so far as lab clouds (Levels)
| | 00:11 | because so far we have corrected the
image using Levels, later we will curves.
| | 00:15 | .psd found inside the 02 What It Can Do folder.
| | 00:18 | Now when it comes to sharpening a Lab image,
you are going to hear people give you advice,
| | 00:24 | if you know any technical types who sharpen in lab all the time.
| | 00:28 | What they do is the following.
| | 00:30 | I will show you the typical way to sharpen a lab
image and then I will show you the better way
| | 00:33 | that actually gives you identical results and
it's the identical approach that we apply with RGB
| | 00:41 | but it's different results in RGB, same approach.
| | 00:43 | You will see what I mean but let me
show you how people recommend you do it.
| | 00:46 | Then we will see that really that's not the right way.
| | 00:48 | All right, I'm going to click on the Background image.
| | 00:50 | I'm going to go to the Channels palettes.
| | 00:52 | I will click on Lightness in order to make it active and
then I will click the eyeball in front of the Lab composite
| | 00:59 | so that we can see the entire full color image even though we
are just going to be editing lightness and now I'm going to go
| | 01:04 | up to the Filter menu and I'm going to choose
Sharpen then I'm going to choose Smart Sharpen
| | 01:10 | and it should show us the last settings we applied which
were an Amount Value of 250%, a Radius Value of 12 pixels,
| | 01:16 | Remove set to Lens Blur and we are only
working on the Lightness Channel, nothing more.
| | 01:22 | So we are seeing a gray scale version
of the image here inside the dialog box.
| | 01:25 | Go ahead and click OK in order to accept your results
and what Photoshop has done is it's gone ahead
| | 01:31 | and just sharpen the luminance information
independently of the color information.
| | 01:36 | So we don't have those horrible weird sort of colored
puddles that we saw in RGB a couple of exercises ago
| | 01:44 | and so that's a really great way to work and nothing against it
except that this is a static adjustment we have just applied.
| | 01:51 | I can't go back and modify it later
in case we want to change the values.
| | 01:55 | So what do you do if you would prefer to use
a Smart Filter, which is the better approach.
| | 02:00 | Well, you can't apply a filter just to one channel
if you apply it as a Smart Filter to a Smart Object
| | 02:07 | because you are affecting the composite image or can you?
| | 02:10 | Well actually with the help of the Blend Mode you can.
| | 02:12 | So I'm going to go ahead and undo that modification.
| | 02:15 | Click on Lab once again, go back to Layers.
| | 02:18 | Make sure the Background layer is active.
| | 02:20 | I'm going to go up to the Filter menu.
| | 02:22 | So this is the same approach we took with RGB.
| | 02:24 | Go up to the Filter menu, choose Convert for Smart
Filters in order to convert it to a Smart Object,
| | 02:29 | let's call this guy Lab SO, so that we know it's a Lab
Smart Object, so that we can just look at the Layers palette
| | 02:36 | and tell which color mode we were working in.
| | 02:38 | Now I'm going to go up to the Filter menu and choose that
very first command Smart Sharpen to reinvoke that dialog box.
| | 02:45 | Once again 250, Radius of 12, Remove set to Lens Blur, click OK.
| | 02:50 | Oh my goodness, why in the world did I do that?
| | 02:52 | Because look at what a mess it's going to be, don't pay
any attention to this infuriating Progress Bar go, go, go,
| | 02:57 | just look at the colors back here in the background.
| | 03:00 | They look terrible.
| | 03:01 | We haven't introduced color puddles this time.
| | 03:03 | This is some sort of like colored sand art or something.
| | 03:07 | Well, the first step, let's get rid of this
filter mask just because we don't need it.
| | 03:10 | Just to tidy up and then what you do is you double click on
the little Blending Icon, it's the same thing we did with RGB
| | 03:15 | but it produces a slightly different result this time.
| | 03:18 | Double click on the Blending Icon and that's going to bring up --
| | 03:22 | after an hour and half of waiting for
the Smart Sharpen Progress Bar to go by,
| | 03:26 | it's going to bring up that little Blend
dialog box we saw just a moment ago
| | 03:30 | and again I'm going to change Mode from Normal to Luminosity.
| | 03:35 | Now you might think it would be nice
if there was like an additional option
| | 03:39 | when you are working in a Lab Mode that said Lightness.
| | 03:41 | So you know you are just affecting the Lightness Channel inside
of the image, but actually you are that's what luminosity does.
| | 03:49 | It limits your modifications to just the
Lightness Channel, that's how it works
| | 03:54 | and it avoids sharpening either the A or the B Channel.
| | 03:57 | Go ahead and click OK.
| | 03:58 | Now I know this to be effect.
| | 04:00 | I have performed many, many test and done all kinds
of comparisons and they are pixel for pixel identical.
| | 04:08 | Just so you know, in my experience.
| | 04:10 | So that's how you work.
| | 04:11 | If you want to work inside of lab image and you want to
affect just lightness channel independently of A and B
| | 04:16 | and you can even see if you click on the A and B
channels you will see that it's just soft as anything.
| | 04:20 | Look at those guys.
| | 04:21 | They don't have any sharpening that's been added.
| | 04:23 | There is B, there is A, no sharpening whatsoever and
we are seeing the color channels and colors you can see
| | 04:28 | but lots of sharpening applied here inside the Lightness Channel.
| | 04:31 | Thanks to the fact that we converted the entire image
here to a Smart Object, applied Smart Sharpen to it
| | 04:39 | and then limited our modification
just to the Luminosity Blend Mode.
| | 04:45 | So there we have it, Thus far we have
got a pretty decent image I think.
| | 04:50 | This is how our Lab Image looks so far.
| | 04:53 | Compare it to how the RGB version of the image looked and so, so
far you may say well, Gosh, I don't know which one I like better.
| | 05:01 | Here is the Lab version.
| | 05:03 | Here is the RGB version.
| | 05:04 | I might go so far as to say I kind of like the colors
inside the RGB version a little bit better but if I go back
| | 05:11 | to Lab version you can see that it don't have
those highlights blowing out in this region
| | 05:15 | of the clouds the way they do in RGB and here is the real trick.
| | 05:19 | I don't have the problems up in the
upper right corner of the image.
| | 05:21 | So this is the Lab version of the image.
| | 05:24 | This is the RGB version.
| | 05:26 | Checkout all that noise and all that
clunkiness in the upper right hand corner.
| | 05:29 | Don't have it inside of the Lab version.
| | 05:33 | But we can still do better than that.
| | 05:35 | We can do much better than this.
| | 05:37 | We can make the image look this if we switch from
Levels to Curves and we are going to do exactly
| | 05:43 | that as you might imagine in the next exercise.
| | Collapse this transcript |
| Finessing the Lightness channel with Curves| 00:00 | So far we have done a good job of correcting
the colors in this image in the Lab Color mode,
| | 00:06 | but our goal is not to do a good job, it's to do a great job.
| | 00:09 | So this is Lab version of the image thus far and the name of
this document by the way I have gone ahead and saved my progress.
| | 00:15 | It's called The Lab clouds so far.psd
found inside the 02 what it can do folder.
| | 00:21 | These are the RGB clouds, which look somewhat better in the color
department a little bit I would say but look much worse in terms
| | 00:29 | of the noise department, witness most
prominently up here in the upper right corner
| | 00:32 | of the image and this is what we are going for.
| | 00:35 | We want to get this effect here which
is just it's almost noiseless,
| | 00:39 | has very little noise associated with
it and it just oh, just beautiful.
| | 00:43 | All right, so let's see what we can do here.
| | 00:46 | Our mistake thus far as that we are
relying on the Levels Command.
| | 00:49 | The Levels Command is great if you only
need to go so far because it's easy to use.
| | 00:54 | It's little more predictable in my opinion.
| | 00:56 | But you kind of top out.
| | 00:58 | Whereas with the Curves Command you have a lot more
flexibility but you also have a lot more to manage.
| | 01:03 | So let's give it a try.
| | 01:04 | I'm going to tab back my palettes here and I'm
going to turn off the Levels Adjustment Layer.
| | 01:10 | You could if you wanted to.
| | 01:12 | You could just go ahead and click on the Levels Adjustment Layer.
| | 01:14 | You can go up to Layer menu and you could say
Change Layer Content and you could choose Curves
| | 01:18 | and that will transform it into a Curves Adjustment Layer.
| | 01:21 | But you will lose all of your adjustments.
| | 01:24 | It will start over from scratch.
| | 01:26 | So what I suggest you do instead, go ahead and Cancel out.
| | 01:28 | What I suggest you do is just turn it off.
| | 01:30 | That way you can come back to it if you need to and
then click on the original version of the image.
| | 01:36 | What is now a Smart Object.
| | 01:38 | Press and hold the Alt key or the Option key on the
Mac, click on the black/white icon and choose Curves
| | 01:42 | and by the way it's perfectly acceptable to add a bunch
of adjustment layers to an image that you are not using,
| | 01:47 | because they take barely any room up inside of your image file.
| | 01:51 | It only added a few K, they are very small.
| | 01:53 | So I'm going to change the name of this guy to curves you know
modification or something along those line and then I'm going
| | 02:00 | to click OK and we are working in the Lightness Channels
for starters and then there is the A and B Channels as well.
| | 02:06 | Now the Curves dialog box works differently.
| | 02:09 | We can't see here in Photoshop CS3.
| | 02:11 | We can see a histogram in the background.
| | 02:14 | So we know where to put our white and black points.
| | 02:18 | So here is the Black Point.
| | 02:18 | By default you should see this setup here where you are seeing
black in a lower left corner and white in the upper right corner.
| | 02:24 | That's the way I prefer to work.
| | 02:26 | Some people prefer to work differently but if you are
going to work along with me you need to make sure,
| | 02:29 | notice that I click this double down pointing arrowhead thing.
| | 02:32 | You need to make sure that Show Amount
of is set to Light, not Pigment.
| | 02:36 | That way we are working the same way we are used to working and
I'm going to go ahead drag this Black point over to the left
| | 02:43 | and notice that as I do it or I could just click on Auto.
| | 02:47 | That's what I will do click on Auto and then it will
just automatically fix just like we did with Levels.
| | 02:51 | That will automatically fix that Lightness Channel.
| | 02:54 | But notice instead of setting the Input Value to 61 as it did
in the case of Levels, a couple of exercises ago you may recall,
| | 03:03 | it sets it to 23 and instead of setting I will go ahead and click
on the White point, instead of setting it to what was it before,
| | 03:09 | it was something like 221 or something
I can't remember exactly what.
| | 03:12 | But it sets it to something around 80, the high 80s, the low
90s because it just kind of moved it when I clicked on it.
| | 03:19 | Let's click Auto again.
| | 03:20 | See what it sets. 89.
| | 03:21 | Is what it sets it to.
| | 03:23 | So what in the world is going on?
| | 03:24 | Well, we are not working with luminance levels anymore
or at least we are but it's not talking to us that way.
| | 03:30 | Curves is, instead of talking to us from zero to
255, the way the Levels dialog box was talking to us,
| | 03:36 | it's talking to us from zero for Black to 100 for White.
| | 03:41 | So we have 101 different levels.
| | 03:44 | We actually still have the same 256 different levels
it's just the values don't react in the same way.
| | 03:49 | So it's a little confusing, which is another
reason I kind of prefer to work with Levels.
| | 03:53 | But anyway let's go back down here I'm going to Ctrl+Tab,
if you press Ctrl+Tab inside the Curves dialog box
| | 03:59 | and this is either a Mac or a Windows Ctrl+Tab,
you will switch back and forth between points.
| | 04:04 | So that you don't run the risk of like clicking on
it and slightly nudging it to a different location.
| | 04:09 | I'm going to change this Input Value to 21 by
pressing a left arrow key a couple or three times,
| | 04:14 | actually more than three times, as many
times as it takes to get it down to 21.
| | 04:18 | Because every time you nudge that from the
keyboard you are changing a luminance level,
| | 04:24 | so have 256 different luminance levels to work with but
you only have a 101 values that are going to show up here.
| | 04:31 | So it's going to take you probably five presses of
the left arrow key to get from 23 down to 21 there.
| | 04:38 | Then what I'm going to do is I'm going to add --
| | 04:41 | well actually you know what, I'm going to Ctrl+Tab
up to this white point there and let's go ahead
| | 04:46 | and press the right arrow key a few times
until we change the Input Value to 93.
| | 04:52 | So we are just saying anything that has an Input
of 93 is going to change to an Output of a 100.
| | 04:56 | So it's going to get brighter and now I'm going
to add a few significant points to the graph,
| | 05:00 | and the way that we do that is you
just drag around inside of the image.
| | 05:04 | You just click and drag around inside of
the image and you follow the bouncing ball.
| | 05:07 | See that bouncing ball is showing up
here in the upper right-hand corner.
| | 05:10 | When I drag again and that shows you that this range
of colors if you want to be able to control them are
| | 05:15 | around the array indicated by the bouncing ball and if you
just want to add a point to that location then you Ctrl+Click
| | 05:22 | or you Cmd+Click inside of the
image on the Macintosh side of things.
| | 05:26 | We don't have to press the Shift key
or anything the way we do in RGB.
| | 05:29 | We just get a point at this location, just inside the
Lightness Channel because that's the channel we are working on.
| | 05:33 | You can only work in one channel at a time when you
working in Lab and let's go ahead and take this guy.
| | 05:38 | Right now for me it's showing up as an
Input Value of 76 and Output Value of 76.
| | 05:43 | What we want is an input of 75 and we want an output of 79.
| | 05:49 | So you can change the values or you
can just press the arrow keys.
| | 05:52 | You change the Input Value, if you are pressing arrow keys.
| | 05:55 | You change the Input Value by pressing
the left and the right arrow keys.
| | 05:58 | You change the Output Value by pressing the up
and down arrow keys and that's what I'm doing.
| | 06:03 | Work any way you like to work and then let's sort of click
over here in this region in order to sort of lift the color
| | 06:10 | and I'm going to Ctrl or Cmd+Click right there in the
section of the clouds and I get 28, 38 whatever but we wanted
| | 06:17 | to be because an Input of 44 that's what's going
to work best for us and how did I figure this out.
| | 06:23 | Good little trial and error, I found
some values that work for us.
| | 06:26 | Input of 44, and Output of 32 is
going to hold us in good stead here.
| | 06:31 | Now, that's not giving me as much brightness
as I want down here sort of in this low level,
| | 06:36 | this far distant portion of the clouds
down through the bottom of the image.
| | 06:39 | So I'm going to click midway between
these two points right here.
| | 06:42 | I'm going to click right about there in
order to set a point and we want that one
| | 06:46 | to be an Input of 54 and the Output Value should be 50.
| | 06:53 | So I'm going to go ahead and take that down.
| | 06:55 | So I took it down into the left and then
finally I'm going to set another point
| | 06:58 | down here just so that we can sink the darks a little bit.
| | 07:02 | I really want those clouds to be nice and dark.
| | 07:05 | We want some nice shadows.
| | 07:07 | Some rich shadows going on, so click right
about there and we will change that guy to --
| | 07:12 | well, let's say how about 37 as I recall
it's going to work out Well for us.
| | 07:17 | An Input of 37 and an Output of 10.
| | 07:19 | Oh, it's already set to an Output of 10.
| | 07:21 | So this should work out pretty nicely.
| | 07:24 | So just to review all the points we
have in our lumpy looking graph here.
| | 07:27 | I'm going to press Ctrl+Shift+Tab in order to go to the first.
| | 07:32 | You can go backward to the points with
Ctrl+Shift+Tab forward to the points with Ctrl+Tab.
| | 07:36 | So we have got 21, 0 and then we have got 37, 10.
| | 07:41 | I'm reading the Input Value first and the Output Value
second and then we have 44, 32 and then we have 54,
| | 07:48 | 50, we have got 75, 79 and we have got 93, 100.
| | 07:54 | How would you know to use such values?
| | 07:57 | You would play around and try to figure it out.
| | 07:59 | You can always go back, right?
| | 08:00 | Click OK in order to accept those modifications.
| | 08:03 | If you change your mind later, all you have to do is
double-click on this icon to bring up the Curves dialog box
| | 08:08 | and play some more until you get exactly the result you want.
| | 08:11 | All right, I'm going to click OK because that's enough for now.
| | 08:13 | All we have done is we have transformed the luminance levels
because we just changed the Lightness Channel and nothing else.
| | 08:20 | In the next exercise, we are going
to correct the A and B Channels.
| | 08:25 | Get sight.
| | Collapse this transcript |
| Applying Curves to the a and b channels| 00:00 | In the previous exercise, we saw that despite the fact that
the Levels Command is exceedingly powerful and often times all
| | 00:08 | of the power of you need, the Curves
Command is more powerful still.
| | 00:11 | So if you need more control over the luminance
Levels inside of an image then you need to switch
| | 00:18 | up from Levels to Curves and that's exactly what we did.
| | 00:21 | And I'm looking it by the way; I'm looking
at a catch up version of the document.
| | 00:25 | So I have gone ahead and saved my progress so far as
this image here it's called Finessed Lightness.psd.
| | 00:31 | So called because we have finessed the Lightness
Channel but not the A and B Channel so far.
| | 00:35 | This image is found as usual inside
of the 02what_it_can do folder.
| | 00:39 | Now I'm going to go down here to the curves
modification adjustment layer that I have created.
| | 00:45 | And thanks to the fact we are using adjustment layers we have
the opportunity to modify our settings as much as we please.
| | 00:51 | So I'm going to double click on that Adjustment Layer Thumbnail
in order to bring up the Curves dialog box and you can see
| | 00:56 | that in addition to a Black Point and a White Point
and a Gamma midpoint which is all we get with Levels.
| | 01:03 | We were controlling a total of four points between
the black and white points here inside of Curves.
| | 01:10 | So that gives us control over things like a Quarter Tones,
on the three Quarter Tones and a Mid Tone and everything.
| | 01:15 | We just have all kinds of control over exactly
where that specific brightness values are landing.
| | 01:21 | And that means we can really add some impact, a lot of
impact to these rays of light that are going to the cloud.
| | 01:28 | Let's see if we can do something similar
with the A and B Channel so that we can.
| | 01:31 | So I'm going to switch over to the A Channel here.
| | 01:34 | See that the histogram, we can barely see it.
| | 01:36 | We have got tiny little histogram
going on right there and it looks
| | 01:41 | like the vertical line is just a little
bit smeared but that's the histogram folks.
| | 01:45 | And I'm going to go ahead and click on this
white point value right there to make it active.
| | 01:50 | And as long as neither the output nor the input values is active,
| | 01:53 | which is true for me that I can press
Shift+Right Arrow several times in a row.
| | 01:58 | I don't know how many times in all but
until we get an Input Value of -28.
| | 02:02 | So we are going from an Input Value of -28 to an Output
Value of -128 and notice by the way Curves is talking to us
| | 02:10 | yet again differently than the Levels Command did.
| | 02:14 | So Levels when we are working of inside of Lightness, A or B was
always talking to us in terms of luminance Levels as measured
| | 02:21 | from 0 to 255, whereas Curves is talking
to us the way that the Color palette we saw
| | 02:26 | that in the previous chapter, the
way that the Color palette does.
| | 02:29 | So zero through a 100 in the case of
Lightness and -128 through, I will go ahead
| | 02:34 | and click on this guy +127 here inside the A and B Channels.
| | 02:39 | Now when I clicked on this point x
they only nudged to down a little bit.
| | 02:42 | So we wanted to start off at 127, 127 and then I
am going to press Shift + Left Arrow several times
| | 02:49 | in a row until I change the Input Value to 27.
| | 02:52 | So we are going from an Input of 27 to an output of 127 in order
| | 02:56 | to exaggerate the turquoise and crimson
colors inside of this image.
| | 03:02 | Well done.
| | 03:02 | Let's go ahead and we are just trying to stick with symmetrical
changes thus far, just as we did with the Levels Command.
| | 03:07 | Let's go to B now and I have got --
notice I have the white point active here.
| | 03:13 | I'm going ahead and clicking on it.
| | 03:15 | Now you may find for whatever reason that
one of your values becomes active down here.
| | 03:20 | If then happens it's really difficult especially in Windows.
| | 03:23 | It's very difficult to get it to stop being active
| | 03:26 | and if that's the case you can just press
Shift+Down Arrow, if the input value is active.
| | 03:32 | You press Shift+Down Arrow in order to
reduce that value as many times as necessary.
| | 03:36 | Reduce that value to 27 and that would actually be ten times
in a row and then I will click on the Black Point down here
| | 03:43 | and that makes my values inactive which is great.
| | 03:45 | So now I can press Shift+Right Arrow.
| | 03:48 | So whatever it takes you can drag them as well so that
we have an Input Value of -28 and Output Value of -128.
| | 03:56 | So again, we are going with symmetrical adjustment thus far.
| | 03:58 | Now we make some additional modifications.
| | 04:01 | We are going to decide which colors we want to emphasize
and I want to bring some more blues out inside of the image.
| | 04:06 | So I'm going to press Shift+Right Arrow once in order to
make the Input Value -18 and then I'm going to back it off
| | 04:13 | by pressing the Left Arrow Key a couple of times.
| | 04:16 | So I'm making the input value -20.
| | 04:19 | So we are working with Luminance Level.
| | 04:21 | So in this case, each press of an Arrow Key is
going to change the value by an increment of one.
| | 04:27 | It's just the Lightness Channel that reacts strangely.
| | 04:29 | Now I'm going to press Ctrl+Tab to switch over to the
other point, the yellow point as it were and I'm going
| | 04:36 | to nudge the Input Value over to the left until it changes to 24.
| | 04:40 | So 24 for Input and 127 for Output.
| | 04:44 | For the other point, it's -20 for Input, -128 for Output and
that gives us little bit of yellow and the blue going on.
| | 04:52 | Little bit of yellow and blue action but I really
want the A Channel to sink inside of this image.
| | 04:58 | I want to see some powerful almost
some violets inside of this sky.
| | 05:02 | So I'm going to go over to the A Channel and I
am going to make sure that this guy is active.
| | 05:08 | Let's go ahead and click in the White Point
which represents the crimsons and I'm going
| | 05:12 | to press the Left Arrow Key until I get an Input Value of 18.
| | 05:17 | So Input of 18 going to an Output of 127.
| | 05:20 | So we are really making the sky more
purple actually in this case.
| | 05:24 | Then I'm going to press Ctrl+Tab to switch to the
Black Point, which represents the turquoise values,
| | 05:30 | and then I'm going to press the Right
Arrow Key just once to change it to -27.
| | 05:35 | So Input -27, Output -128.
| | 05:38 | Now that doesn't quite do it for us.
| | 05:40 | I want some of the colors in the middle range.
| | 05:43 | I want to bring the colors away from
this gaudy purple that we have going on.
| | 05:48 | And so I'm going to click right about there let's say midway
right in the center that is the horizontal center of the graph
| | 05:56 | and that gives me an input of zero and output of 16.
| | 05:59 | I'm going to change the Input to two.
| | 06:01 | Notice that just that slight movement
of the Input Value over to the right.
| | 06:06 | See that this is the sky as it looked before purplish.
| | 06:09 | I'm getting rid of that purple by scooting the Input Value over
to two and I just press the Right Arrow Key two times in order
| | 06:16 | to accomplish that and then I'm going to press the Up
Arrow Key a few times until I get the Output Value up to 21.
| | 06:22 | So we want that guy right there to be 2, 21.
| | 06:25 | Again, trial and error.
| | 06:26 | So it's just was messing around until I came
up with this and then it was like, that's it.
| | 06:30 | Now I have could, of course painstakingly muck around with
this some more if I wanted to but by golly this is good.
| | 06:37 | Now I will go ahead and click OK in
order to accept that modification.
| | 06:41 | So this is what the image look like when we
started things off, basically no color image.
| | 06:46 | This is what it looks like now.
| | 06:48 | Thanks to the modifications that we have made.
| | 06:50 | I'm going to go ahead and tab away my palettes here.
| | 06:53 | That's a big difference than the
RGB version of the image right here.
| | 06:56 | So that's the RGB correction.
| | 06:58 | This is our much enhanced; much better
Lab correction to this image.
| | 07:05 | And you can see also we are not getting nearly the noise.
| | 07:07 | We do have a lot of noise going on.
| | 07:09 | Here is the RGB version of the image.
| | 07:11 | I will go ahead and zoom-into this area
and you can see all the noise that's going
| | 07:15 | on in this upper right corner of the image as compared to.
| | 07:18 | Let's go ahead and zoom-in on the Lab Correction so
far and you can see that there are some areas of noise
| | 07:25 | and some areas of posterization but it's not nearly so bad.
| | 07:28 | We have much smoother transitions going on.
| | 07:31 | That's not quite good enough.
| | 07:33 | It's pretty done great.
| | 07:34 | I will go on recur to saying I like this modification.
| | 07:37 | Its sure, heck, it looks better than the
original but it could be just slightly better
| | 07:42 | and we are going to go ahead invest that effort.
| | 07:44 | We are going to make it that much better.
| | 07:45 | That extra 10% better.
| | 07:47 | It's not going to take that much more work and
we are going to do that in the next exercise.
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| Sharpening for effect, blurring away noise| 00:00 | This is a final exercise, people.
| | 00:02 | We are taking this image to the mat, we are going to win.
| | 00:05 | This image is going look utterly and completely beautiful.
| | 00:08 | Now it already looks pretty dRAWn great actually.
| | 00:12 | This is our progress so far.
| | 00:13 | I have gone ahead and saved it out as file
called God is ecstatic, not God is happy,
| | 00:18 | God is ecstatic.psd found inside the 02what_it_can_do folder.
| | 00:24 | But God could still be just a little bit happier if
there wasn't so much noise in the shadow detail here.
| | 00:30 | I think that would be a good thing, so we need to get
rid of that noise plus I'm going to emphasize the rays
| | 00:36 | of light a little bit more, I want
to add a little bit more sharpening.
| | 00:39 | Now if you have seen my Sharpening series, you
know that I'm pretty free about sharpening,
| | 00:44 | I'm okay with sharpening on top of sharpening.
| | 00:46 | If we are sharpening details in the image and then we are
also Sharpening for a fact and that's what we are going to do.
| | 00:51 | So we have already sharpened for detail.
| | 00:53 | Now let's go for effect, I'm going to press the Tab key
to bring up my Layers palette and I'm going to go ahead
| | 00:58 | and click on the Lab SO Layer right here, we have
already got one heaping helping of Smart Sharpen applied.
| | 01:05 | Let's apply another one and this time we
are going to use the same amount setting,
| | 01:10 | we are going to change out the radius settings
and we are going to focus in on a narrower target.
| | 01:15 | So I'm going to go up to the Filter menu and I'm going
to choose this first command, it should be available to you
| | 01:21 | as well first if you have been following along with it.
| | 01:23 | If not, if Smart Sharpen isn't in the first command then
go down to the Sharpen menu, the Sharpen submenu that is
| | 01:29 | and then choose Smart Sharpen and that'll
bring up the Smart Sharpen dialog box.
| | 01:33 | And I want you to reduce the radius value to 4, so an amount of
250, radius 4, Remove set Lens Blur, that's all there's to it.
| | 01:40 | It going to have a lot of noise inside this image, click OK.
| | 01:44 | Oh my gosh, look how sharp it is.
| | 01:46 | It looks really, really great.
| | 01:48 | The only thing is that we are adding a ton of
noise to the image of course, look at that.
| | 01:54 | Oh my gosh, this looks terrible in the shadow detail here.
| | 01:57 | Plus, I'm bringing out a lot of color noise.
| | 01:59 | Now of course, I can get rid of that color
noise, the new Smart Sharpen is on top,
| | 02:03 | by the way down here at the bottom of the Layers palette.
| | 02:06 | So this tops Smart Sharpen is the
most recent one we have applied.
| | 02:09 | And so you want to double click on the little blend slide
there top of the two blend sliders, double click on that guy.
| | 02:15 | And that'll bring up after we wait
for the progress bar of course.
| | 02:19 | It's lovely to see that again.
| | 02:23 | Eventually you'll see the Blending Options dialog box here,
go ahead and change Mode; once again from Normal to Luminosity
| | 02:29 | in order to focus all of the sharpening
attention on the lightening channel exclusively
| | 02:33 | and to not sharpen the A or B channels one little width.
| | 02:38 | And notice what happen, all of that
weird color sharpening went away.
| | 02:41 | So this is what the image looked like before, look at
here, look at all that color puddling that's going on
| | 02:47 | and this is what the image looks like after we choose
Luminosity, we still have a lot of luminance noise
| | 02:52 | but we don't have any color noise anymore,
or that is to say we don't have much,
| | 02:56 | we don't have any exaggeration to the color noise.
| | 02:58 | There is certainly some color noise there.
| | 02:59 | Now then we have been fairly foolhardy, I have
to say because we have brought out a ton of noise
| | 03:06 | in the shadow detail, just lots and lots of noise in the shadows.
| | 03:09 | And it's kind of cool noise if you wanted a high ISO
field to the photograph, that's what you are looking
| | 03:14 | for but let's say we are not looking for that.
| | 03:16 | We want that wonderful exaggeration
that we just applied, look at that.
| | 03:21 | To the rays of light inside of the image, so just to give you a
sense I'll click on the eyeball in front of the top Smart Sharpen
| | 03:28 | and that's going to take a moment to turn it off.
| | 03:30 | This turning off an effect requires the display of yet another
progress bar, but I'll show you how to avoid this in the future.
| | 03:37 | So we'll just get this progress bar once.
| | 03:38 | So this is the before version, before we applied that second
helping of Smart Sharpen rather than turning it back on,
| | 03:46 | if you are doing it before and after just press Ctrl+Z or
Cmd+Z on a Mac in order to look at the after state.
| | 03:53 | So now I can flip back and forth with Ctrl+Z, Ctrl+Z.
| | 03:56 | This is before, pretty sharp but
not nearly as sharp as this after
| | 04:01 | and just in case you are not quite
seeing that let's go and zoom in a 50%.
| | 04:04 | This is before.
| | 04:06 | We have some nice detail going on there
but this even better detail afterwards.
| | 04:10 | It's just the shards of light coming down;
there is no sense in not going for it.
| | 04:15 | But we have exaggerated the noise here inside of the shadows.
| | 04:19 | Let's get rid of it.
| | 04:20 | Here's how it's pretty darn easy.
| | 04:22 | Go to the Channels palette and I want you to Ctrl+Click
or Cmd+Click on just the Lightness channel,
| | 04:28 | Ctrl+Clicking or Cmd+Clicking on that channel
will load that channel as a selection outline
| | 04:34 | so what Photoshop is doing is it's selecting
the highlights and deselecting the shadows.
| | 04:39 | That's exactly the opposite of what we want, so go up to the
Select menu and choose Inverse in order to reverse the selection
| | 04:46 | so that we are selecting the shadows
and deselecting the highlights.
| | 04:50 | Now go back to the Layers palette, make sure that Lab SO
is active and then I want you to go up to the Edit menu
| | 04:56 | and choose this guy right there, Copy Merged or you
can press Ctrl+Shift+C or Cmd+Shift+C on the Mac.
| | 05:02 | And that's going to copy a merged version
of the area inside the selection outline.
| | 05:06 | Now all you need to do is click on Curves Modification to
make sure it's active because we want to paste this guy,
| | 05:13 | this new layer we are about to create,
on top of the Adjustment layer.
| | 05:16 | And then you can just go up to the Edit menu and choose
Paste, you don't have to choose Paste Into or anything,
| | 05:20 | just choose Paste or Ctrl+V, Cmd+V on the Mac.
| | 05:23 | And we have pasted this new layer that's only
check it out if I Alt+Click or Option+Click
| | 05:28 | on this eyeball you can see that's only the
shadow detail inside of the clouds and that's it.
| | 05:33 | All right, I'll Alt+Click or Option+Click to bring
back my original layer the ones that were visible.
| | 05:38 | And I'll call this shadows and we are going to ahead
and blur that image and we'll just do a Static Blur
| | 05:44 | because we are just trying to cover up the shadow stuff.
| | 05:47 | I go up to the Filter menu, I'll choose Blur and I'll
choose Gaussian Blur and then I want a Radius value of 6,
| | 05:54 | that works very well, it is probably set to 1 by default,
go ahead and raise it up to a value of 6, click OK.
| | 05:59 | And that's gone ahead and blurred all of
that nasty stuff that we had going on.
| | 06:05 | So we can see it before or after this time, let's go and zoom
all the way into a 100% so we can see that nice up close.
| | 06:11 | So you can still see -- there is a little bit of
noise left over but it's nothing like it was before.
| | 06:15 | So this is before, look at all that
noise, I lost a lot of noise I'm afraid.
| | 06:20 | And this is the way it looks now, much better.
| | 06:23 | All right, so let's go ahead and
zoom and take in the entire image.
| | 06:26 | I'm going to tab away my palettes and I'm going to press
the F key a few times to switch to the full screen mode
| | 06:33 | and this is my corrected Lab version of the image right here
folks, compare it to the RGB version of the image with all
| | 06:43 | of it's noise and everything intact still and it's
limp color modification that we had applied there,
| | 06:49 | don't make me laugh RGB by comparison to what we were
able to accomplish here inside of the Lab Color mode.
| | 06:56 | Just amazing, what you can do especially
considering that we started with this.
| | 07:00 | That we were able to take this and make it into this inside
the Lab Color mode, is nothing short of absolutely fantastic.
| | 07:09 | God bless us all, Lightness, A and B.
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|
|
3. A Typical, Nondestructive Lab CorrectionThe convergence of all things nondestructive| 00:00 | All right, that stuff we saw in the previous chapter, pretty
amazing, but while such extreme examples help to demonstrate
| | 00:07 | the range and versatility of Lab, they don't quite tell the
whole story. Your more typical photo would be one that looks
| | 00:13 | neither great nor terrible but somewhere in between.
| | 00:17 | Compositionally for example, it might be fine but
the contrast is a bit lackluster, the colors are drab.
| | 00:23 | Simply put the photo fails to live up to the
image you saw when you pressed the shutter release.
| | 00:29 | In this chapter, we will explore a
very typical color correction scenario
| | 00:34 | and you'll see just how strange and wonderful Lab can be.
We will convert an image to Lab. We will apply a couple of
| | 00:41 | adjustment layers one of which I think will very much surprise you.
| | 00:44 | We will turn the image into a Smart Object and sharpen it and
then we will turn that Smart Object into an RGB image so we
| | 00:52 | can resolve it's chromatic aberrations, you'll see, while
all at the same time keeping the larger composition in Lab.
| | 00:59 | It sounds weird and complicated but it is actually fairly
straightforward and amazingly flexible. It is like every
| | 01:06 | single nondestructive function in Photoshop working together,
adjustment layers, blending options, Smart Filters,
| | 01:13 | color models, all coexisting so that you can tweak the images
as much as you like without harming a pixel and the result is
| | 01:20 | a much improved, much more accurate depiction of the scene.
| | 01:24 | Take a look.
| | Collapse this transcript |
| Correcting saturation and color cast| 00:00 | In the previous chapter we saw some
best case and worst case scenarios.
| | 00:03 | So we saw how you can use the Lab Color mode
to either make really great images even better
| | 00:08 | or you can take really lousy images
and make them pretty great as well.
| | 00:13 | Well in this chapter we are going
to try out a more typical scenario.
| | 00:16 | This is a kind of approach that you are going to apply to
just image after image, after image inside a Photoshop.
| | 00:24 | Especially your exterior shots.
| | 00:27 | So here I'm working in an image
as captured by the digital camera.
| | 00:31 | I haven't even bothered to rename the image.
| | 00:33 | It's _DSCO841.JPG.
| | 00:36 | Found inside the 03typical_Lab folder.
| | 00:40 | This is the name that was assigned to the
image according to the infinite wisdom
| | 00:44 | of this particular digital camera, which was a Nikon D80.
| | 00:48 | Now that's an SLR camera but I was just treating it like a 0.2.
| | 00:51 | This is the most pedestrian shot possible.
| | 00:53 | This is actually my own backyard.
| | 00:55 | It was just kind of a nice little snowy day.
| | 00:58 | You can see that there is little snow coming down.
| | 00:59 | I shot it out of my office.
| | 01:01 | I have a separate building where
my office is on the second floor.
| | 01:04 | And I shot out the window into my backyard.
| | 01:07 | All I did was fire off two JPEGs.
| | 01:10 | That's all I did.
| | 01:11 | I didn't even take lot of shots.
| | 01:13 | I didn't even go outside.
| | 01:15 | I was too lazy to go outdoors.
| | 01:17 | This is what the camera picked up, but
that's not what the scene looked like to me.
| | 01:21 | It didn't look this drab.
| | 01:23 | It wasn't the most colorful day on Earth, but to me the image
looked more like this and that's what we are going to create.
| | 01:30 | So that we have these beautiful lustrous green trees
going on and this wonderful wood, these nice wood tones.
| | 01:37 | We can actually distinguish the new wood from the
old wood of this gate right here as you can see.
| | 01:43 | We have this nice bricks and all the
colors coming out just beautifully inside
| | 01:47 | of this rather suburban, bucolic,
pastoral, colorful, cheerful theme.
| | 01:52 | I mean that's the kind of day it was.
| | 01:54 | It was a pastoral, bucolic, cheerful day and
I want to communicate that with this image.
| | 01:59 | So, what we are really talking about doing is not so
much correcting the image inside the Lab color space
| | 02:04 | but developing it, properly developing it,
because so far this image is not developed at all.
| | 02:10 | Just gone through the usual JPEG conversion
here inside the housing of the digital camera.
| | 02:16 | All right, so here's what we are going to do.
| | 02:18 | We are going to begin the correctiveness exercise.
| | 02:20 | Having opened this image, I want you to go up to the Image menu.
| | 02:23 | Choose Mode and choose Lab Color,
always the first step of course.
| | 02:27 | And we are going to see how that little first step, the
tiny little motion there where convert that image into Lab.
| | 02:33 | Not only brings us into this, it serves us the entrance into this
world of power inside a Photoshop, but it also messes things up.
| | 02:41 | It prevents us from accessing certain features.
| | 02:43 | If you will look at the Filter menu for example, you
will see a lot of stuff that's not available to you,
| | 02:48 | and we will see it work around later in this chapter.
| | 02:50 | Anyway, if I go the channels bar, you can see that I now have
Lab image, I have got to lighten this channel no surprise there
| | 02:56 | and even less of a surprise we have this A and
B channel which are doing very little for us.
| | 03:01 | So the A channel, you can see, just got a
little bit of a histogram going on there.
| | 03:05 | The B channel as well.
| | 03:06 | Again, this is not a typical.
| | 03:08 | This is kind of stuff if you are going to run
into with your exterior shots over and over again.
| | 03:13 | Hopefully, your images will offer little more color
than this, but if they don't then you are in good shape.
| | 03:18 | Alright, so the next thing that we want to do is I want you
to press and hold the Alt key or the Option key in the Mac
| | 03:23 | and click the black white icon down here at the bottom
of the Layers palette and I want you to choose Levels.
| | 03:28 | What we are going to be doing is we are going to
correct just the A and B channels inside of Levels,
| | 03:34 | so I'm just going to say A and B, and that's it.
| | 03:37 | That's all we are going to correct.
| | 03:38 | So we are just going to correct for the
color information inside of the image.
| | 03:42 | We are going to leave luminosity alone for now.
| | 03:44 | The reason is because I'm going to show you an incredibly easy
and wonderful way to correct luminance inside of a Lab image.
| | 03:52 | That is unlike anything you can do.
| | 03:54 | It's so simple and it's so much better
than anything you can do in RGB.
| | 03:58 | It's awesome and it doesn't work the same way in RGB.
| | 04:01 | It's really great.
| | 04:02 | All right, now click OK.
| | 04:03 | So we will just take care of the A and B channels.
| | 04:05 | So we will be using separate adjustment layers to
pull this off, but that's okay because we are going
| | 04:08 | to be attacking just the color with one adjustment layer and
just the luminance information with another adjustment layer.
| | 04:14 | As I said, it's going to work out brilliantly.
| | 04:16 | All right, let's go to the A channel
and click in the black point.
| | 04:19 | Then we are going to start by applying our typical,
everyday, average symmetrical color adjustment here.
| | 04:24 | So I'm going to press Shift+Up Arrow eight times this time
in a row in order to infuse the scene with lots of Turquoise
| | 04:32 | and then Tab, Tab over to the Crimson value here and I
will press Shift+Down Arrow eight times in a row in order
| | 04:39 | to introduce some Crimson/Lavender to
the scene and offset the Turquoise.
| | 04:44 | Of course and we have got a regular
career-naive shot now as you can see,
| | 04:48 | because we have got all these Greens and these Pinks and stuff.
| | 04:50 | Let's add some Bartels and James to the mix here.
| | 04:52 | Let's go over to the B channel and I will click in what's
the Cobalt value essentially and let's just change it to 80
| | 04:58 | because we know that's where it needs to
be and then Tab, Tab 175 for this guy.
| | 05:03 | All right, we have applied a symmetrical adjustment
that has elevated the colors quite nicely.
| | 05:08 | A little bit too much elevation where
the Oranges and the Reds are concerned.
| | 05:13 | But it's symmetrical so that's good.
| | 05:15 | At this one we are not too terribly concerned
about the fact that our woods getting too hot.
| | 05:19 | We want to make sure that everything else in the scene,
the majority of the scene is working out nicely and it is.
| | 05:23 | We are bringing out some weird art effects, some
color art effects, we will take care of those later.
| | 05:27 | But for now let's just try to get the
overall color cast of the scene down.
| | 05:32 | Now, I think in sort of looking at
the scene that it's still too cool.
| | 05:37 | It is a cool light source because the sun is going through
the clouds, so there is uniform cloud coverage up here.
| | 05:43 | And as a result that's cooling down the
light source the sun, that is to say.
| | 05:47 | So we need to warm things up a little bit
by adding back a little bit of Yellow.
| | 05:51 | So I'm going to click on that 175 value there in the
B channel and I'm going to press the Down Arrow key.
| | 05:56 | One, two, three times and you can see every
single luminance level that you subtract
| | 06:04 | from that value makes a contribution to the scene.
| | 06:07 | You can actually see that scene change on the fly.
| | 06:10 | 172 looks really good to me.
| | 06:12 | Now, let's add back a little bit of green.
| | 06:14 | I feel like we have got a little too far towards the
-- what I have been calling the Crimson/Lavenders.
| | 06:20 | Let's go ahead and I will set that with a little bit of
additional Green, and this is the most amazing thing here.
| | 06:25 | I'm going to go ahead and zoom in,
having switched to the A channel.
| | 06:29 | Let me make that clear.
| | 06:30 | Let's go and zoom in on the house a little bit here,
and maybe taking a little bit of tree action as well.
| | 06:36 | Then I will click in the Green value, which is this
guy, this is the turquoise and it's the AD value there.
| | 06:42 | If I press the Up Arrow key, watch the scene change.
| | 06:45 | You can actually see the scene go greener.
| | 06:48 | I think it will be a little bit too
close to see it the way I want to.
| | 06:50 | Let's try it there.
| | 06:51 | Let's go from -- there is 80.
| | 06:53 | That's 81.
| | 06:54 | You can actually see the scene slightly green up.
| | 06:57 | That's 82, that's too much.
| | 06:59 | So what we want is 81 and we would never know that.
| | 07:03 | If you were using a different command, like
let's say you are using the Variations command.
| | 07:06 | Really typical beginner's way to
correct a color cast inside a Photoshop.
| | 07:12 | It's a great tool and it's very easy to use.
| | 07:14 | It offers us those little buttons that say this little
thumbnail is more Cyan, more Green, more Yellow.
| | 07:19 | But they are so tiny, those little thumbnails
are so tiny and clicking on anyone of them makes
| | 07:23 | such an incredibly large contribution and then you
ratchet that little Coarse/Fine Slider down the fine
| | 07:30 | and then you can't even what you are doing anymore.
| | 07:32 | Here inside the Lab mode, inside the A or B channel in a Levels
command, you can see everything, just laid out before you.
| | 07:39 | And tiny little adjustments will make a contribution.
| | 07:42 | So, 80, that's not enough.
| | 07:44 | That's the mama bear.
| | 07:45 | 82, that's too much.
| | 07:47 | 81 is baby bear, just right.
| | 07:49 | Alright Goldilocks, go ahead and click
okay in order to accept that modification.
| | 07:53 | Now, what do we do having got in the scene in general to a good
place where color is concerned, what do we do about the fact
| | 07:59 | that our Oranges and our Reds are out of control.
| | 08:01 | Well, I will tell you in the next exercise.
| | Collapse this transcript |
| Fading the oranges and reds| 00:00 | Deke McClelland: Alright, we have corrected
for the color and cast inside of this image.
| | 00:05 | Hence, I have gone ahead and named this catch up document here.
| | 00:08 | My progress so far, I have named it Color and cast.psd and
it is found of course, inside the 03 typical Lab folder.
| | 00:14 | But we have gone a little too far with our oranges and our reds.
| | 00:18 | The problem is we have tried to back off our oranges
and our reds by going back into the Levels commands,
| | 00:23 | switching over to a for example and oranges and reds
are going to be represented by the right hand values,
| | 00:30 | by the white point values inside both a and b, because
when you add yellow which is b value and you add lavender
| | 00:36 | to it essentially that crimson from the a
value, you are going to get reds and oranges.
| | 00:40 | What you want to do is back off, like so,
right, but in doing so if you get the wood
| | 00:45 | to look right the rest of the scene
is going to look totally wrong.
| | 00:48 | So this is not the approach to take at all.
| | 00:50 | You want to correct for the large scene first
and then back off your modifications like so.
| | 00:56 | So I just went ahead and escaped out of the Levels dialog box.
| | 00:58 | I'm going to double click over here in the empty portion of this
adjustment layer in order to bring up the Layer Style dialog box
| | 01:05 | and I will go ahead and move the scene over as
much as I can so that I can see a little bit
| | 01:09 | of the house and the bridge and so on at the same time.
| | 01:12 | This is a little stream that runs through our property
and when I say stream I mean it is an irrigation ditch
| | 01:17 | for the farmland that is on the other side of this.
| | 01:20 | But we call it stream because it sounds better.
| | 01:22 | Alright, I'm going to change Blend If here
because we want to drop out the oranges, don't we?
| | 01:26 | We are going to change Blend If to a for starters and then we
are going to go ahead and reduce this layer and when I'm doing,
| | 01:32 | when I'm changing this layer value here is I
am saying that certain colors in this layer,
| | 01:38 | in this adjustment layer will drop out and become transparent.
| | 01:41 | So certain information that is being translated by this
layer will drop out and will reveal the colors below
| | 01:46 | and what I'm going to do is I'm going to take
this down to let's say down to 150 and you can see,
| | 01:50 | look at the scene in the background there, there was before, here
is the before so keep your eye over there on the left hand side
| | 01:56 | of the screen, there is a big, hot radioactive wood
and then here it is with the value reduced to 150.
| | 02:03 | So we are saying anything with a luminous level of 150 or
higher is becoming transparent, 150 or lower which is going
| | 02:08 | to be mostly our greens are turquoise
values that is are going to be opaque.
| | 02:12 | I'm going show up where this adjustment layer is concerned.
| | 02:15 | Alright, well that is a little bit too much backing off.
| | 02:17 | So let's do that softness thing.
| | 02:19 | Now, we may not be able to see any hard transitions
at this point, you may or may not be able
| | 02:23 | to see sharp transitions inside of this image.
| | 02:25 | But they are there, even you can't see them you know
that they are there, we have seen those in the past.
| | 02:29 | So let's just go ahead and Alt+drag or
Option+drag the right half of this triangle
| | 02:34 | over to the right until we get to a value of 210.
| | 02:38 | actually, you should do this pretty nicely.
| | 02:40 | Alright, let,s zoom back out again so we can take in the scene.
| | 02:43 | So this is what things looked like before, too drab, notice
that if you are looking at the bridge and the wood and the trees
| | 02:48 | and all that just and here it is now
with the wood tones picked up a bit.
| | 02:52 | Alright, now we need to do the same thing with
yellow, so let's go to the b channel here,
| | 02:57 | go ahead and choose b. The reason I'm doing this is because I
want to get rid of some of the yellowness that is associated.
| | 03:03 | You can see that there is a lot of yellowness
in the other portions of the image here
| | 03:07 | such as the chimney and the chairs and so on.
| | 03:09 | So let's go ahead and take that yellow value down.
| | 03:12 | I'm going to take it down to 150 once
again, seems like a good place to start.
| | 03:16 | Notice, I'm draining a lot of colors out
of those areas there too much of course.
| | 03:20 | So then let's go ahead and Alt+drag the right
half of that triangle back up and this time,
| | 03:26 | I'm going to take it to 220 and
unfortunately, you can't enter values.
| | 03:29 | You just have to sit there and drag that darn thing which is
a pain in the neck as far as I'm concerned, but it works.
| | 03:34 | I'm grateful that the function is there at all.
| | 03:37 | Yes, I'm.
| | 03:38 | Thank you Adobe so much.
| | 03:39 | Anyway, click OK and by the way, Adobe if I can
have some numerical values, that will be great.
| | 03:44 | Alright, so I click OK, just wanted to tamper my great being
with a little bit of -- gosh, aren't those engineers wonderful?
| | 03:53 | Alright, so this is it, this is the
fairly corrected version of the colors.
| | 03:58 | Anyway, the color and the cast.
| | 03:59 | this is before when we had way too hot, let's go and zoom in
again, I keep zooming in and out but let's go and zoom in,
| | 04:04 | this is before when we had too much in a
way of oranges and reds and this is after.
| | 04:09 | Now, things have been tempered ever so slightly
to the level that they need to be tempered.
| | 04:14 | In the next exercise, I'm going to
show you how we go about correcting.
| | 04:18 | We have now corrected the color, we need now to correct
the luminance and we are going to do it using a command.
| | 04:24 | You are just not going to believe the command we
are going to use to do this and you are not going
| | 04:27 | to believe how wonderfully well it is going to work.
| | 04:29 | Stay tuned.
| | 04:30 | 03_02_fadetheoranges.mp3 Transcribed by Tech-Synergy Page 2 of 2
| | Collapse this transcript |
| The secret power of Brightness/Contrast in Lab| 00:00 | In this exercise, we are going to correct the luminance
information inside of this image using a command I used to
| | 00:06 | recommend people steer clear of at all cost. But for
this image and many other images that you run into
| | 00:13 | where Lab is concerned, it is the
best command you could possibly apply.
| | 00:18 | And I will show you what I mean. We are
going to walk through the entire thing.
| | 00:21 | I 'm working in an updated version of the document
| | 00:24 | that represents my progress so far and it is called Safety
in lumbers.psd found inside the 03 typical Lab folder.
| | 00:32 | So called because our wood is no longer radioactive. It is now safe.
All right, but we still got a problem with the brightness and
| | 00:39 | contrast in the scene. The scene is too dim is basically what
it comes down, too low contrast as well. Now I could go into my
| | 00:45 | adjustment layer here, my Levels adjustment
layer, double-click on the thumbnail
| | 00:48 | and I could go to the Lightness info and
I could try to increase the contrast
| | 00:55 | by raising the black point value and lowering the white
point value and I can even go beyond. Notice, that I can go
| | 01:01 | well into my histogram here without blowing highlights or
blowing shadows and the reason I can do that is because of
| | 01:08 | those imaginary colors. Remember how you can have color
even inside of blacks and whites in the Lab Color mode.
| | 01:15 | So we can go well into the histogram and not clip
shadows or highlights, which is a wonderful thing,
| | 01:21 | but that doesn't necessarily mean that we are going to do the
best job of increasing the contrast and brightness of the scene.
| | 01:26 | This is pretty good. It is not bad,
but it is not as good as we could do.
| | 01:30 | What we'd really like to do- I am going to cancel out of there-
| | 01:32 | I would really like more control. I want control over my quarter
tones and my three quarter tones that is to say over exactly
| | 01:38 | where my shadows and highlights are landing and so what I might
do is I might go ahead and add a Curves adjustment layer here
| | 01:46 | and then inside of the Lightness channel I would do one of these
numbers. I would click in the center in order to lock down
| | 01:51 | the center point, to lock down that gamma and then I'll click
down here in the Shadows and make my shadows darker and I would
| | 01:57 | click up here in the Highlights and make my highlights brighter,
something along those lines and then I might take my midtones down
| | 02:02 | a little and continue to mess with this, but this
requires a lot of finessing. You got to figure out
| | 02:09 | exactly where the significant colors are inside
of the image. So it takes a little bit of work.
| | 02:14 | I am going to cancel out of there because let me show
you what is the best command and actually, by the way,
| | 02:18 | it delivers some awfully nice results, I have to say.
| | 02:22 | Go down here to the black/white icon, I am going to press and
hold the Alt key or the Option key on the Mac and click that
| | 02:27 | black/white icon and I want you to choose this command right there,
Brightness/Contrast, believe it or not. Now I have made a lot of
| | 02:33 | how this command has been rewired essentially in Photoshop CS3
and later. It used to be a horrible command that you steered
| | 02:40 | clear of at all costs. Now, it is actually lifting the
brightness and contrast controls directly out of Camera Raw
| | 02:47 | and those are good controls. So it is a completely
better command and as we will see in Lab,
| | 02:51 | it's a really great command. So I am going to go ahead and choose
Brightness/Contrast. Because I have the Alt or Option key down
| | 02:57 | that brings up the new Layer dialog box. I'm going to call this luminance
fix because we're just going to fixing the luminance information.
| | 03:03 | Then I am going to click OK
| | 03:05 | and I am going to increase the Brightness
value by 10 by pressing Shift+Up arrow
| | 03:10 | then I am going to Tab over to Contrast
| | 03:13 | and I am going to press Shift+Up arrow four times in a row.
By the way, make sure that Use Legacy is turned off,
| | 03:18 | that's very important, otherwise you will get a questionable result.
But anyway, you can see I am taking the Contrast level up to 40
| | 03:25 | which looks pretty darn good and makes me think I really need
to take my Brightness value up higher. So I will go ahead and
| | 03:30 | Shift+Up arrow that to +20. So we have +20 Brightness, +40 Contrast.
It looks pretty darn good. It might look a little too light.
| | 03:39 | If so, you can take it down ever so slightly,
but actually, I am going to keep it up
| | 03:43 | because we are going to take care of some of the washed out feel of
the image later and I am going to go ahead and click OK in order to
| | 03:48 | accept that modification.
| | 03:50 | Now then if I click on this Update button right here
for the histogram you can see that I am not blowing
| | 03:56 | any highlights or shadows. So we have all kinds of luminance
levels still left inside of this image and check this out.
| | 04:04 | Now at this point you might be thinking well, we have got
to be affecting because I just went ahead and applied the
| | 04:09 | Brightness/Contrast function to the entire composite image.
We are affecting the lightness information and the a and b
| | 04:16 | information as well. So we need to change Normal,
right, this blend mode from Normal to Luminosity,
| | 04:21 | which would just affect the luminance information, right? Just
the Lightness channel. Well, watch the scene, watch the scene
| | 04:26 | when I choose Luminosity.
| | 04:28 | Nothing, nothing happened. Brightness and contrast inside
Lab automatically only affects the luminance information,
| | 04:36 | It's so smart. I am going to go and change it back to Normal because
there is no reason to change it. It is so darn smart. It is a really,
| | 04:43 | really great command and it's just so darn easy to use. So every
once in a while, I get questions from people saying, "Oh, gosh.
| | 04:50 | I am glad to hear that brightness and contrast have been fixed
essentially inside Photoshop CS3, but when do I use it?"
| | 04:56 | Well, here is where you use it, inside Lab.
| | 04:58 | You can use it to fix the luminance of a scene.
It works beautifully. Give it a try on your next image.
| | Collapse this transcript |
| Smart Objects and sharpening| 00:00 | All right, we have managed to fix the color information
inside of the image and the luminance information.
| | 00:05 | So we have increased the saturation, we have taken
care of the color cast, just a slight color cast
| | 00:11 | and we have addressed the luminance problems.
| | 00:15 | We have increased the brightness and contrast using
the Brightness and Contrast command and in fact,
| | 00:18 | the name of this image is Brightness and
contrast.psd found inside the O3 typical Lab folder.
| | 00:26 | But we still have some problems.
| | 00:27 | We have got some detailed issues now
and actually, a lot of detail problems.
| | 00:31 | But one thing, the image needs sharpening
because it is a little bit dull.
| | 00:34 | Our edges are a little bit soft and the more you zoom in,
| | 00:37 | the more you can see that we have just got
fairly soft information inside of this image.
| | 00:42 | So let's take care of that by adding
a pass at the Smart Sharpen filter
| | 00:46 | and if you have seen my Photoshop CS3 sharpening images
series then you know that I use Smart Sharpen in order
| | 00:53 | to sharpen high frequency images which is this, any
image that has rapidly transitioning luminance Levels.
| | 01:00 | So we are going from Shadows to Highlights very quickly
inside of the image because we have a lot of little details.
| | 01:05 | So that is the job for Smart Sharpen.
| | 01:07 | You are going to click on the background layer to make it active
and we are going to go ahead and convert it because we want
| | 01:12 | to keep all of our changes as non-destructive as possible.
| | 01:15 | We are going to change this to a Smart Object and you
will see, this is really going to help us down the future.
| | 01:20 | I'm going to go up to this command right there Convert for
Smart Filters, one way to convert an image to a Smart Object,
| | 01:26 | so go ahead and choose that and you may
get a warning, a little dialog box warning.
| | 01:30 | But if you click Don't show again just as I did
in the previous chapter then it won't show up.
| | 01:34 | Alright, now I'm going to go ahead and call this guy Lab
SO just so I'm aware again that I'm working in a Lab mode
| | 01:40 | and I will press Return or Enter in order to accept that.
| | 01:44 | Now let's go up to the Filter menu choose
Sharpen and choose the Smart Sharpen function
| | 01:49 | and here is the value that I want you to apply for this image.
| | 01:51 | This is too much sharpening as you can see here.
| | 01:54 | We are just trying to account for the detail in the image.
| | 01:56 | We will try to figure out what kind of Radius is going to
do you well and something along the lines of two Pixels.
| | 02:01 | We are not sharpening for output here, we are just sharpening
to account for the details inside the image to bring it out
| | 02:05 | and that does a good job of bringing out that detail and
then I'm going to go back to the Amount value and change it
| | 02:10 | to 200% and remove, set to Lens Blur is just great.
| | 02:14 | We don't want More Accurate turned on for this scene.
| | 02:16 | We will leave that turned off and those are
some great values where this scene is concerned.
| | 02:20 | Now I will go ahead and click OK in order to accept that
modification and then we get this filter mask right there.
| | 02:26 | I'm going to go ahead and throw that guy
away because we don't need it right now.
| | 02:29 | We will use it later, but it is easier to recreate
it than to start with it in the first place.
| | 02:35 | All right, so we have got Smart Sharpen
applied to a Smart Object.
| | 02:38 | Here is a dumb problem for you.
| | 02:39 | If I zoom in here by virtue of the fact that I have sharpened
the scene we can really make out some wicked up here
| | 02:45 | in the upper right hand corner of the
image, some wicked chromatic aberration
| | 02:48 | and that is something we can fix
using the Lens Correction function.
| | 02:52 | Here is a problem, if I go up to the Filter
menu choose Distort and choose Lens Correction.
| | 02:57 | I can't, it is dimmed.
| | 02:59 | Why it is that?
| | 03:00 | Is it possible you can't apply Lens Correction to a Smart Object?
| | 03:03 | No, that is not the problem you can.
| | 03:05 | The problem is you can't apply it in Lab.
| | 03:07 | In a second, I will show you why that is just the
dopiest thing ever, because it is actually using Lab map
| | 03:13 | to correct the image, but you can't do it in Lab.
| | 03:14 | You have to do it in RGB and I'm going to show you the wildest,
| | 03:17 | trippiest thing about working with
a Smart Object inside the Lab mode.
| | 03:21 | You can actually have an RGB object inside of a larger
Lab construct, inside of a larger Lab composition
| | 03:28 | and we will see how that works in the very next exercise.
| | Collapse this transcript |
| Fixing chromatic aberrations in RGB| 00:00 | As you may recall, we have uncovered some
chromatic aberration inside of this image
| | 00:05 | by virtue of the fact that we have sharpened it.
| | 00:07 | It was already there, but by virtue of the fact we have
sharpened the image, it has become even more clear and of course,
| | 00:12 | the a and b adjustment layer right there which
is increasing the saturation of the image
| | 00:17 | that is going a long way toward making this effect worse as well.
| | 00:20 | I have gone ahead and saved my progress thus far
inside of an image called Wicked chromatic aberration.
| | 00:26 | It's so called not because it is wicked cool, but it is wicked
horrible chromatic aberration found inside the O3 typical
| | 00:32 | Lab folder.
| | 00:33 | Chromatic aberration is caused by color
channels not aligning with each other properly.
| | 00:38 | Basically, you are going to see it
out here in the corners of the image.
| | 00:42 | So I'm looking at the upper right corner of the image.
| | 00:44 | You will see it also in the upper left corner,
down in the lower right corner and so on.
| | 00:48 | You won't see it so much in the center.
| | 00:50 | In the center of the image, it is going to look okay.
| | 00:52 | Notice there is a little bit of chromatic
aberration on the snow right there.
| | 00:55 | But I think the dead center of the image is over here and
this is the best to get to the dead center of the image.
| | 01:00 | You just Spacebar+drag a 100 times- not really.
| | 01:03 | But you could see down here toward the
center area, nothing great to look at here,
| | 01:08 | but it does show us that we don't really
have that bad chromatic aberration going on.
| | 01:12 | All right, I'm going to go to the navigator
palette and I'm going click up in the trees.
| | 01:16 | That will be a good place to look.
| | 01:17 | You can see some chromatic aberration going on there.
| | 01:20 | You can fix chromatic aberration just in
two places where Photoshop is concerned.
| | 01:23 | One is Camera RAW.
| | 01:25 | Well, that boat is sailed.
| | 01:26 | So we are not going to use Camera
RAW in order to solve this problem
| | 01:29 | because we already have the image open inside of Photoshop.
| | 01:31 | So instead, we have got to use this filter under
the Filter menu that is called Lens Correction.
| | 01:36 | Unfortunately, it is not applicable to Lab images so
the tempting thing to do is go up to the Image menu,
| | 01:41 | choose Mode and choose RGB color and just flatten the
whole image and then correct for the chromatic aberration.
| | 01:48 | That is the wrong thing to do.
| | 01:50 | It is unnecessary.
| | 01:51 | Here is what you will really do.
| | 01:52 | You go down to your Smart Object
that you so meticulously created,
| | 01:56 | good for you because you are keeping
the document nice and non-destructive.
| | 01:59 | You double click on it in order to open
the image inside of an independent window
| | 02:03 | and notice that Photoshop is going to give you this message.
| | 02:05 | It is just telling you how you update a Smart Object.
| | 02:09 | Go and say Don't show again because
I'm going to tell you and click OK.
| | 02:13 | So if you don't get that warning it is just because at
some other point of time you have said don't show again.
| | 02:17 | Here is the image, alright here is
the original, uncorrected image.
| | 02:20 | It looks drab and boring, just like it originally did.
| | 02:23 | Now, I will go up to the Filter menu,
choose Distort and choose Lens Correction.
| | 02:27 | Still not available, darn it.
| | 02:29 | Reason? Because we are still in the Lab mode.
| | 02:31 | Check it out up here in the title bar
we are still in the Lab Color mode.
| | 02:34 | That is okay because we can just change it.
| | 02:36 | Go up to the Image menu, choose Mode and choose RGB color.
| | 02:39 | Now we are not changing the larger Lab composition.
| | 02:42 | We are just changing this Lab image right
here, we are changing it to RGB color.
| | 02:46 | It is not a non-destructive transformation of flip back and forth
between Lab and RGB but it is a low destruction transformation.
| | 02:54 | It is not much that is going to happen to your image if anything.
| | 02:57 | If you are able to perceive any change
and I doubt we are at all in this image.
| | 03:00 | I would have to look around quite a bit I think.
| | 03:02 | Let's now go ahead and solve for the chromatic aberration.
| | 03:05 | I'm going to zoom into the upper corner of the image
| | 03:07 | because it is a little more indicative,
actually let's zoom out a little bit.
| | 03:10 | I just want to see it in a 100%.
| | 03:12 | It is a little more indicative of
how our correction is going to fair.
| | 03:14 | Now, I'm going to go up to the Filter menu.
| | 03:16 | You know what, let's go ahead just because we want
this to be as non-destructive as possible, right.
| | 03:21 | We might want to come back and adjust our settings.
| | 03:23 | So let's go ahead and convert this guy for Smart Filters.
| | 03:25 | In other words, we are creating an
embedded, a nested Smart Object.
| | 03:29 | I will tell you all about that in my
Photoshop CS3 sharpen images series.
| | 03:33 | By the way, I like to do this every once in a while.
| | 03:35 | This is how this series was created by the way.
| | 03:37 | We originally created channels and masks series and
I asked people inside the channels and mask series,
| | 03:44 | "Would you like to see a Lab color correction series?"
| | 03:46 | We got so many people saying yes because we
didn't know if that was going to fly or not.
| | 03:50 | Then we decided what the heck, we will do a Lab series.
| | 03:52 | Now I'm asking you, "Would you like
to see a Smart Object series?
| | 03:56 | Would you like to a series that is devoted
to using Smart Objects in Photoshop?"
| | 03:59 | Just let us know.
| | 04:00 | All right, so I'm going to go ahead and choose Convert for
Smart Filters and that is going to turn this into a Smart Object
| | 04:05 | as you can see and I'm going to
go ahead and call this one RGB SO.
| | 04:09 | So I know once I come in here, oh, here
is my RGB Smart Object, interesting.
| | 04:13 | All right, now let's go to the Filter menu, apply Distort
or choose Distort that is and then choose Lens Correction.
| | 04:20 | Notice it is available to me now so it is not a
Smart Object issue; it is an RGB versus Lab issue.
| | 04:25 | So I'm going to go ahead and choose a command and now if
this image comes up inside of a grid and it is not showing
| | 04:30 | as the portion of the image that I wanted to see.
| | 04:32 | So I'm going to turn the grid off by going down
here in the Show Grid check box and turning it off.
| | 04:36 | The grid is useful for measuring lens
distortion, but we don't have a real problem
| | 04:41 | with barrel distortion or pin cushioning inside this image.
| | 04:44 | So what we do have though is a problem with chromatic
aberration, so I'm going to go ahead and zoom in and I'm doing
| | 04:48 | that by the way by pressing the Ctrl and dragging around an area
that would be command dragging on the Mac and I'm actually going
| | 04:56 | to press Ctrl+ in order to zoom to
100%, that is Cmd+ in the Mac.
| | 05:00 | All right, notice our Chromatic Aberration option is right here.
| | 05:04 | We have got a little bit of turquoise on one side of a
limb and a little bit of lavender on the other side.
| | 05:09 | Hence, we have some problems with the a channel.
| | 05:12 | Right, the a channel and the b channel are
misaligned with each other and look, wouldn't you know it.
| | 05:17 | Right there it says, Fix Red/Cyan Fringe
so another thing you can call the a axis.
| | 05:20 | You could say it is going from cyan to red if you want to.
| | 05:23 | Then we have got another one for b, for
the b channel, Blue/Yellow right there.
| | 05:28 | So why can't we just, out of curiosity, somebody at Adobe,
why can't we use these sliders, which are obviously using a,
| | 05:35 | b math, why can't we use them in the Lab mode?
| | 05:37 | Call me crazy, but anyway, alright, so we need this to
go one direction or the other and you can just drag it
| | 05:43 | to see is this is getting better if I go this way?
| | 05:45 | Well, I went too far and notice that is pretty bad, but
at about this point, things were getting pretty good
| | 05:50 | and then if I go the other direction
it just gets worse and worse.
| | 05:52 | So I want to go to the right.
| | 05:54 | So in other words, I can't really
tell you a formula to work with here.
| | 05:57 | You just want to test it out.
| | 05:59 | Something around about +10 looks pretty good.
| | 06:01 | I have found +8 actually looks even better and then I'm going
to go ahead and take this up to 2 for the blue/yellow fringe
| | 06:09 | because it is just a little bit a blue/yellow
fringe that gets fixed by doing that.
| | 06:13 | Now I'm looking at the upper left hand corner of the image.
| | 06:15 | Notice that it is not entirely fixed, but it is better.
| | 06:19 | If I go to the other side of the image, the other
corner and I'm going to go down to that window here,
| | 06:25 | you can see that it is not entirely
fixed either, but it is better.
| | 06:28 | Notice I will go ahead and turn off the Preview check box.
| | 06:30 | So this is before and then I will turn Preview back on.
| | 06:33 | This is after.
| | 06:34 | So we have got a different kind of chromatic aberration.
| | 06:37 | We have got more of yellow/purple going on now,
a yellow/violet, but it is better than it was.
| | 06:42 | I'm accepting these little bits of
snow, it is actually a little worse.
| | 06:44 | But this is as good as we are going to do.
| | 06:46 | If you don't believe me, you can fool around some
more with these options here and try to get it better,
| | 06:49 | but this is the best correction I
can find and then I will click OK.
| | 06:53 | So it is not perfect, it is good, click OK, you are
going to get editable Lens Correction filter right there
| | 06:59 | or Smart Filter so you could change it in the future.
| | 07:01 | If you decide that it is not exactly what you
wanted, you can update it, you can tweak it.
| | 07:04 | Go ahead and get rid of that mask, we don't need it.
| | 07:06 | I just like to tidy that up.
| | 07:07 | All right, we are done now inside of the Smart
Object, so here is how you update to Smart Object.
| | 07:12 | You go up to the File menu and you choose the Close command
or you can press the keyboard shortcut Ctrl+W or Command W
| | 07:17 | on the Mac or click the Close button,
anyway you want to close the image.
| | 07:19 | It is going to ask you, do you want to save it?
| | 07:21 | All you do is you click Yes.
| | 07:22 | Don't worry about where it is getting saved.
| | 07:23 | It is actually getting saved in RAM.
| | 07:25 | It is getting saved to memory.
| | 07:26 | So it is not getting saved to disk.
| | 07:27 | Just go ahead and click Yes.
| | 07:28 | It is really updating the image and Adobe has
said that they might change them in the future.
| | 07:33 | They might make that an update button instead.
| | 07:35 | I would like it if they did.
| | 07:36 | There are quite a few changes to
Smart Objects I wish they would make.
| | 07:38 | Anyway, notice how it is converting the colors on a fly.
| | 07:40 | So I left it in RGB.
| | 07:41 | I didn't change it back to Lab.
| | 07:43 | I figure our minds will just leave it in RGB
inside of the Smart Object, but notice here,
| | 07:48 | inside of the larger composition we are still in the Lab mode.
| | 07:51 | Check it out up here at the top of
the image inside the title bar.
| | 07:54 | So this is before, I will go ahead
and do a Ctrl+Z and this is after.
| | 07:58 | So it is Cmd+Z on the Mac, before and after.
| | 08:01 | So it is better, it is not best, but it is better and it
hasn't harmed any of the overall colors inside of the image.
| | 08:06 | We still are working in the Lab mode.
| | 08:09 | We just took advantage of a special opportunity made available
to us by the wonderful world of wacky Smart Objects and I do,
| | 08:17 | I emphasis wacky because they are pretty weird.
| | 08:19 | But anyway, we have now corrected,
somewhat corrected the chromatic aberration.
| | 08:23 | Let's check out that window just so we can see
some more here because that is where we are so bad.
| | 08:27 | This is you can see, we have still got some there, but this
is before, worse, right we can agree on that and this is
| | 08:34 | after especially when the drain pipe
is concerned it is a little better.
| | 08:37 | Not best though, so we still need to fix it further and
we are going to further fix the colors of this image.
| | 08:43 | We are going to get rid of this altogether using a
really old function, Median, in the next exercise.
| | Collapse this transcript |
| Adding clarity with High Pass| 00:00 | As you may recall we fixed the chromatic aberration.
| | 00:03 | Well, we "FIXED" the chromatic aberration in the previous
exercise because quite obviously, it's not fixed,
| | 00:10 | it's not completely better, it's just improved.
| | 00:13 | We need to make it completely better or at least
as much better as we can and we are going to do
| | 00:17 | that by applying the Median command here inside the Lab mode.
| | 00:22 | I'm working inside of a progress document called
Better chromatic aberrations, no longer wicked,
| | 00:26 | it's Better.psd found inside the 03 Typical
Lab folder and before we apply median,
| | 00:32 | I want to go ahead and sharpen the image further.
| | 00:35 | I want to add another pass of sharpening and this time I
want to add what's known as clarity sharpening in order just
| | 00:41 | to increase the contrast along the edges inside the image.
| | 00:44 | I'm going to do with the Lab SO Layer selected here.
| | 00:48 | I'm going to go up to the Filter menu and I'm going
to choose Other and then I'm going to choose High Pass
| | 00:53 | and we are going to apply a big heaping radius value.
| | 00:56 | So I will go ahead and choose this command and I will change
the Radius to 15, not to 100, that would be too far, 15.
| | 01:02 | A really great sharpening function inside of Photoshop
High Passes but it looks a little weird at first.
| | 01:07 | We have all these grays that are showing up.
| | 01:08 | So basically, the edges try to retain their original shadow and
highlight field, but the non-edges turn gray, so I will go ahead
| | 01:15 | and click OK in order to accept that modification.
| | 01:18 | Now, what you do is you go down to the High Pass Smart
Filter here in the stack down below the Lab Smart Object
| | 01:24 | and double click on its slider right there in order to bring
up the Blending Options dialog box, it might take a moment
| | 01:31 | or two for that dialog box to appear and then in
this case, I want you to change the mode from Normal
| | 01:36 | to Soft Light because we are really going to back it off.
| | 01:39 | Any of these modes, any of these guys right here are
going to back it off pretty nicely, but the least of them,
| | 01:44 | the one that's going to back it off the most and create the
most subtle effect is Soft Light and notice that right away
| | 01:49 | that High Pass blends in with the rest of the image and
I'm going to take the Opacity down to 75% actually,
| | 01:55 | just to back it off ever so lightly and then click OK.
| | 01:57 | Just to get a field for what High Pass has done let's go ahead
and zoom into the scene just a little bit there and you want
| | 02:03 | to view the scene by the way at 25% or 50% or 100%
or something along those lines in Photoshop CS3
| | 02:09 | so that you get smooth transitions between the pixels.
| | 02:12 | I'm going to turn off High Pass for a moment.
| | 02:14 | I'm going to turn off its eyeball and that might take a moment.
| | 02:17 | It's another one of these things that brings up a progress bar
to show you that Photoshop is working on those Smart Objects
| | 02:23 | and then so that's the original version of the image, prior to
High Pass and then Ctrl+Z or Cmd+Z to see the after version.
| | 02:30 | So this is before and this is after.
| | 02:32 | So we have some nice clarity.
| | 02:34 | I have gone ahead and created some clarity inside this image.
| | 02:37 | All right, so now that that's done,
now, let's apply the Median Filter.
| | 02:41 | We need the Median Filter not only for the chromatic aberration,
but also for all this color garbage, all this noise that's going
| | 02:47 | on inside of the painted wood for example and if I
switch to the Navigator palette over to this area,
| | 02:52 | you can see that we have got a ton of noise going on inside of
all the green surfaces of the house and inside of the windows
| | 03:00 | and even inside of the sky, if you look closely at the sky,
| | 03:02 | but it's mostly showing up inside
this green areas and pretty good too.
| | 03:06 | We have got some very bad problems as
you can see and we are going to take care
| | 03:08 | of those problems not now, but in the next exercise.
| | Collapse this transcript |
| Reducing color noise with Median| 00:00 | In this exercise we are going to use the Median command
to calm down the amount of color noise that we have going
| | 00:06 | on inside this image, as well as the chromatic
aberrations remaining, chromatic aberrations.
| | 00:10 | Right now we're zoomed in on a noise detail.
| | 00:13 | If I go ahead and switch to the upper right corner
of this image here inside the Navigator palette,
| | 00:17 | we will see the remaining problems with not only
the color noise, but also the chromatic aberration.
| | 00:22 | I'm working inside of a progress document called the
With Clarity.psd found inside the o3 Typical Lab folder,
| | 00:28 | so called because we went ahead and added clarity
using the high pass command in the previous exercise.
| | 00:34 | All right, so the Smart Object should still be
active here at the bottom of the Layers palette.
| | 00:38 | I want you to go up to Filter menu,
choose Noise and choose Median.
| | 00:42 | A really great command for calming down noise inside of an image.
| | 00:46 | You can't go with Reduce Noise, but for this specific image
here and most of your images, Median is going to be good enough
| | 00:51 | for you especially where color noise like this is concerned.
| | 00:54 | So, it's just an easier command to work with.
| | 00:56 | Go ahead and choose Median.
| | 00:57 | I'm going to apply a radius value of 10 because I really
want to wipe out that chromatic aberration as much as I can,
| | 01:05 | as well as completely smooth over as much of the noise as I can.
| | 01:10 | Now, you will see that Median introduces
its own sort of weird puddles,
| | 01:16 | little color puddles like we were seeing
in the previous chapter into an image.
| | 01:19 | So it introduces a degree of banding but
we will get rid of that in just a moment.
| | 01:23 | So, go ahead and click OK after applying a radius
value of 10 and then it might take a moment to apply.
| | 01:30 | The next step is to go ahead and apply this Median function here
because we have just wiped out a ton of detail inside the image
| | 01:37 | as you can see things have gotten a little
bit murky where this image is concerned.
| | 01:40 | It's rendered in candle wax or something.
| | 01:43 | What we want to do is just calm down the color
noise, just smooth over the A and B channels.
| | 01:46 | So you are going to double click on this top
slider right there, the one associated with median
| | 01:50 | in order to bring up the Blending Options dialog box.
| | 01:53 | If you get a progress bar by all
means, just sit there and wait for it.
| | 01:56 | What else can you do?
| | 01:58 | Go get a couple of cups of coffee it looks like
because we got two progress bars oh, we are so lucky.
| | 02:03 | Now let's change the mode from Normal to Color right
there and that will effect just the A and B channels,
| | 02:09 | it won't effect the L channel at all, the lightness
channel and notice what a great job it did, check that out.
| | 02:15 | It really did a wonderful job of getting
rid of that remaining chromatic aberration.
| | 02:19 | Click OK in order to accept that modification.
| | 02:21 | So I will just use the History palette
to show you the difference.
| | 02:23 | This was before we applied that command and this is after.
| | 02:27 | Big, big difference, let's zoom in
just to make sure you can see that.
| | 02:30 | This is before because we've rendered
down the videos a little bit.
| | 02:33 | This is before and this is after, looking way, way better.
| | 02:37 | Now, thing is, when you are sharpening
an image and you are blurring it.
| | 02:41 | You are piling, sharpening on top of blurring
or you are mixing the filters with each other,
| | 02:45 | the blur and the averaging function should come
first and then the sharpening functions after that.
| | 02:51 | So, we have got these filters stacked in a wrong order.
| | 02:53 | We have got Sharpen and then High Pass and then Median.
| | 02:56 | That's the order it works and that's
the order Photoshop applies them.
| | 02:59 | It is bottom to top.
| | 03:00 | So, we need to take Median, grab it
and drag it underneath Smart Sharpen.
| | 03:04 | Now in Windows and Vista you get this little icon that you
are dragging around here, you don't get that on the Mac.
| | 03:09 | So go ahead and drag that down though.
| | 03:11 | You should get that bar, that horizontal bar.
| | 03:13 | You're going to have to wait for
it to render all the Smart Filters.
| | 03:15 | This is a pretty difficult job for Photoshop as it stands right
now, takes it a fair amount of effort to switch filters around.
| | 03:22 | But once it gets done, you are going to
know it's a little bit of a different.
| | 03:25 | So this is before and this is after.
| | 03:28 | So, the details should be a little just ever so
slightly stronger in the sharpened version of the image.
| | 03:33 | And you know what, I just got through telling you a lie.
| | 03:36 | It will be a little different, you will recognize
a little bit of difference between the two images,
| | 03:41 | but why you are going to see just a little bit of difference
because Median is applied only to the A and B channels by virtue
| | 03:47 | of the fact that I applied the Color Blending mode and Smart
Sharpen is applied only to the lightness channel by virtue
| | 03:52 | of the fact I applied the Luminosity Blend mode.
| | 03:54 | The one guy that's making a difference,
one guy that really wants to be
| | 03:56 | on top is High Pass because it's got Soft Light applied to it.
| | 04:00 | So, it actually is affecting all of the three
channels at once to a limited extent though.
| | 04:05 | So you are only going to see a minor difference.
| | 04:07 | Now, we do still have some cruddiness associated with this image
and it's happening in the sky, you may not be able to see it.
| | 04:14 | Let's go and zoom in on the sky up here.
| | 04:16 | You may not be able to see inside the video.
| | 04:17 | But what we have got is a little bit of wandering in the
yellows and we can see it even better if we start zooming out.
| | 04:24 | You can see that there is some sort
of yellow blockiness going on.
| | 04:27 | I will show it to you in a little
better way so that we can really see it,
| | 04:31 | and I will show you how to account for it in the next exercise.
| | Collapse this transcript |
| Protecting the sky with a density mask| 00:00 | All right, in this next exercise we are
really taking the correction to the mat.
| | 00:05 | Once again we are just trying to do the
best correction conceivable at this point.
| | 00:09 | We are going to remove a problem that's barely visible but
it could turn into a worse problem once we print the image.
| | 00:14 | I'm not sure if you can see. I'm begging
your indulgence at this point of time.
| | 00:18 | I'm not even sure you can see this problem
in your video and by the way, I'm working
| | 00:22 | in a progress document called Smartly filtered.psd found inside
the 03 Typical Lab folder and this image is smartly filtered
| | 00:28 | of course, we have got a collection
of three Smart Filters in all.
| | 00:31 | All right, what you may be able to make out on your screen, if
not inside the video here, if you are working along with me,
| | 00:36 | is a slight wavering between the white
and the yellows inside of this image.
| | 00:41 | This is a function of Medianed JPEG
compression artifacts and it's really showing up.
| | 00:46 | I'm going to press Ctrl+3 or Cmd+3 on the Mac.
| | 00:49 | It's showing up worsen side of the B channel.
| | 00:51 | Can you see it?
| | 00:52 | Well, possibly not.
| | 00:53 | So, let me dRAW it out for you.
| | 00:55 | Let me make sure that you can really see it.
| | 00:56 | I'm going to switch back to the RGB
composite by pressing Ctrl or Cmd+Tilde.
| | 01:01 | I'm going to go to the top of the adjustment layer stack
and I'm going to Alt/option-click on the black white icon,
| | 01:07 | choose Levels and I'm going to call this guy tester.
| | 01:11 | This is a really great use for adjustment layers incidentally.
| | 01:13 | It's to test problems inside of an image.
| | 01:15 | We don't intend to keep this adjustment layer.
| | 01:17 | We are going to turn it off.
| | 01:18 | But we are just keeping it around.
| | 01:19 | We are just creating it in order to test the problems as I say.
| | 01:22 | So click OK and now I'm going to go
over here to the B channel because that's
| | 01:27 | where a problem really resides is
inside the B channel and I'm going
| | 01:30 | to change the first value to 100 and the second value to 155.
| | 01:34 | So this is going to make our image look a mess, really I mean
it's going to mess up the colors in the image as you can see
| | 01:39 | over here in the Navigator palette, but it
demonstrates the problems that we have in the sky.
| | 01:43 | Can you see it now?
| | 01:43 | If not, let's go to lightness just
to make sure you can really see it.
| | 01:47 | Now, I'm going to increase this black
point value to let's say about 190.
| | 01:50 | Now you should really see the problem showing
up there in the sky and I will click OK.
| | 01:55 | Now, that's not how we want the image to look but
it does test out this problem that exists here.
| | 02:00 | What do we about it?
| | 02:00 | Well first, what created this problem in the first
place ironically the Median command created the problem.
| | 02:06 | The Median Filter did, notice, if I turn off
Median down here at the Bottom Layers palette.
| | 02:11 | Watch what happens inside this region here.
| | 02:13 | It might take a moment to update.
| | 02:15 | Notice that we have a lot of noise now inside
of this area but we don't have that blockiness.
| | 02:20 | Now, some people might say well, that's because you use
Median but what you ought to have used in order to smooth
| | 02:25 | over the noise, you ought to have used
Gaussian Blur, that's actually not true.
| | 02:29 | Let me show you.
| | 02:29 | I'm going to go ahead and click on the Lab Smart Object there.
| | 02:32 | I have got Median turned off.
| | 02:33 | I'm going to go up to the Filter menu.
| | 02:34 | I'm going to choose Blur and I'm going to choose Gaussian Blur.
| | 02:37 | We will see that we are going to get goops
associated with Gaussian Blur as well.
| | 02:42 | They are just rounder instead of being squarish.
| | 02:45 | Problem is anytime you are averaging pixels no
matter what kind of command you use to do it,
| | 02:49 | you run the risk of actually exaggerating certain kinds of
noise inside of an image particularly here inside of Lab.
| | 02:57 | So, I'm going to go ahead and cancel out of this.
| | 02:59 | So what do we do, because we need median, we got to have
median because otherwise we have got all kinds of color noise
| | 03:04 | and chromatic aberrations that are showing up elsewhere
in the image and it's the best command to take care of it.
| | 03:08 | By the way reduce noise, that wonderful elegant Reduce Noise
command, which is really a great command, has the same problems.
| | 03:14 | It's going to make those kind of blocks show up as well.
| | 03:16 | Check it out if you want to.
| | 03:17 | Anyway, I'm going to turn Median back on just by pressing Ctrl+Z
or Cmd+Z on the Mac and I'm going to leave tester there.
| | 03:24 | For now, I'm not going to throw it away in other words,
but I'm going to go ahead and turn it off for the moment.
| | 03:28 | The reason is because I want to go ahead and load a density mask.
| | 03:32 | So we are just going to sharpen the
darkest portions of this image.
| | 03:36 | So there is we are just going to filter the darkest
portions of the image and we are not going to worry
| | 03:39 | about these light areas, so that
the light areas stay nice and flat.
| | 03:42 | So what I'm going to do is I'm going to go ahead and just
leave everything turned on except for the tester layer.
| | 03:49 | Then go over to the Channels palette, and I want you
to Ctrl+Click or Cmd+Click on the lightness channel
| | 03:55 | in order to load it up as a selection outline.
| | 03:58 | So, Photoshop has now gone ahead and
selected the lightest portions of the image.
| | 04:01 | That would be a Luminance Mask if you
are familiar with my masking series,
| | 04:04 | very distinguished Luminance Mask from Density Masks.
| | 04:07 | You know that this is a Luminance Mask.
| | 04:09 | We are selecting the lightest portions of the image.
| | 04:11 | I'm going to go to Select menu and to convert a Luminance
Mask into a Density Mask, you choose inverse just like that,
| | 04:17 | and then you select the darkest areas in the image.
| | 04:20 | Now, go over to the Layers palette or
right click on Smart Filters right there.
| | 04:24 | Right click on the word Smart Filters and choose Add
Filter Mask in order to reestablish a filter mask,
| | 04:29 | but this time the one that actually
does something inside of the image.
| | 04:33 | I will go ahead and scoot over a little bit here.
| | 04:35 | Now notice, if I turn on the tester layer that we
don't have nearly the problems that we had before.
| | 04:41 | So Shift+Click to turn that Mask off and
then Shift+Click again to turn that Mask on.
| | 04:46 | I'm Shift+Clicking on the Mask itself by the
way on the Filter Mask and you can see that,
| | 04:50 | that goes a long way towards solving our problems right there.
| | 04:53 | Now, I'm going to go ahead and click inside the image to
make it active and then I will turn off the tester layer,
| | 04:58 | that's what is causing these problems right
here and go ahead and zoom out from the image.
| | 05:02 | You can see that we still have a
nicely sharpened version of the image.
| | 05:05 | Some of the chromatic aberration is restored but it's not
too bad and we are just sharpening the darkest details.
| | 05:10 | I'm just going to click on the eyeball
in front of the Smart Filters there.
| | 05:13 | This is what it looks like without any of the filters and
this is what it looks like with the filters turned on.
| | 05:18 | Alright, so done a really nice job of correcting
everything about this image except for one thing,
| | 05:26 | the image needs to not have this
blob, this little sort of fingerprint
| | 05:30 | on the window here that's showing up at the top of the image.
| | 05:32 | Also, we need some cropping because you can see around
the edges if you look closely we have a little bit
| | 05:36 | of transparency showing through, this is because the image got
distorted slightly when we applied the lens correction function.
| | 05:42 | So, we're going to crop the image and make it
look just picture perfect in the next exercise.
| | Collapse this transcript |
| Nondestructive cropping with Canvas Size| 00:00 | All right gang of mine, in this exercise we are going
| | 00:02 | to perform the last corrective adjustment
that we need to apply to this image.
| | 00:06 | It's not the very last thing we are going
to do but this is the last correction.
| | 00:09 | We are going to go ahead and crop the image, which is going to
get rid of this smudge up here, on this kind of like fingerprint
| | 00:15 | or whatever it is on the window through which I'm shooting.
| | 00:18 | And it's also going to establish a
nice sort of wide angled panoramic shot
| | 00:23 | that better represents how I perceive
the scene with my own little eyes?
| | 00:27 | All right.
| | 00:28 | So you can crop images in a variety
of different ways in Photoshop.
| | 00:32 | Now what's interesting, I'm going to dig
into some theory just here for a moment.
| | 00:36 | If you grab the Crop tool, which is the standard
way to crop and you drag around the scene in order
| | 00:41 | to establish sort of a panoramic shot, right here.
| | 00:44 | It's going to want to snap to the edges, so it's a little bit
clumsy and notice that when you get close the edge it's going
| | 00:50 | to snap to it and we just want to be a few pixels in
the snapping, it's much too harsh, but you can hide,
| | 00:55 | you can set the cropped area to hide if you want
to which will protect everything inside the image
| | 00:59 | so that you are not cropping anything
except the background layer.
| | 01:03 | It would crop the background layer if there
was a background layer but we don't have one.
| | 01:06 | So it's going to save all the big layer information
larger than the canvas, including the Filter Mask.
| | 01:11 | All right, so I'm going to go ahead
and escape out of the crop boundary.
| | 01:15 | Now, the rectangular Marquee tool offers a few advantages,
when you undo a crop, for example, if you apply a crop
| | 01:22 | and then undo it, it remains intact, that doesn't happen
with the Crop tool quite irritatingly, in my opinion.
| | 01:28 | Anyways, so I use the Marquee tool a lot, but it tends to crop
away pixels, there is no hide option if you were to choose Crop
| | 01:34 | from the Image menu, you don't get
the opportunity to hide things.
| | 01:37 | Well, in the case of this image because it's so darn
flexible because we set it up using Adjustment layers
| | 01:42 | that can't be cropped really, and we have established
a Smart Object which also cannot be cropped.
| | 01:48 | We are going to retain everything except the Filter Mask;
| | 01:50 | we would actually crop the Filter Mask
where we do apply the Marquee tool.
| | 01:54 | Well, I know exactly how much I want to take off the
edges of this image, and how tall I want the image to be.
| | 02:01 | And if I want to work that precisely the best tool to work
with is the Canvas Size command here under the Image menu.
| | 02:07 | So that's what I'm going to do.
| | 02:08 | I'm going to choose Canvas Size command just
like the Crop tool when you have it set to Hide,
| | 02:12 | the Canvas Size command will not damage anything on a layer.
| | 02:16 | It will not crop away pixels on layers
except for the background layer.
| | 02:20 | We don't have a background layer so we are
protected, it won't crop away the mask either.
| | 02:24 | So let's go ahead and choose Canvas Size.
| | 02:27 | And what I want you to do is set it to Relative for
starters and let's reduce the width of the image by -6.
| | 02:33 | So we are clipping up three pixels on either side of the image,
and you may recall that's too account for that little bit
| | 02:38 | of transparency that we have in the left and right edges by
virtue of the fact that the image has been slightly distorted
| | 02:44 | by the Lens Correction function inside of this Smart Object.
| | 02:48 | All right, so -6 will crop away those edges.
| | 02:51 | Now Relative back off and you'll see, all right the width
of the image is going to be 3866 pixels, now fine, whatever.
| | 02:58 | I know the height wants to be 1760, I just know that
from experimenting with the image and figuring it out.
| | 03:03 | So let's say you know that and we'll just go
ahead and crop uniformly around the edges.
| | 03:07 | Now that doesn't give us much control
over the positioning of the image inside
| | 03:10 | of this crop boundary but we will take care of that in a moment.
| | 03:12 | So 3866 where pixels are concerned we should be
working with pixels, and 1760 pixels, click OK,
| | 03:19 | Photoshop is going to warn you, hey, your canvas
size is going to be smaller than the current one,
| | 03:24 | some clipping will occur big, fat lie, not true.
| | 03:28 | No clipping will occur, I want to make that clear, there is no
Background layer, so clipping is impossible with this command.
| | 03:34 | I wish it would tell you that because basically this Photoshop's
way of telling you the Canvas Size command is not nearly as great
| | 03:39 | as it is, it's a great command, click proceed just to ignore
it because you are not doing any harm to image whatsoever,
| | 03:45 | and I'm going to prove that to you in just a moment.
| | 03:47 | All right, so we have to wait for
the rendering of the Smart Filters.
| | 03:50 | If you don't want to wait for you can
click Cancel, and what's going to happen,
| | 03:53 | I'm going to try to click Cancel to
see if it takes advantage of it or not.
| | 03:57 | If you click Cancel and actually it pays attention to you
then what it's going to do, that's going to speed up the pace
| | 04:02 | at which it does things, but then it won't show you the results
of your Smart Filters on screen if you successfully cancel,
| | 04:07 | but that's great if you are performing
a lot of operations in a row.
| | 04:10 | All right, now I can still see a little bit
of the smudge at the top of the screen here,
| | 04:14 | so I don't have the image properly
positioned inside of its new boundary.
| | 04:18 | So all I'm going to do is I'm going to switch to the Move
tool and I'm going to press Shift+Up Arrow a few times
| | 04:24 | until that smudge goes away, and notice if you keep an
eye over here in the Filter Mask, it moves automatically,
| | 04:30 | it is linked to the image, so it's moving along
with the image automatically which is amazing
| | 04:35 | because this is one of the biggest ironies in all of Photoshop.
| | 04:38 | If it was a Layer Mask, it would not move along with the image
but because it's a Filter Mask it's automatically linked.
| | 04:44 | There is no way to link Layer Mask to a Smart Object layer.
| | 04:47 | Complete craziness, it's just all these weird things
associated with Smart Objects, I hope they fix them.
| | 04:52 | Anyway, that should mostly take care off this, actually
it's a little too high, I'll Shift+Down Arrow it,
| | 04:57 | so it should lay right about there where the pose in
this deck are concerned and that's what I'm looking for.
| | 05:02 | Now it's going to prove to you that we
haven't done any clipping whatsoever.
| | 05:05 | I'll go up to the Image menu and I'll choose Reveal
All, which is going to reveal all of the pixels
| | 05:11 | that are really available inside of this image.
| | 05:14 | Again, we are going to have to wait for it to render, again,
| | 05:16 | I'm going to try to click Cancel,
notice I successfully cancel that time.
| | 05:19 | It did not render the Filters, I don't care.
| | 05:20 | Look at that, is that not awesome?
| | 05:24 | We have retained everything, the Filter Mask
is still there, the image is still there,
| | 05:27 | the Adjustment layer is still there, everything is still there.
| | 05:29 | Canvas Size, it's a miracle worker, such a great command.
| | 05:32 | Undo by pressing Ctrl+Z or Cmd+Z on the Mac and we
have the cropped version of the image, right, ready to go.
| | 05:40 | What you would do now by the way?
| | 05:41 | I'm going to have you do it.
| | 05:43 | You are going to go up to the File menu, if you haven't done
this already, go to the File menu choose the Save As command
| | 05:47 | and I'm going to save this image, you'd want to save it as a
different name because otherwise you are going to save over mine.
| | 05:53 | I'm going to call it Nondestructive composition, so that we know
it's a completely nondestructive composition that we created.
| | 06:01 | Make sure to save it in the native PSD format, make
sure to save your layers, can't save in ICC Profile,
| | 06:05 | go ahead and click Save in order to save that image
to disk and you are now ready for the next exercise.
| | 06:11 | In the next exercise we are going to flatten
this image; we are going to covert it to RGB;
| | 06:15 | we are going to see what we have managed to do; and
I'm going to tell you why we are working that way.
| | 06:19 | Final exercise in the chapter, coming right up.
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| Convert to RGB, flatten, and save| 00:00 | Alright people if you have been working along with
me, you have successfully performed a textbook,
| | 00:06 | nondestructive color correction and detail
enhancement to this image and crop as well,
| | 00:13 | without harming a single pixel in the original image.
| | 00:15 | This is just the most nondestructive document possible,
flexible effect, and we've gone ahead and saved it out as well,
| | 00:22 | I saved it at the end of the previous exercise it is
Nondestructive composition.psd found inside the 03 Typical
| | 00:27 | Lab folder.
| | 00:29 | However, that doesn't mean that all is
perfectly well inside of the image, I mean,
| | 00:35 | even though we are calling it Nondestructive I should
put 'fingers up', you can't see what I'm doing
| | 00:39 | but I should have 'fingers up' when I say Nondestructive
because it's flexible and you haven't harmed the original image,
| | 00:45 | it's still there but you have ripped
apart, for example the Histogram.
| | 00:49 | Take a look at the Histogram here inside of the
Histogram palette, and this is the composite Histogram
| | 00:53 | for the entire image with all of its modifications in place.
| | 00:57 | So I was to turn off the Luminance fix layer
for example that Histogram is going to change.
| | 01:01 | Turn it back on it's going to change again.
| | 01:02 | So it represents the composite histogram.
| | 01:05 | I'll go ahead and expand the view here
so that we can see the entire thing.
| | 01:10 | I'd like to show you the All Channels View, but if I do that it's
going to get grumpy on me because my screen is not very tall.
| | 01:15 | So let me see if I can do it if the palette
is floating, choose the All Channels view
| | 01:19 | and it will show me every one of
the channels inside of this image.
| | 01:22 | I'm just going to go ahead and click on this warning,
what that does actually is that it updates the Histogram
| | 01:26 | so we have the most accurate picture possible.
| | 01:29 | See all those gaps in the histogram, so we are seeing the image
represented, the histogram is showing us the image from black
| | 01:35 | over here on the left to white over here on the right
| | 01:38 | and it's showing us all the luminance level
that it can as bars in a column graph here.
| | 01:43 | Anyway we are seeing these gaps.
| | 01:44 | That means that we have nothing at that location, we have
no pixels that are representing that luminance level.
| | 01:50 | So we have a lot of potential for
banding and some other problems going on.
| | 01:54 | If this were an RGB image that would be the
case, but because this isn't an RGB image
| | 01:58 | and no matter what we've got to go through the translator, right?
| | 02:01 | We are either having the image translated
through the RGB screen to our eyes.
| | 02:04 | If we are going to print the image we go
to CMYK, because of that this is all going
| | 02:08 | to get smoothed out during the translation process.
| | 02:11 | Let me show you what I'm talking about.
| | 02:12 | I'll go ahead and switch this back to
Expanded View so it doesn't complain it being.
| | 02:16 | And then I'll bring the Histogram palette back in to the cluster
over here, and I'm going to go ahead and hide those palettes.
| | 02:22 | We have saved the composition as PSD document, this is very
important so we don't lose any of the stuff we've done.
| | 02:27 | Now I'm going to go up to the Image menu and I'm
going to choose Mode and I'm going to choose RGB color.
| | 02:31 | If I was going to press with this image, I might
choose CMYK, assuming that I'm done with the image,
| | 02:36 | but let's say that what I want to with
it is I want to e-mail to somebody.
| | 02:39 | Somebody wants to see a picture of my backyard, I don't know
what, but I want to e-mail this wonderful bucolic day here.
| | 02:45 | So I'm going to switch it to RGB color because if
I send somebody a Lab image they won't know what
| | 02:49 | to do with it, so I'll go ahead and choose RGB.
| | 02:51 | And it's going to ask me, "Hey!
| | 02:52 | What do you want to do about those
Smart Objects you've got there, buddy?"
| | 02:55 | I'm going to rasterize them because we are
really just going to flatten off this image.
| | 02:59 | I'll go ahead and Rasterize it.
| | 03:00 | What do you want to do with those Adjustment layers?
| | 03:03 | Because I'm going to throw them away that's
what it's telling you, if you click OK,
| | 03:06 | I'm just going to get rid off them, goodbye!
| | 03:08 | You don't want that, that should not be the default, the default
should be merged, we want to merge them with the original
| | 03:14 | because it can't translate the Adjustment layers
from Lab to RGB it's what it's telling you.
| | 03:18 | So go ahead and click Merge so that we get the real version
of our image and we went to RGB and you can see that,
| | 03:23 | if I Shift+Tab over to the Channels palette we've
got a red, green and blue channels right there.
| | 03:28 | Also take a look at our Histogram, I'm going to update it.
| | 03:31 | That's a pretty darn smooth histogram right there people.
| | 03:34 | Let's go ahead and drag that guy out so we can see it by itself,
| | 03:36 | and I can expand it to show the All
Channels View, look at those nice histograms.
| | 03:41 | Now they are not perfect, they still have
little jaggies at the top of them that tells you
| | 03:45 | that some editing has occurred but
it looks pretty dark and great.
| | 03:50 | And it almost looks like this is the way I shot the image in the
first place, and it's going to look like that in just a moment.
| | 03:54 | Just a couple of more things that I need to
do, one is, if I'm e-mailing this to a person,
| | 03:59 | I need to make sure that they can open
it very easily that it's compatible
| | 04:02 | with whatever program they are using
whether it'd be Photoshop or otherwise.
| | 04:05 | So I'm going to go up actually to the Layer menu and I'm
going to choose Flattened image, in order to flatten the image
| | 04:12 | so that we have just one background layer,
otherwise we end up with one merged layer.
| | 04:17 | And then, I'm going to go on to the File
menu and I'm going to choose the Save
| | 04:20 | as command, or Ctrl+Shift+A, Cmd+Shift+A on the Mac.
| | 04:24 | We are going to go with the JPEG file format which we can
use with the Flattened RGB image and I'm going to go ahead
| | 04:30 | and call this something like Bucolic backyard or something
along those lines, and you can share this with your friends
| | 04:37 | as well this way, and click on the Save button in order to save
those modifications, might as well save it at Maximum quality,
| | 04:44 | Baseline Optimized is a good idea,
it's not going to be a very large file.
| | 04:47 | So go ahead and click OK, in order to save the final version
of that image with its beautiful histogram and everything.
| | 04:53 | Alright, let's go ahead and tab away the palettes, and
I'm going to press the F key a couple times to switch
| | 04:59 | to the Full Screen mode, this is the final version of
the image, recall, this is the one we started with.
| | 05:04 | Just to give you a sense, I'll press Ctrl+L or
Cmd+L on the Mac, that's its Histogram quite smooth
| | 05:09 | but obviously not filling up all
of the space very well, cancel out.
| | 05:13 | And then, I'll go ahead and switch over to the final version,
the corrected version of the image, so nice, just looks lovely,
| | 05:20 | looks the way that I thought it should have looked in the
first and if I press Ctrl+S or Cmd+S on the Mac you can see
| | 05:26 | that we have a nicely fleshed out smooth Histogram, something
you just cannot get if we had modified the image inside RGB,
| | 05:32 | we would have a lot of problems with this Histogram.
| | 05:35 | Thanks to the fact, we went to Lab and came back to RGB,
it looks like we have never edited the image at all.
| | 05:40 | It's invisible stealth editing I tell you.
| | 05:42 | You're going to go ahead and cancel
out, and you manage to accomplish it,
| | 05:46 | very nicely done with the power and
the aid and the assistance of Lab.
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|
|
4. Correcting Color Cast and LightingImages with bigger issues| 00:00 | By now you have a pretty broad understanding of how to
fix photographs in Lab, convert the image to Lab Color,
| | 00:06 | adjust the brightness and contrast, elevate the A and B channels,
sharpen the luminance and you have yourself a great image.
| | 00:14 | See? I told you wasn't that hard.
| | 00:16 | Well, yeah it is. Because there are images out there that defy or
at least challenge the approaches I have shared with you so far.
| | 00:24 | Images with intense or hard to identify color casts,
| | 00:27 | images with blown highlights or filled-in shadows,
images that are backlit or suffer from harsh contrast.
| | 00:34 | Such are the problems we'll explore in this chapter. Now I can't
guarantee that your photographs will behave exactly like mine.
| | 00:40 | Every image offers it's own unique challenges but I will
show you how to identify a color cast, how to adjust for it,
| | 00:48 | how to brighten shadows, how to dim highlights and how to bring
out every last ounce of detail that your image has to offer.
| | 00:56 | We are going to squeeze that lemon and
make some really, really great lemonade.
| | 01:02 | You're so sweet, I leave to you to lay on the sugar.
| | Collapse this transcript |
| Fixing a color cast| 00:00 | Before we set about correcting the color cast of our
images, let us discuss how we recognize color cast,
| | 00:05 | which I think most of us know, but just to make
sure and then what are the best ways to address it.
| | 00:10 | We are going to keep things theoretical here.
| | 00:12 | I'm not showing you any images.
| | 00:13 | I'm showing you diagrams in this
exercise and then in the next exercise,
| | 00:17 | we will actually take this theory and put it into practice.
| | 00:20 | I'm looking at what is for all intents and purposes a
reprise of the big Lab color wheel that we saw earlier,
| | 00:27 | only this one is flattened which is why I call it Lab
wheel (flat.tip) found inside the 04 Cast_lighting folder.
| | 00:36 | Basically imagine this, imagine that
we have an image with a red color cast.
| | 00:42 | Now we would know that it is a red color cast because there
would be an inaccurate preponderance of red inside the image.
| | 00:50 | I don't mean that the image is predominantly red,
that is not enough because you might have an image
| | 00:54 | that just has tons of red and that is all it has.
| | 00:57 | The image has a bunch of red and maybe some neutral
colors here and there, but it doesn't have a hint
| | 01:02 | of blue inside the entire image so that is okay.
| | 01:04 | One would suppose that is the way you intended
the image to look if that is the way it is set-up.
| | 01:08 | It has got a red color cast only
if what ought to be neutral colors,
| | 01:12 | your grays for example, they are ending up looking a little red.
| | 01:17 | That would be a red color cast and I will show you how
to identify these casts in just a moment, but for now,
| | 01:22 | how do you go about getting rid of that red color cast?
| | 01:24 | Once you have identified it how do
you go about getting rid of it?
| | 01:26 | Well, it is tempting to try to somehow remove that red from the
image, but what you really do is you add the color compliment,
| | 01:35 | the guy that is across the graph from red
and let me show you how we identify that.
| | 01:40 | I will go ahead and grab my lasso tool by pressing the
L key and I would Alt+click or Option+click on red,
| | 01:46 | keep the Alt or Option key down and then just drag
across the graph through the center to the other side
| | 01:52 | and that is going to be your color compliment right there.
| | 01:54 | Now it is not necessary that you figure out exactly
where on this graph your color compliment is.
| | 01:58 | This thing is just a visual tool to help
you out, but let us say I identify this area
| | 02:02 | as pretty much the opposites of your color compliment.
| | 02:05 | Alright, so I will get my marquee
tool and I will select that area.
| | 02:09 | Again, it is a general area.
| | 02:10 | It is not going to be absolute because I don't know
that I have an absolutely red color cast at this point.
| | 02:15 | It is an approximation, but I do know from looking
at this graph that I'm going to add turquoise
| | 02:22 | to the mix and a little less cobalt to the mix.
| | 02:25 | So I'm going to go dramatically turquoise which, if I have
a dramatic red cast, I'm going to go dramatically turquoise
| | 02:33 | on the a axis and just ever so slightly
less dramatically cobalt on the B Axis.
| | 02:38 | So how in the heck do you do that?
| | 02:40 | Well, you do it using either Levels or Curves.
| | 02:43 | It is up to you and it depends on which command you need.
| | 02:45 | If you need an awful lot of control, you want to go
with Curves, if you don't need that much control you go
| | 02:49 | with Levels, but let me show you how that works.
| | 02:51 | I'm going to switch to this image right here and
this is the image we really want to look at here.
| | 02:56 | This is called Color moves.psd found inside of that 04 Cast_
lighting folder and we have got two areas inside of this diagram.
| | 03:05 | One that is labeled The Colors Of Levels
Moves so the Levels command that is to say
| | 03:10 | and the other is The Colors Of Curves Moves, the Curves command.
| | 03:14 | So what do I mean by moves and color and what the heck?
| | 03:17 | Well, these are the colors you are going
to get if you start moving the sliders
| | 03:22 | around for example, inside the Levels dialog box.
| | 03:24 | So if you take any of the slider triangles, the black
point, the gamma value or the white point and you move them
| | 03:30 | to the right, you are going to make the image darker.
| | 03:33 | Now I know this area does by the way, it represents the
light side of the graph, but if you start moving points
| | 03:39 | in that direction you are going to make the image darker.
| | 03:42 | If you start moving any of the points in this
direction, you are going to make the image lighter
| | 03:47 | and that is what's going on with a and b as well.
| | 03:49 | If you take any of these points and start moving them over to
the dark side over here, which represents turquoise actually
| | 03:55 | in this graph, well then you are going to be adding this crimson
tone to it and you are going to be defeating the turquoise.
| | 04:03 | So in our case, since we want to defeat that red and we want to
add turquoise to the mix, we would be moving any of the sliders
| | 04:10 | as we could over to the right hand side and you
will actually see this happening inside your image.
| | 04:15 | You will see a preview, but I just want to give
you a sense of where you are going to be going.
| | 04:18 | It gets a little more complicated with
Curves and then with b, the same thing.
| | 04:22 | If you start moving any of these points that way to
the left you are going to make the image more yellow,
| | 04:26 | if you start moving any of the points to the right,
you are going to start making the image more cobalt
| | 04:30 | and that is what we wouldn't want to do, right?
| | 04:31 | So in our case, since we are trying to defeat
red, we would move the points and it maybe all
| | 04:36 | of the points, it may just be one of the points.
| | 04:38 | I might just be the black point over to the right and then
I might just move the black point here over to the right
| | 04:44 | as well inside the b channel just less
so than I moved it in a because I need
| | 04:47 | to emphasize turquoise more than cobalt to get rid off that red.
| | 04:51 | Again, we will see it, this is a little confusing.
| | 04:53 | This is just a diagram for you to go back to, once everything
starts making a little more sense and you could keep it open
| | 04:59 | as you are working if you want to,
print it out whatever, up to you.
| | 05:03 | Anyway, here is Curves.
| | 05:05 | If we click just at a point and then we move that point,
any point along in line and we start moving it down
| | 05:11 | or to the right we are going to make the image darker.
| | 05:14 | If we start moving it up or to the left, we are going to make
it lighter and this assumes that you have your gradients,
| | 05:20 | see these gradients bars along the sides, along
the left side and the bottom of the graph.
| | 05:26 | As long as they show up like this
with black down in the lower left
| | 05:29 | and white in the upper right then
this is the behavior of the graph.
| | 05:32 | If it shows up the other way around,
then you get the opposite behavior.
| | 05:35 | In the case of a, if you click to set a
point and then move it down or to the right,
| | 05:40 | you are going to make the image more turquoise.
| | 05:42 | If you move it up or to the left you are going
to make the image more crimson, more lavender.
| | 05:47 | Then with b, if you move it down or to the
right you are going to make more cobalt,
| | 05:52 | up or to the left you are going to make it more yellow.
| | 05:54 | So just some stuff to bear in mind.
| | 05:55 | I don't expect you to absolutely
remember every bit of minutiae here.
| | 06:00 | We are going to put it in play together so you are going to
get a sense of exactly how it works and the more you do it,
| | 06:04 | the more you become experienced with
it, the more sense it is going to make.
| | 06:08 | In the next exercise, we will set about
getting rid of the color cast of a robot.
| | 06:13 | Stay tuned.
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| Exaggerating a color cast| 00:00 | We're going to start things off with a fairly straight
forward image. We're going to correct this guy right here
| | 00:04 | and the name of this guy is robotadd.psd
| | 00:08 | found inside of the 04 cast lighting folder
| | 00:12 | and we are going to address the color cast. Not only are we
going to enhance the colors in general and the luminance levels,
| | 00:19 | but we're going to correct this slight color cast that's associated
with this guy and you look at them and you think well,
| | 00:24 | he's got a little bit of a bluish cast.
| | 00:27 | But I'm going to show you how to really test that,
| | 00:30 | engage that cast and account for it.
| | 00:33 | So two parts here, we're going to start by just doing a general
correction and then we will correct for the cast in the next exercise.
| | 00:40 | Let's bring back our palettes
| | 00:42 | and you may notice here that I've got a
photograph, a layer that's called photograph
| | 00:46 | And then I've got this thing called folderal,
which is a group of bars, black and white bars
| | 00:51 | and that is horizontal bars,
| | 00:53 | that punctuate the text here and then of course, text on top of them.
So we don't want to correct those, they're just black and white elements,
| | 00:59 | they're fine.
| | 01:00 | We want to correct the photograph, so make sure it's
active. But also, we need to change this guy to Lab and
| | 01:05 | that's an easy thing to forget by the way. You can just
end up going down to the black/white icon, choosing Levels
| | 01:10 | and then starting to modify like I can click on the Auto button and
then ah, holy crud, what in the heck happened? And then I notice
| | 01:16 | oh, I'm working in the RGB mode.
| | 01:18 | Well, that was silly, so cancel out of that.
| | 01:21 | What I need to do instead of course,
| | 01:22 | go up to the Image menu, choose Mode and choose Lab Color.
| | 01:26 | Now Photoshop is going to bug me and over time you'll
get a sense of how you react to these error messages.
| | 01:32 | It's going to say that we've got a lot of layers inside of this
image and changing modes can affect the appearance of layers.
| | 01:39 | Well, not really.
| | 01:40 | When you're going from RGB to LAb you're not really
going to change the appearance of your layers unless
| | 01:45 | you have some wacky blend mode set up
| | 01:47 | and we know how many wacky blend modes set up.
| | 01:49 | So I'm going to say Don't Merge. You've got to click on Don't Merge,
if you want to keep your layers. If you click on Merge, you're going to
| | 01:55 | merge everything together and make a mess of it. So
you want to say Don't Merge or you can press the D key.
| | 02:00 | That works as well.
| | 02:02 | Now then, groovy.
| | 02:03 | We're ready to go.
| | 02:04 | I'm going to go ahead and press and hold the Alt key or the
Option key on the Mac. We're going to do this all with the Levels
| | 02:09 | command this time around.
| | 02:10 | So go ahead and choose Levels and I'll
call this new levels adjustment layer
| | 02:14 | contrast and cast,
| | 02:15 | because that's what we're correcting for.
| | 02:19 | Then I'm in the Lightness channel, that's good.
I'll click on Auto, much better correction this time,
| | 02:24 | just corrects the Lightness channel, nothing else.
| | 02:26 | It goes a little too far with it in my opinion
so I'm going to back off the black point
| | 02:29 | to 20 and remember now, even though the black
points located here on the left side of the graph
| | 02:35 | when we move over it, when we move over to the right, that we
darken the image. So when we move in the opposite direction,
| | 02:43 | the white point's over here on the right side of the graph-
but when we move the slider triangles over to the left,
| | 02:49 | that's when we start lightening the image.
| | 02:51 | So that's what that little diagram
in the previous exercise was all about.
| | 02:55 | We'll be coming back to it, you'll see.
| | 02:57 | Anyway, let's take this guy to 20 and this guy up to
let's say 225, probably, it's going to work out nicely
| | 03:05 | and then the gamma value I think should just be 0.9
| | 03:10 | and notice that that is moving
| | 03:12 | the Gamma slider triangle over to the right thereby darkening
the image. So by reducing that Gamma value we darken the midtones.
| | 03:20 | Now let's go ahead and just increase the saturation because
this is a low saturation robot right now. I really want him to
| | 03:27 | have some pizzazz here, cause it's a low color shot in
the first place. So I really want to emphasize the colors
| | 03:32 | and we're going to go nuts, of course.
| | 03:34 | First here, I'll just show you
| | 03:36 | the whole logic behind that diagram once again.
| | 03:38 | This black point represents turquoise over here in the
left side of the graph, but it's my moving it to the right
| | 03:44 | that we end up introducing turquoise to the image. So that's why
| | 03:47 | we saw turquoise on the right side of the diagram
| | 03:50 | and crimson on the left side of the diagram.
| | 03:52 | So if I start moving this guy over to the left,
| | 03:55 | we start introducing way too much crimson. This is
crazy crimson; we want to back off that of course.
| | 04:03 | We're going for symmetrical adjustments at this point. Let's take
this value to 175 and this to 80 and how do I know that's symmetrical?
| | 04:10 | Because zero plus 80 is 80,
| | 04:12 | 255 minus 80 is 175. That's how.
| | 04:14 | I can also just do the old Shift+Up
and Down arrow thing, that works.
| | 04:18 | Now we've got to offset our changes to the a channel
| | 04:22 | by introducing changes to the b channel
| | 04:25 | and of course, if I take that cobalt point and move it to right I
introduce cobalt to the image. Any of these values going to the right,
| | 04:32 | any of these markers that is, these slider
triangles go into the right will introduce cobalt.
| | 04:37 | Any of them going to the left will either get rid of cobalt
in this case or introduce yellow. Same diff, that's actually
| | 04:44 | the exact same operation, getting rid of cobalt
| | 04:46 | and adding yellow is the exact same thing.
| | 04:49 | Even though it may look a little different on screen.
| | 04:51 | So anyway, I'm going to take this guy down
to 175, I'm going to take this guy up to 80.
| | 04:56 | I have now introduced symmetrical adjustments to my
image. You can see the a and b channel are the same,
| | 05:02 | a little different stuff going on in
the lightness channel, excellent, click OK.
| | 05:06 | You are done for now. We have enhanced the
contrast and the saturation of the image.
| | 05:12 | In the next exercise I'm going to
show you how to identify exactly what
| | 05:16 | kind of color cast we have going on
and then we will see how to address it.
| | 05:21 | Stay tuned.
| | Collapse this transcript |
| Quantifying and correcting a color cast| 00:00 | In this exercise we are going to talk about how
to identify and correct the blue color cast,
| | 00:05 | what's obviously a blue color cast associated with this image
but we really want to lock it down and figure out what kind
| | 00:11 | of Blue is going on and how we get
rid of it, in the best way possible,
| | 00:14 | without getting rid of all the wonderful colors inside the image.
| | 00:18 | Now if this were an RGB image, we would most likely use the
Variations command, just because it is the simplest approach.
| | 00:23 | Let me show you how that works and in
doing so I'll show you a few other things
| | 00:26 | that are interesting to note about switching between modes here.
| | 00:30 | If I click on the photograph item right there, the photograph
layer and I go up to the Image menu and I choose Adjustments
| | 00:37 | and I try to choose Variations, it's not available
because you can't apply Variations to a Lab image.
| | 00:42 | So what you need to do instead, I'll go ahead and escape out
of there, you need to convert the image to RGB but if I go
| | 00:47 | up to the Image menu, choose Mode and then choose RGB
Color, Photoshop comes up with this Merge command,
| | 00:52 | where it's going to tell me, hey, I'm going to get
rid of your Adjustment Layer buddy, unless you merge.
| | 00:56 | But if I say Merge, it's going to merge the
entire composition, not just the Adjustment Layer.
| | 01:02 | And if I say OK, it won't merge anything,
it'll just throw the Adjustment Layer away.
| | 01:07 | I need another button but I don't have
it, so what you have to do is cancel out.
| | 01:11 | You go here to the Adjustment Layer, go to the Layer menu, and
you choose Merge Down, or you press Ctrl+E, Cmd+E on the Mac,
| | 01:20 | merges that adjustment layer into places
now, static adjustment then you go
| | 01:24 | up to the Image menu, choose Mode and choose RGB color.
| | 01:28 | It quacks at you about how you are going
to change the appearance of your Layers.
| | 01:32 | You say Don't Merge, because we don't
want to do that at this point.
| | 01:35 | Then you would go to Image menu and choose Adjustments and
choose Variations, and all of your efforts are rewarded
| | 01:42 | with these tiny, dinky little, itsy-bitsy thumbnails here.
| | 01:46 | And at this point you go, my image is too Blue,
so that would be, gosh what, it's not more blue,
| | 01:52 | I want less Blue, well less Blue is more Yellow.
| | 01:55 | So you just, like I was telling you before, you don't
subtract the Blue from the image, you add Yellow to the image.
| | 02:00 | So you click on More Yellow, and presumably that will
take care of your problem, but you don't really know
| | 02:05 | because these thumbnails are so dinky and you have to
sit there and fool around with this Fine/Coarse Slider,
| | 02:10 | and you can't really preview the affects of
your changes here inside the image window,
| | 02:13 | you have to wait until after you click OK.
| | 02:15 | Well I'm going to click Cancel, obviously
and I'm going to go back to where I was.
| | 02:20 | I'm going to back step a couple of steps here.
| | 02:22 | Ctrl+Alt+C, or Cmd+Option+C a couple of times.
| | 02:25 | By the way I have saved my image in
progress here as Android in Lab.psd.
| | 02:29 | If you are working along with me, you want to
open it up inside the 04cast_lighting folder.
| | 02:35 | We are back in the Lab Mode now.
| | 02:37 | Now I can once again, eyeball in here
appears to have a little bit of a Blue cast,
| | 02:41 | meaning that items that should be neutral are showing up as blue.
| | 02:45 | But if I go ahead and grab the Eye Dropper
tool, or I can press the I key of course to get
| | 02:49 | to it, I can identify exactly what that cast is.
| | 02:52 | So I would make sure that my Color palette is
available and that it's set to Lab Sliders, as it is.
| | 02:58 | And then I would make sure my sample size is set to something
bigger than Point sample, that will sample just a single pixel,
| | 03:04 | the pixel you click on, presumably you want more than that.
| | 03:07 | So I'm going to go with let's say a 5/5,
or even an 11/11 average for this image,
| | 03:12 | because there's a lot of big areas of similarly colored pixels.
| | 03:15 | So let's go with 11/11 average.
| | 03:17 | But just know that you have changed that for later because
that will stick and affect the Eye Dropper in the future.
| | 03:23 | Then I'll just click in it's chest, let's say, and
you can see that we have got some A and B values now,
| | 03:27 | we don't care about the Lightness value, we just care about A and
B. A that's showing up as a little bit Turquoise in that area,
| | 03:35 | so a -5 right here, and a little bit Cobalt as well
as indicated by a -24, in fact that's quite Cobalt.
| | 03:43 | Meanwhile though we have a competing neutral surface in the
background, which is this cement wall, and if I click in it,
| | 03:50 | it's a little bit Cobalt as well, that tells me there's
too much Cobalt in this image and we need to go Yellow.
| | 03:56 | And then it's pretty darn neutral for A,
-2, that's hardly worth worrying about.
| | 04:01 | So what should we do?
| | 04:02 | Well, let's go back to that diagram, let me
see if I can get to it properly, here it is.
| | 04:06 | I'm going to tab away by palettes for a moment.
| | 04:08 | Switch to the Full Screen mode.
| | 04:10 | And we know now that we need to get
rid of the Cobalt inside of the image,
| | 04:14 | get rid of a little bit of the Cobalt,
and that means adding Yellow to the image.
| | 04:17 | So then that means taking some slider or other,
one of these three sliders over to the left.
| | 04:23 | And the way we can do the biggest modification is to take
the right slider because the white point represents Yellow,
| | 04:31 | and we can move it to the left to
send it to a greater degree of Yellow.
| | 04:35 | And if want to Offset the negative value that we have
associated with A, so we want to introduce a little more crimson,
| | 04:41 | we would take this white slider and send
it to the left into Crimson territory.
| | 04:46 | So we are moving our slider in the direction of
Crimson and more to the point Yellow for this image.
| | 04:51 | Let's go back to Robot in progress and
bring back our stuff that we need here.
| | 04:57 | And I'm going to go ahead and double click on this Levels
adjustment layer that we have because we are just going
| | 05:04 | to modify it and then I'll switch over to the B channel, because
he's too Cobalt, so he needs more Yellow and then I'm going
| | 05:11 | to take this Yellow value, I could take the black value down
to Yellow, but if I do that notice that the colors get murkier,
| | 05:18 | so I don't have that high degree of
saturation that I had a moment ago.
| | 05:21 | I'm removing saturation by taking out the Cobalt.
| | 05:24 | Don't want that, I want to keep that high saturation there.
| | 05:26 | Instead we are going to go to the White
point value and I'm going to reduce it
| | 05:29 | by pressing Shift+Down Arrow, I will reduce it to 165 there.
| | 05:33 | And now notice my value is updating on the fly for
me and it's showing me that this is going to -6.
| | 05:39 | Let me just make sure its tracking the right portion
of the image, I'll go ahead and click in his chest
| | 05:42 | and now we can see its -11 and -5 for B and A in that order.
| | 05:49 | Notice as I keep reducing this value from the keyboard I'm
pressing the Down Arrow key, this value keeps updating for me
| | 05:55 | and so at this point, when I take it down
to 158, then it's absolutely neutral.
| | 05:58 | But look what I done to the wall in the background,
I have made it too yellow, if I click in the wall,
| | 06:02 | now it's leaped up to 22, so it's no longer neutral at all.
| | 06:06 | So I have got to take this value back up and when
I take it back to about 165, we get an even mix,
| | 06:11 | our background wall is a little bit Yellow as you can see it's 10
Yellow, pretty darn Yellow actually, and then his chest is -11 B,
| | 06:20 | so that means we have got some Cobalt in his chest.
| | 06:22 | So we have basically this neutral surface showing
up as blue and this neutral surface showing
| | 06:26 | up as yellow, which is a compromise, essentially.
| | 06:29 | But also you have to bear in mind that it's a
compromise we want, it's a desirable compromise,
| | 06:34 | because we have elevated the colors so far, right?
| | 06:36 | We have made such high saturation colors in first place.
| | 06:39 | If we didn't want the Cobalts and the Yellows, then we would the
reduce the Saturation values by spreading these guys apart now,
| | 06:45 | but I want those high saturations values and
this is pretty endemic of the scene I would say.
| | 06:51 | The robot is being informed by the blue colors of the sky
| | 06:53 | and then we just have some warmish colors going
out with this man and that's totally fine.
| | 06:58 | Now let's go to the A channel, and let's just
reduce this guy, just a couple of clicks here.
| | 07:03 | Let's click inside the chest again first to make
sure that we have got that chest color identified.
| | 07:07 | And then I'll press the Down Arrow like three times in
a row, until A goes zero and that introduces what looks
| | 07:13 | to be a little bit too much magenta in the scene so I'll press
the Up Arrow key once and only once to take the value up to 173
| | 07:19 | and you can see a difference on screen
if you are looking closely.
| | 07:22 | This was before when it's too magenta, this is a
little bit less magenta, it's a subtle modification,
| | 07:28 | but it's a kind of subtle modification that
makes a meaningful difference to the image
| | 07:32 | and that we could not see inside the
variations dialog box, forget that.
| | 07:36 | Actually I'm going to go one farther, yeah, that's
better, all right, so 174 that's what I want.
| | 07:41 | And then I'll click OK and that is my
modification people, that works out very nicely,
| | 07:46 | this is the originally robot, it
barely has any color at all, poor guy.
| | 07:51 | And this is the enhanced and the color
cast corrected version of the robot.
| | 07:56 | Just one more thing that I want to do to this guy.
| | 07:57 | In the exercise we are going to take care of the camera
shake, look at how his eyes are wiggling back and forth.
| | 08:04 | Look at those teeth, they are just not in focus, we are going
to correct that using the Emboss command coming right up.
| | Collapse this transcript |
| Sharpening an image with the Emboss command| 00:00 | We have corrected for the slightly cobalt color cast of the
original robot image in addition to correcting his contrast
| | 00:08 | and elevating the Saturation values and I'm
working in an updated version of the document.
| | 00:14 | It's called Cast compromise because we have had to come up with
something of a compromise between the bluishness of the robot
| | 00:22 | and the yellowishness of the background wall.
| | 00:25 | This Cast compromise.psd file, it's
found inside the 04cast_lighting folder.
| | 00:30 | Now, then we need to address the issue of the camera
shake meaning that because this was a telephoto shot,
| | 00:36 | I took it across the street from this
house that has this robot outside of it.
| | 00:40 | I need more light because it has to go all through all the
lenses and so the shutter remained opened a little longer
| | 00:46 | than it should have, given that I was
shooting, this is a hand held shot.
| | 00:50 | So I move the camera ever so slightly that
it appears to be a horizontal movement.
| | 00:55 | That's called Camera Shake and we can correct
Camera Shake in a couple of different ways.
| | 00:59 | You can either correct it using the Smart Sharpen Filter set
to Motion Blur or what I prefer to do especially in this case,
| | 01:05 | we are going to apply the Emboss Filter,
would sharp really nicely actually.
| | 01:08 | So I'm going to click on the photograph layer to make it active.
| | 01:12 | Naturally we want this to be a nondestructive modification, so
we are going to go ahead and convert this guy to a Smart Object
| | 01:18 | by going up to the Filter menu and choosing Convert for Smart
Filters and it becomes a Smart Object automatically there.
| | 01:26 | Then I'm going to go up to the Filter
menu, choose Stylize and choose Emboss.
| | 01:32 | Now this isn't going to appear to be the command we want
to use but it makes the image looks like it's etched
| | 01:36 | in relief, in carbonite or something along those lines.
| | 01:40 | That's what I like to say.
| | 01:41 | It looks like because like when Han Solo
in carbonite in The Empire Strikes Back.
| | 01:46 | That's what it looks like, but have faith,
it's going to work out beautifully of course.
| | 01:49 | Think about sharpening in High Pass
and how we drop out the neutral colors,
| | 01:53 | the grays and that's what we are going to do here as well.
| | 01:55 | So stick with me.
| | 01:57 | Let's first get the right angle going.
| | 02:00 | As I was thinking this is a strictly horizontal camera
shake, so I'm going to set the angle to 180 degrees.
| | 02:06 | The Height Value is analogous to the Radius value when we are
sharpening and a height value of three is actually going to work
| | 02:12 | out nicely for this image and an amount
of a 100% is going to work out fine too.
| | 02:17 | The great thing about applying this filter nondestructively
as a Smart Filter is that we can come back to it.
| | 02:22 | I should say parametrically because we can
come back to these numerical parameters here.
| | 02:27 | So I'm going to click OK in order to apply that modification.
| | 02:30 | Let's get rid of that darn Filter mask because
it takes a lot of room and I'm Mr. Tidy
| | 02:35 | and then I'm going over to the sliders right there.
| | 02:38 | Double click because obviously this is not good.
| | 02:41 | This is not fit for human consumption and let's
change the Mode from Normal, check this out,
| | 02:47 | I'm going to change it from Normal
to Overlay and just like that zap.
| | 02:51 | It does a good job of fixing the image.
| | 02:53 | It looks like -- it's kind of hyper saturated at this point.
| | 02:55 | We will address that in just a moment.
| | 02:57 | I'm going to go ahead and click OK because
you can see right there that looks fine and
| | 03:01 | yet we somehow elevated our Saturation values.
| | 03:03 | I'm going to go ahead and click OK in order to accept
that modification and to take care of this problem,
| | 03:08 | this weird problem that's occurring because it's a bug,
I'm going to double click on the word Emboss to bring
| | 03:13 | up the Emboss dialog box and notice now everything settles down.
| | 03:16 | I can just go ahead and maybe raise the Height value a
pixel and then send it back down to pixel and click OK,
| | 03:22 | just perform some sort of meaningless modification to
the image and then we get the effect we are looking for.
| | 03:27 | All right, but this is what the image looks
like without that Smart Filter applied.
| | 03:31 | This is what it looks like with the Smart Filter applied.
| | 03:34 | Watch the teeth this is before and this is after.
| | 03:37 | See how the teeth tightened up here.
| | 03:39 | Also watch the eyes.
| | 03:40 | This is before, this is after.
| | 03:42 | The detail actually tightens up which is really nice, it's still
a fake, just as all sharpening effects are but it's a good fake.
| | 03:48 | It works out pretty nicely, from a greater
distance, this is before and this is after.
| | 03:53 | Looks just ducky.
| | 03:54 | Let's go and tab away the palettes and press the F key a few
times in order to get rid of the menu Bar as well those Zoom-out
| | 04:01 | to take in some of the text not all of the text, as
there is little more text in this document than this
| | 04:05 | but see if I can bring back my History
palette for just a moment here.
| | 04:09 | Let's go to History, I will go back to Robot ad which
is the original version of this image, okay cool yo.
| | 04:15 | This is the original before version of the Robot.
| | 04:18 | This is the newly enhanced after version.
| | 04:21 | He not only looks color corrected, contrast corrected, he no
longer has that color cast well he has got a compromise cast now.
| | 04:28 | He is also much sharper, thanks to these
nondestructive modifications that we have applied
| | 04:33 | with the help of the Lab Mode here inside Photoshop.
| | Collapse this transcript |
| Introducing a more complicated color cast| 00:00 | Now, for something more complicated.
| | 00:02 | We have this low saturation, fairly dark scene and it's
got a heck of what seems to be a purplish color cast,
| | 00:10 | we will see that's not exactly right in just a moment.
| | 00:13 | We want to turn it into something more resembling this.
| | 00:17 | Now, this may at first glance appear a little bit too
yellowish potentially or on your monitor depending
| | 00:22 | on the calibration it may look a little bit too
greenish and I will show you how to care of that as well
| | 00:27 | but the yellowishness is inherent in the scene, essentially.
| | 00:30 | We have got a lot of incandescent lighting sources going on,
we also have a lot of natural light coming in late in the day.
| | 00:36 | So, it's going to be very warm.
| | 00:39 | You could see this wall over here is pretty neutral
on the shade but the wall that are getting light
| | 00:43 | on them are little bit yellowishness and that's just the
way things were inside of this scene and you can evaluate
| | 00:48 | that not only by remembering how you shot the scene but also
just by lifting a few colors and getting a sense what's going on.
| | 00:54 | So, the question becomes then what is
the overall color cast of this scene
| | 00:58 | and there is not a really a single color cast going on, we
have got sort of different Levels of casting going on depending
| | 01:04 | after looking at the highlights or the mid-tones or the shadows.
| | 01:08 | Let's go ahead and grab the Eye Dropper and by the
way the name of this image is the crowdexits.jpeg,
| | 01:13 | it's found inside the 04cast_lighting folder.
| | 01:17 | I'm going to press the I key to get the Eye Dropper
and I'm going to Shift+Tab up these palettes over here
| | 01:21 | so we can see the color palette and I'm going to click inside
of this area of this pole and that's not really giving as much
| | 01:28 | of a sense of what's going on in the colors, we have some
pretty neutral color going on in this pole even though
| | 01:34 | that the scene in general looks very sort of purplish.
| | 01:37 | So, let's click down in here in this area and you will see as
we move around that when we get into the heavily colored areas
| | 01:44 | like this area right here, we have a fairly negative
B value and then not quite so positive A value.
| | 01:52 | So, what in the world is that color?
| | 01:54 | It looks again like a drab purple but let's go
ahead and skip ahead a couple of images to this guy,
| | 02:01 | remember the labwheelflat.tiff and it should be one
of these colors down in this region when we think.
| | 02:07 | I'm going to click over here and sort of drag it around
and notice what we have got is a fairly negative B value
| | 02:14 | with a less positive A value right in this area, right around
this side on the right side of the blue line right there
| | 02:22 | and if we move on the left side of the blue line, it's the
more negative B value associated with a positive A value,
| | 02:29 | but right in here we are not going to find the same values
by the way; we are just trying to find equal proportions,
| | 02:33 | it's right around this range where we are going to find those
same proportions and that means we have got a blue color cast,
| | 02:39 | that cast is blue and so if we go directly across from
blue we are going to have a lot of yellow that we have
| | 02:45 | to add to the scene and a little bit of turquoise.
| | 02:48 | So, great deal of yellow, some positive B and some negative A
and what that means is when we come to the Curves dialog box
| | 02:56 | because this is sufficiently complicated modification
that we are going to need to move the Curves points,
| | 03:02 | that means our A curve is going to kind of
bend like this into the turquoise territory.
| | 03:09 | So it's going to favor turquoise ever so slightly and
then B, it's going to bend outward into the B territory,
| | 03:16 | so it's going to be stretching generally in the B direction
or that is to say the upper left direction into the yellows
| | 03:24 | and it's going to generally just dip down into the turquoise
territory down in the lower right corner of the curves graph.
| | 03:31 | Then we are going to do a bunch of stuff with lightness
as well in order to fix that terrible level of contrast
| | 03:36 | that we have going on and we are going to do that
to this image right here in the very next exercise.
| | Collapse this transcript |
| Drawing a custom contrast curve| 00:00 | As you may recall the purpose of this project is to
take this image right here with the bluish we now know
| | 00:06 | to be a bluish color cast and we
want to transform it into this one.
| | 00:11 | So, something that has more of an interior warm incandescent sort
of feel to it and there is certain degree of neutrality as well,
| | 00:19 | this is more or less the neutral
scene, it did have this sort of magenta
| | 00:23 | or whatever carpet you call it, sort
of a rose color carpet down here.
| | 00:26 | So, what do we do in order to apply that correction?
| | 00:29 | Well, in this exercise we are going to start
things off by increasing the contrast of the scene,
| | 00:34 | the brightness and contrast just to get that done.
| | 00:36 | I could try to use the Brightness and Contrast command, I
might actually have a fair degree of success with that actually
| | 00:41 | but instead I'm going to use curves just because I
want to get as much control over this scene as possible
| | 00:47 | and I want to arm you with as many techniques as I can here.
| | 00:50 | So, as I was saying the name of this image is The crowd
exits.jpeg found inside of the 04cast_lighting folder
| | 00:59 | and this is the photograph, this is natural blurring by the way.
| | 01:01 | I just had the shutter speed open for a prolonged period of time.
| | 01:04 | Well I had the camera Leica D-Lux 3 mounted on the
railing and the crowd was in motion leaving a provision
| | 01:13 | for collegiate hockey game, it's actually quite exciting and what
we need to do to this image as the first step of course is go
| | 01:20 | up to the Image menu choose Mode and choose Lab Color, a
very easy step to forget but a very important one as well.
| | 01:26 | Convert it to the Lab Color mode then let's bring back
our palettes, in the Layers palette I'm going to press
| | 01:31 | and hold the Alt key or the Option key in the Mac and I'm going
to choose Curves and this is going to be Contrast in Cast again
| | 01:38 | and I'm going to click OK in order
to bring up the Curves dialog box.
| | 01:44 | You may recall that motions toward the upper
left corner are going to lighten the image
| | 01:48 | and motions toward the bottom right corner are going to darken
the image, so if I grab this point right here and I drag it up
| | 01:53 | and to the left that's a lightener, if I drag it down into the
right that's a darkener and doesn't matter which points as long
| | 01:59 | as they are going in that direction that's
the way the image is going to go as well.
| | 02:03 | So, I don't really want this point because I'm not sure
exactly what I'm doing so far just to an arbitrary point
| | 02:08 | in there, let's Backspace in order to get rid of it.
| | 02:11 | I'm going to start things off actually by
just darkening the blacks because right now
| | 02:17 | if I click inside the black here you
can see that it's a little bit light,
| | 02:21 | we have got an L value of 4 over here in the Color palette.
| | 02:24 | So, let's go ahead and take that first point, that
black point that's down in the lower left hand corner,
| | 02:29 | make sure it's in the lower left, you would have to click
this double down arrow button right here and make sure
| | 02:35 | that we are looking at the amount of light in order to
get the same results as I'm getting which is the way
| | 02:40 | to go in my opinion, by far the best way to go.
| | 02:42 | Now, I'm going to press the Right Arrow key a few times until
I change that input value to 4, should do me pretty well,
| | 02:48 | now I click inside the back of this dude's jacket, whether he's
a dude or woman I'm not sure and we have got an L value of 0,
| | 02:56 | I guess dude is gender non specific, isn't it?
| | 02:59 | I have heard girls call each other dude all the time.
| | 03:01 | I'm thinking that's the way it is.
| | 03:03 | Now at this point I want to identify and basically sort of stick
one of the darker colors right here something in the railing
| | 03:11 | for example on the left side of the railing and maybe even
darker than that, maybe on the far left side of the railing right
| | 03:17 | about there but anyway in order to lift that guy I'm going to
Ctrl+Click or Cmd+click on a point there inside the image
| | 03:24 | and then I'm going to move this down, I'm actually going
| | 03:26 | to anchor it a little darker, I'm
going to anchor it down here at 15, 15.
| | 03:31 | So, I need to press the arrow keys as required
in order to get that value locked down on 15, 15.
| | 03:36 | So that's going to arch the curve up, notice that.
| | 03:39 | We really don't want anything that's
simple, we are going to want it to arch up
| | 03:42 | and down in order to get the scene the way it needs to be.
| | 03:45 | But I'm going to create a point just a little arbitrarily down
here in the lower left region of the graph between the two points
| | 03:52 | that I have so far and I'm going to nudge it, notice as I
am nudging it I want actually the input value to be something
| | 04:00 | like 10 and then I'm going to send the
output value if I can downward to 5 like so.
| | 04:07 | So, I'm pressing the Down Arrow key to
move that output value down and that's going
| | 04:12 | to give me some nice rich dark shadows right there
ramping into that region but notice as I'm doing
| | 04:17 | that is I'm ramping this down, I'm
sending the rest of the curve upward
| | 04:21 | because it's having an opposite reciprocal reaction there.
| | 04:25 | So, I'm launching this area up and so I'm going to
have to kind of grab it and pull it back down again,
| | 04:31 | I like this area right here on the side of the railing
seems fairly indicative to me, it needs to come down.
| | 04:35 | So, I will Ctrl+Click, Cmd+Click on the Mac in order
to lift that and notice the input value here is set to 36,
| | 04:43 | I want it to be just at about 35 I think
and then 51 for output that's pretty good.
| | 04:49 | Now, the scene stills looks overly light and the way I'm
going to correct for that because we have some blown highlights
| | 04:54 | in this image, I'm going to ahead and click OK actually for a
moment here in order to accept the scene so far, it's too bright,
| | 05:03 | but part of the reason is because we have
these blown highlights way back there
| | 05:07 | in the background that are just turning solid white on this.
| | 05:09 | I was telling you that one of the great things that Lab offers
and this goes to the lighting portion by the way of this chapter,
| | 05:16 | one of the great things that Lab offers is the
ability to define imaginary colors and by virtue
| | 05:23 | of that we can basically infuse this white with a little
bit of color action or at least a little bit of shading
| | 05:29 | so that we are not blowing the white detail back there and we
can do that using this curves modification that we have going.
| | 05:35 | So I'm going to press Ctrl+D, Cmd+D
on the Mac to deselect that region.
| | 05:38 | Double click, lets' make sure we can see as much
of this as possible because it's hard to scroll
| | 05:42 | around inside the Curves dialog box in the PC, on
the Mac it's easy enough but the PC, it misbehaves.
| | 05:47 | Anyway I'm going to double click on that adjustment layer
thumbnail, it will bring up the Curves dialog box and I'm going
| | 05:53 | to click on that point, the upper right point there and I
am going to down arrow it and I notice as I move this point
| | 06:00 | down which is the same as moving it to the
lower right region of the image either down
| | 06:04 | or to the right is going to darken up the scene.
| | 06:07 | In this case we are just darkening the highlights,
see that and that's affecting all the colors as well
| | 06:11 | but it's really affecting those highlights more than anything,
I'm going to move this back up to 96 in order to just ever
| | 06:19 | so slightly recover that highlight information.
| | 06:22 | We could then turn around it and infuse it color if we wanted
to, we want to keep it neutral we are actually going to infuse it
| | 06:27 | with a little bit of color coming up and then we
are going to try to make is neutral after that.
| | 06:31 | But anyway this gives us a chance to recover some of that
information and to bring the scene down a little bit.
| | 06:37 | Now it does seem a little hot, a little light
at this point but once we start infusing it
| | 06:42 | with a little bit of color it's going to turn out very nice.
| | 06:45 | This of course would involve a little
bit of trial and error on your part.
| | 06:49 | Very likely you would make some kind of change here in
the Lightness channel, then you'd go to A and B. play
| | 06:54 | around with them and then come back to Lightness
and so on and of course as long as you stick
| | 06:58 | with adjustment layers you have the ability to
come back to your numerical parameters as much
| | 07:03 | as you want, thanks to these parametric adjustments.
| | 07:05 | Anyway, this is all by way of saying we have now corrected the
contrast of the image, pretty darn effectively as you will see.
| | 07:12 | In the next exercise we are going to
begin to account for the color cast.
| | 07:16 | We are going to start with saturation,
move to color cast, stay tuned.
| | Collapse this transcript |
| Performing a gross color cast compensation| 00:00 | In this exercise we are going to set
about increasing the Saturation levels
| | 00:04 | and with an analytical balance out
this bluish color cast as well.
| | 00:08 | The name of this image is 'Lighter but still bluish' because as you
saw in the previous exercise we have evaluated that, what appears
| | 00:15 | to be a purplish color cast is in fact a
little more blue than it is violet, for example.
| | 00:20 | This latest version of the image, Lighter but
bluish.psd, is found inside the 04cast_lighting folder.
| | 00:27 | I'm now going to over to my Curves adjustment layer
here and edit it by double clicking on its thumbnail.
| | 00:32 | There is the Lightness channel. Looking good.
Let's go over to A and you may recall that in order
| | 00:37 | to defeat this bluish color cast, we need to add a little bit of
turquoise which means going down into the right in the A channel
| | 00:45 | and we also want to add a little bit of yellow
by going up and to the left with the B channel.
| | 00:50 | So, let's see how that works.
| | 00:51 | I'm going to go ahead and click on this black point down
here and I'm going to press Shift and Right Arrow a few times
| | 00:59 | in order to move that point over to the right like so,
to about -48 that might be good for now and you can see
| | 01:05 | that we are really shifting things
over in the turquoise territory.
| | 01:08 | As long as the line is down into the right from the middle
point there, which it is, then we are going turquoise.
| | 01:14 | If it was on the other side, we would
be going into the crimson territory.
| | 01:17 | Now, I want to take this point right here and I'm going to
press Shift+Left Arrow in order to move it back over to the right
| | 01:25 | but I don't want to go so far over to the right that I
cross the line past that mid-point because then I'm going
| | 01:30 | to be introducing crimson into the image and I don't want that.
| | 01:34 | I want the line to stay on the lower right
side of that center point and it is right now.
| | 01:38 | Now that we have the Output value at 127, and
then the Input value is what we move to 57.
| | 01:45 | That's good, let's just place to sink it for now.
| | 01:47 | This is better than it was, not great still and notice what we
are doing to the highlights actually we are now infusing them
| | 01:52 | with color just like I was telling you.
We're bringing out this imaginary color.
| | 01:55 | It's getting mapped into RGB as sort
of a faint greenish turquoise.
| | 02:01 | Alright, now let's go to B and this time we
want the line to be on the upper left side
| | 02:08 | up into the left somehow of that center point.
| | 02:11 | So I'm going to get this black point value once again and
let's go ahead and Shift+Arrow the Input value over to something
| | 02:18 | like I don't know 77-78, -78 for now and then Ctrl+Tab to
get to the white point and then let's press Shift+Left Arrow
| | 02:28 | until we get the line on the upper left side of the center
point there and that happens at 67 but I want to go even farther
| | 02:36 | because we need more yellow than we need turquoise.
| | 02:39 | Because this is bluish as opposed to purplish, this color cast.
| | 02:42 | So its complement is nearer to yellow than it is to turquoise.
| | 02:46 | So, another Shift+Left Arrow to get the Input
value to 57 compared with an Output value of 127.
| | 02:53 | All right, that's actually not bad, it's terrible
over here in the highlights that are out the window.
| | 02:59 | We will solve that problem later.
| | 03:01 | But it's not bad on the interior of the scene at all.
| | 03:03 | We do have a few problems here and they are like the
purplish weirdness right there, this kind of lavender sort
| | 03:08 | of I don't know line that's going to this column right there,
that's the problem that I will have to take care of later
| | 03:13 | and of course we just could stand to bring out the
colors better than we have brought them out so far.
| | 03:18 | But we did take care of the overall color cast and the overall
saturation, so I'm going to click OK in order to accept
| | 03:26 | that change, just to give you sense of what kind of
damage we did to this image, positive damage of course.
| | 03:31 | This is before and this is after, definitely better,
| | 03:35 | better Saturation values as well, not
best, not what the scene should be.
| | 03:39 | We are going to fine tune our color
cast that is our color cast correction
| | 03:44 | by adding a few additional points and
moving them around in the next exercise.
| | Collapse this transcript |
| Fine-tuning a color cast compensation| 00:00 | All right, now that we have applied our gross color
cast compensation, let's fine-tune that compensation
| | 00:06 | so that it's exactly what we need it to be or
as close to the original scene as possible.
| | 00:11 | I'm working inside of a progress
document here called Gross compensation.psd
| | 00:16 | and it's found inside the 04_cast_lighting folder.
| | 00:19 | Let's go ahead and once again double click on that Curves
adjustment layer and I'm going to switch over to the B channel,
| | 00:26 | that's where we are going to start things off because
yellow is really where the action is happening,
| | 00:30 | mostly we have got to fine tune the yellow information here
because we are dealing with an incandescent light source,
| | 00:36 | light coming in from above so it's very warm and
we have got these little bits of purple going on,
| | 00:42 | that's the color that's really informing the scene the most.
| | 00:45 | So, it needs a little bit of additional work.
| | 00:48 | So what I'm going to do is I'm just going to click right
there in the center of the graph that is the horizontal center
| | 00:54 | of the graph so that we get an Input, we are lifting an Input
value of 0 and it's setting the Output to 22 and what I want
| | 01:02 | to do is I just want to elevate the yellows inside this
area right here, notice if I drag inside this column,
| | 01:09 | you can see the little bouncing balls right there on that point.
| | 01:12 | In fact if I wanted to I will Backspace, what I could have done
is just Ctrl+Click or Cmd+Click in the center of that column
| | 01:18 | to lift that point and then I'm going to elevate it as
they say, I'm going to make sure the Input value is 0
| | 01:22 | and I'm going to elevate the Output value to about 24.
| | 01:25 | Notice that, that gives us a little
bit of additional yellow action.
| | 01:28 | It pops the yellows inside of these columns.
| | 01:31 | So, part of this is making this look like a deliberate
modification, so it's not just kind of flaccid yellow,
| | 01:36 | I really want it to pop, I want it to be fairly
vivid, even though this is a neutral surface.
| | 01:41 | And so we are making our environment
very clear here and our lighting as well.
| | 01:45 | Now I'm going to Ctrl+Tab to that white point value
there and I'm going to press the right arrow key a couple
| | 01:50 | of times in order to move that Input value to 59.
| | 01:53 | So, we are mapping 59 to 127 at this point and what we are doing
is, we are dragging the highlights down into the right this time
| | 02:02 | in order to compensate for the amount of yellow that we have
added by making the highlights just ever so slightly more cobalt
| | 02:11 | and that's going to help with things
like this guy's white jersey.
| | 02:13 | It's going to bring that back into neutrality and then I will
Ctrl+Tab to the black point and just check it out and actually
| | 02:21 | when I look at the shadows inside of this image I'm thinking
they are pretty much okay, they are neither too yellow
| | 02:26 | or too blue/cobalt there, looking fairly
neutral where the B axes is concerned.
| | 02:32 | So, let's get out of the B axis we are done.
| | 02:34 | Let's go over to A and see if we
might do a couple of things with that.
| | 02:37 | I'm once again going to lock down the middle point
right here and so I'm just clicking right there
| | 02:44 | at that horizontal middle point, it's a vertical line of course
but its in the middle horizontally and that sets the Input level
| | 02:51 | to 0 and I'm then going to take the Output level up by
pressing the up arrow key a couple of times in order to bring
| | 02:58 | out that carpet, notice it's looking a little sort
of low saturation at this point and if we press the
| | 03:04 | up arrow key a couple of times, its going to
pop a little bit better and then I'm going
| | 03:09 | to Ctrl+Tab up to the upper right hand point.
| | 03:12 | Now, we can start moving this guy around, this white point, I can
start moving it around in order to adjust for the crimson inside
| | 03:22 | of the scene because it feels like
the scene is getting a little green.
| | 03:25 | So, I can bring back some of the crimson color,
some of the lavender by dragging this point
| | 03:30 | over to the right and this actually looks pretty darn good.
| | 03:32 | Now, if you are feeling like your scene
is still little too green which you might,
| | 03:37 | you could Ctrl+Shift+Tab back to the middle point there.
| | 03:40 | On my screen it looks a little bit too green inside of this
area, on a properly calibrated screen it should look good,
| | 03:46 | I'm working on this PC screen that's wandering just a little bit
but it should look pretty good on your screen if it's calibrated,
| | 03:52 | but you never know some of these
decisions are subjective as well.
| | 03:55 | If you want to defeat some of the green inside the columns
you would raise this center value up and that's going
| | 04:01 | to make the columns more and more crimson
and so it's going to defeat that turquoise.
| | 04:07 | Now, I'm going to send that back down to -7 that's what I wanted
and then I'm going to Shift+Ctrl+Tab to the first point here,
| | 04:13 | I think we could still do better where the carpet is concerned
| | 04:16 | and we are emphasizing the greens inside the shadow
detail a little too much like these banisters for example.
| | 04:22 | So, I'm going to press Shift+Right Arrow, actually
a couple of times until I get the Input value to -33.
| | 04:29 | So I'm going to fool around with the right and left arrow keys
until I get that value to -33, which is outputting the -128
| | 04:37 | and then I think we have some fairly balanced colors going on.
| | 04:40 | The only thing that worries me a little bit
is this guy's jacket, this orange jacket.
| | 04:44 | It's just so hot by comparison to everything else in the scene.
| | 04:47 | We have other little orange items that are
very hot and this little yellow cap as well.
| | 04:51 | But this guy is such a prominent part
of the scene; he's right dead center.
| | 04:55 | So I'm going to Ctrl+Click on him,
Cmd+Click in the Mac in order to lift him.
| | 04:59 | There is his point right, that's the point I got for Ctrl
or Cmd+Clicking and then I'm just going to press the
| | 05:05 | down arrow key a couple of times in order to reduce
that orange slightly and you will see the orange reduce
| | 05:10 | on the fly every time you press the down arrow key, it's
very, very sensitive, that's it, looks pretty good to me.
| | 05:17 | I'm going to click OK in order to accept that modification.
| | 05:21 | This is what the scene looked like before we fine tuned
it, so not terribly different but enough different
| | 05:27 | that this is certainly better, definitely
warms up the scene and just to give you a sense
| | 05:32 | of what he had before this is our terrible
original color cast in bad contrast and everything
| | 05:36 | and this is the much improved version of the scene so far.
| | 05:40 | We still have a few items to take care of like this
yellowness back here in the highlights and this weird purplish,
| | 05:45 | lavender stuff, that's going on inside the column.
| | 05:48 | We will begin to address those issues in the next exercise.
| | Collapse this transcript |
| Restoring neutral highlights| 00:00 | We are now looking at the corrected version of the image.
| | 00:04 | We have applied all the curves corrections that
we were going to apply and the name of the image
| | 00:08 | as it exists thus far is Fine compensation.psd
found inside the 04cast_lighting folder.
| | 00:14 | But we have a few problems to take care of, we have got these
very colorful highlights back in the background they want
| | 00:19 | to be neutral and then we have got this
weird lavender stuff going on in the column.
| | 00:23 | We are going to take care of the colorful highlights in this
exercise and then the lavender stuff in the next exercise
| | 00:29 | and we are going to correct for both of
these problems using relatively simple masks.
| | 00:33 | So, let's go ahead, we need a Density
mask actually to protect these highlights
| | 00:39 | because we need that area to be protected with black.
| | 00:42 | So, we are going to load Luminance Mask and
then convert it into a Density Mask as follows.
| | 00:47 | Go to the Channels palette and I want you to
Ctrl+Click or Cmd+Click on the Lightness channel.
| | 00:52 | That selects the highlights inside of the image, the highlights
and the lightness tones in that represents a Luminance Mask.
| | 00:58 | Go to Layers palette, make sure this adjustment layer
is selected, Contrasting Cast and then I want you
| | 01:03 | to go this little Add Layer Mask button and I want you to
Alt+Click or Option+Click on it in order to invert the mask
| | 01:10 | on the fly, your inverting the mask as you apply it
and this is what the mask looks like, check it out.
| | 01:15 | So, this is a Density Mask made on
the fly from the Lightness channel.
| | 01:19 | Now, the problem is we are not only protecting the
highlights back here but a lot of mid tones as well,
| | 01:24 | so we need to increase the contrast of this mask.
| | 01:26 | We are going to do that by going up to the Image
menu choosing Adjustments and choosing Levels.
| | 01:32 | Now you might wonder why you are applying a static adjustment
after all of this talk about parametric modifications
| | 01:37 | and non-destructive edits and all of the other jazz,
why are you going static on me all of a sudden, Deke?
| | 01:42 | And the answer is I have no choice.
| | 01:44 | You cannot apply an Adjustment layer
to a mask; you got to go static.
| | 01:48 | It's just the way it works.
| | 01:49 | So, I'm going to bring up the Levels dialog box and
I'm going to reduce this white point value to like 80
| | 01:56 | so that we are just turning a ton of colors white, you
may recall when you move any of the slider triangles
| | 02:03 | over the left you make the image lighter and so we are
revealing a ton of stuff inside of the Adjustment layer now,
| | 02:11 | so that a lot of the image is going to get corrected which
is what we want, we just want to protect the shadows.
| | 02:15 | Now, the shadows are darkened up so I'm going to take this
black point value up to 40 in order to make them jet black,
| | 02:21 | then we have some nice transitions in between, this is good.
| | 02:23 | So 40 for the black point, 80 for the white
point, Gamma leave it alone, click OK.
| | 02:29 | Now, then Alt+Click or Option+Click on that Layer Mask
and you can see that you have now done a great job
| | 02:34 | of protecting the highlights and all this
middle area of color remains unchanged
| | 02:40 | but the problem is we now have these huge discrepancies.
| | 02:42 | The colors are fine.
| | 02:44 | I will go ahead and Shift+Click on
this mask to show the before version.
| | 02:47 | This is before.
| | 02:48 | This is after.
| | 02:48 | So the colors are better but the contrast and the brightness
Levels in general are not better and so what we really want
| | 02:55 | to do is we want to mask the A and B
modifications but not the lightness modification.
| | 03:00 | So, we need to break this adjustment into two parts and I
was telling you in earlier chapters what a good idea it is
| | 03:07 | to use one adjustment layer for lightness modifications
and another adjustment layer for your A and B modifications
| | 03:12 | and this is why because if you ever get into the situation when
you want to modify one independently of another and you didn't do
| | 03:18 | that upfront then you got to pick it apart and I'm going to
show you how to do that right now, since we are in that pickle.
| | 03:24 | First thing you do is go ahead and
grab that guy, you press Ctrl+J,
| | 03:27 | things are going get much worse for
a moment don't worry about that.
| | 03:29 | Ctrl+J or Cmd+J on the Mac and actually you know
what we should do, let's go ahead and undo that.
| | 03:34 | We should press Ctrl+Alt+J or Cmd+Option+J
on the Mac in order to bring
| | 03:38 | up the New Layer dialog box and I
will call this new guy contrast.
| | 03:42 | So, we are duplicating the layer by jumping it.
| | 03:44 | Ctrl+Alt+J, Cmd+Option+J on the Mac.
| | 03:47 | Now, I want you to grab that Layer Mask, throw it in the trash.
| | 03:50 | It will ask you if you want to delete
it, yes or I wouldn't have done that.
| | 03:54 | So go ahead and click on Delete and then double click
| | 03:56 | on this little thumbnail right there in
order to bring up the Curves dialog box.
| | 03:59 | Lightness is fine.
| | 04:01 | This is going to be our contrast adjustment.
| | 04:03 | So, we are going to keep the lightness modification unmasked
however we are going to get rid of A and B. So we are going
| | 04:09 | to just grab these points right here and we can't just reset,
we can't just do an Alt+Click and reset because that's going
| | 04:15 | to reset the entire modification including that
painstaking lightness modification we applied there.
| | 04:21 | So, what you are better off doing is
just kind of manually modifying things.
| | 04:24 | Just click here, Backspace, click on this guy, Backspace,
click on this one, reset it and then go over to B
| | 04:32 | and click on this guy, Backspace, drag this
one over to 127, 127, this guy over to -128,
| | 04:41 | -128 to reset the A and B modifications, click OK.
| | 04:46 | Well, before I click OK, I just want you to see we are only
modifying the lightness, where this curve is concerned click OK.
| | 04:54 | Now, that doesn't entirely take care of our problem because we
still have this guy, so we have got a curve on top of the curve
| | 05:01 | and we want to rename this layer of course so it's
just a cast, that's all it is, not contrasting a cast
| | 05:08 | and then we will double click on the thumbnail
and we will reset this fellow right here
| | 05:14 | by dragging it's points away or backspacing
them or what have you.
| | 05:19 | Then dragging the far corner points back into
their respective corners of course and click OK
| | 05:25 | and now we have reinstated the good, smooth- Notice
the smooth contour, the smooth transitions associated
| | 05:31 | with this contrast adjustment and at the same time
we are masking out the bad color and the highlights.
| | 05:37 | So, this is what the bad colors look like.
| | 05:40 | If I Shift+Clicked on the mask right
there, you can see the bad highlights
| | 05:45 | in the background, the colorized highlights that I don't want.
| | 05:48 | Shift+Click again to re-invoke that mask.
| | 05:52 | Everything looks better and we still have the darker,
slightly imaginary colors to work with as well.
| | 05:58 | So, we have recovered those highlights quite nicely.
| | 06:00 | In the next exercise we are going to take care of that lavender
stuff right there, this is going to completely manual adjustment,
| | 06:03 | we are not going to be using a corrective adjustment layer
this time, we are just going to apply some solid color to it,
| | 06:06 | it still works out beautifully as
you will see if you stick with me.
| | Collapse this transcript |
| Masking away aberrant hues| 00:00 | In this exercise we're going to take care of these weird sort of lavender
highlights that are showing up in this column. I'll go ahead and
| | 00:07 | zoom in a little closer on that, you can
see what I am talking about. We've got this
| | 00:10 | yellow stuff going on, some white highlights over here that
are actually little less than white because we have calmed
| | 00:16 | down the hotspots.
| | 00:17 | But we still have this lavender action that seems pretty
out of keeping with the rest of the colors and it shows up
| | 00:22 | in a few other places. Inside this window here.
| | 00:26 | Over in these columns notice that? In the upper left-hand
corner of the document we have got some weird color action
| | 00:31 | and some other stuff down here as well.
| | 00:34 | So, let's resolve it anywhere, wherever it shows up.
| | 00:38 | But first you need to make sure you are working in the right
document. So if you have been working right along with me, great,
| | 00:43 | stick with it, if you want to catch up I am working inside
of the document called Neutral highlights.psd because
| | 00:48 | we've neutralized the highlights on
top of all of our other modifications.
| | 00:52 | This documents of course found inside the 04 cast_lighting folder.
| | 00:56 | Go ahead and click on the cast layer or
the contrast layer, either of them will work.
| | 01:02 | Rather than trying to meticulously like
figure out what color cast this is
| | 01:07 | and going back to our chart and evaluating it and then
trying to create a curve that's going to address it.
| | 01:11 | Why don't we just overwrite the colors? Let's just colorize them,
| | 01:13 | get them done,
| | 01:15 | do it the easy way and it works out beautifully as well.
| | 01:17 | So, first though we need to define a selection, we want to select
these little sort of lavender areas. We are going to do that using
| | 01:23 | the best color selection tool there is inside of Photoshop,
| | 01:26 | under the Select menu, the Color Range command and if you
don't know about this command, please check out Chapter 6 of
| | 01:32 | my Photoshop CS3 Channels and Masks
Series, which tells you all about
| | 01:36 | one of the most sophisticated selection functions
inside of Photoshop and very easy to use as well.
| | 01:41 | Right now we are seeing a masked version of the image. I'm going
to switch the Selection Preview to None so that we can see
| | 01:45 | the full color version of the image,
| | 01:47 | then I am going to click
| | 01:48 | right about here inside the wall. Notice this location?
| | 01:52 | It's more or less in line with that
railing right there all the way down
| | 01:55 | and then I'm going to switch back to the Grayscale mode so we can
see what's going on. I want to make sure that I'm not revealing
| | 02:02 | these areas here in the highlights
| | 02:04 | because I don't want to start colorizing them.
| | 02:06 | I do want to get o
| | 02:07 | a few more of these lavenders going on so I'm going to
Shift+Click right about at this location inside of the image
| | 02:13 | and that adds another selection point essentially then I'm
going to make sure the Fuzziness value is cranked up to 70.
| | 02:19 | So moderately high,
| | 02:20 | and that should take care of it actually, everything else
should resolve itself pretty nicely inside this image.
| | 02:25 | It's a little rough looking, but that's okay.
| | 02:28 | The mask that is, is rough looking. I will
click OK in order to accept my modifications
| | 02:33 | and then I'm going to press and hold the Alt key or the Option key on the
Mac, click the black/white icon and choose this guy right there Solid Color.
| | 02:41 | I will of course be invited to name this new layer, I'll call it yellow
| | 02:45 | and then I will click OK.
| | 02:47 | Then I am just going to lift the yellow, I could move
the Eyedropper out in to the larger image window and click
| | 02:53 | on one of these representatives yellows there
| | 02:55 | or I could just tell you what to dial in. Here are the values I want,
| | 02:58 | an H value of 40,
| | 03:00 | a saturation, which is about amber by
the way, sort of a yellowish orange.
| | 03:04 | A saturation value, very low
saturation, so it doesn't turn into a bright
| | 03:08 | yellowish orange of 20% and then a brightness of
80 should do us pretty nicely and there we have it.
| | 03:14 | Kind of looks weird but it's going to work out nicely, click OK
| | 03:17 | in order to accept that color.
| | 03:19 | And then we just want this color to affect
the A and B channels, not the Lightness channel.
| | 03:26 | So, we want to apply this mode right here, Color,
| | 03:30 | because luminosity represents the Lightness
channel, color represents A and B
| | 03:33 | and then we are going to go ahead and replace the color
inside that column with the new color. Now if we feel like
| | 03:38 | we're replacing too many colors
| | 03:40 | inside the image and I do feel like we are doing that. This is before,
| | 03:44 | this is after, then we can paint away some of this garbage that's
going on here. I'll go ahead and press the B key for the Brush tool
| | 03:51 | and I'm actually going to press the Tab key
to see what kind of colors we've got going on.
| | 03:55 | Let's press D-X
| | 03:57 | in order to make sure that the foreground is black.
So default and then X to reverse default colors
| | 04:03 | and then just make sure your mode is set to Normal, make sure you
got a soft brush, a big one as well, opacity a 100% presumably,
| | 04:09 | then you can paint some of the sort of details back in here
| | 04:12 | in order to get rid of the color that
sort of staining into the carpet and so on.
| | 04:16 | You shouldn't have to work too hard at this. It should be pretty easy
to get rid of that stuff. So just paint over some of the people,
| | 04:21 | leave the walls alone, maybe this power
thing right there that kind of goes away,
| | 04:25 | we want the highlights to remain the way they were.
| | 04:28 | It's just some of these areas in here that we wanted to
protect. Now I am not painting, I am just showing them to you.
| | 04:33 | OK, now go back to your Marquee tool
| | 04:37 | and let's go ahead and reduce the Opacity
of this layer to 50% by pressing the 5 key
| | 04:41 | and you can see the Opacity is 50% here in
the Layers palette and this is much better
| | 04:46 | in my estimation, it looks pretty darn good. So, this is before
we added the layers. See those lavenders inside the column?
| | 04:53 | How bright and vivid and ridiculous they are, and this is after.
| | 04:57 | We have sort of toned them down a little bit,
they still have a little bit of color left in them
| | 05:00 | but they look more or less in keeping with the scene around them.
| | 05:04 | In the next and final exercise of this project we are going
to go ahead and sharpen the scene, of course it needs
| | 05:09 | sharpening and we will crop it,
add some text, you'll see,
| | 05:13 | it's going to look great.
| | 05:14 | Stick with me.
| | Collapse this transcript |
| Sharpen, save, convert to RGB, and crop| 00:00 | In this exercise we are going to take this nearly final version
of the image and we are going to sharpen it and we are also going
| | 00:06 | to crop it, so that we can take care of some of the compositional
issues, like we have got this pole running almost right
| | 00:12 | through the center of the image, that is terrible.
| | 00:14 | This Power Zone logo over there, that can go.
| | 00:16 | Anyway, I really want to focus on the people
and the action and that kind of thing.
| | 00:19 | So here is what we are going to do.
| | 00:21 | First of all, I have saved my image in progress, as Near
final correction.psd inside the 04 Cast_lighting folder
| | 00:27 | and we are going to work through these corrections
fairly quickly because we have seen many of them before.
| | 00:32 | I want you to go to the background layer and make sure it is
active and then we will convert it to a Smart Object by going
| | 00:37 | up to the Filter menu choosing Convert for Smart Filters
then, you will go ahead and rename it something like,
| | 00:44 | I don't know like Lab SO or something,
just so we know it is a Lab Smart Object.
| | 00:48 | Then go to the Filter menu, choose Sharpen and
choose Smart Sharpen and the settings that I want you
| | 00:55 | to enter are these right here, an Amount of
200% and a Radius of 3 pixels and remove set
| | 01:02 | to Lens Blur, that is all fine and dandy, click OK.
| | 01:05 | Now this is going to bring out all kinds of
noise as well as the detail inside the image
| | 01:10 | and if you start zooming in you will see what I'm talking about.
| | 01:13 | There is a fair amount of noise action,
look at that pole, very noisy.
| | 01:17 | We are not going to do too much about the Luminance noise
unless we really go in there and try to massage the image.
| | 01:21 | It is not really worth doing that.
| | 01:23 | I like having the Luminance noise action.
| | 01:25 | What I do want to get rid of is the color noise.
| | 01:28 | So let us start by tiding things up, by getting rid off
that Filter Mask, we don't need it and then double click
| | 01:33 | on little Settings icon there for Smart Sharpen to bring
up the Blend Options dialog box, change Mode to Luminosity,
| | 01:42 | you always do that if you are working
with Unsharp Mask or Smart Sharpen
| | 01:46 | and then you click OK in order to accept that modification.
| | 01:50 | You can see, this is before, look closely right
| | 01:54 | in this region right there you can see some
color action going on, some color noise.
| | 01:57 | This is after, it all goes away and
we are just left with luminance noise,
| | 02:01 | which is fine because that is helping impart
this sense of sharpness inside the image.
| | 02:06 | Now you would go ahead and save this final version of the image
by going up to the File menu, choosing the Save As command
| | 02:12 | because we have now performed all of our corrections inside
Lab, so All Lab corrections I will call this document,
| | 02:19 | you might want to call yours something else so
you don't save over mine, totally up to you.
| | 02:23 | Hey, that is All ab corrections!
| | 02:26 | Oh! That would be so awesome if you could
solve all of your ab problems with Photoshop.
| | 02:31 | If you could carve these just excellent abs.
| | 02:33 | Unfortunately, these are All Lab corrections.
| | 02:36 | Now click Save in order to save those modifications.
| | 02:39 | Then I want to crop the image.
| | 02:41 | Well, the crop I want to perform is a Radical Crop and so there
is not really any point trying to pull it off nondestructively
| | 02:48 | because I'm going to rotate the image and I'm going to
potentially damage a bunch of masks and all this other stuff.
| | 02:53 | So let us just go ahead at this point
and convert the image to RGB.
| | 02:56 | Let us go back to RGB, which is typically what you want to do
when you are finalizing the image, doing the final touches.
| | 03:01 | Go to Image mode, RGB Color, you will be
asked if you want to Rasterize, yes you do,
| | 03:07 | the Smart Object because we are going flat now and then you want
to Merge, not OK, you want to Merge all of your adjustment layers
| | 03:13 | so that you are creating what is extensively a flat file.
| | 03:15 | It is actually a one layer file so it is not entirely
flat and then I'm going to grab my Crop tool,
| | 03:20 | and I have already set up some modifications here, I have
set up some width and height values that I want to work with,
| | 03:27 | because I'm looking for a real panoramic shot essentially, and
these values will give me the panoramic shot I'm looking for.
| | 03:35 | Again, these are just trial and error settings so that you
and I can get the same thing if you are working along with me.
| | 03:40 | So 4224 pixels for width and 1798
pixels for height and I'm going to drag
| | 03:45 | from this little guy way back there below Power Zone
because we are definitely getting rid of Power Zone,
| | 03:51 | from his upper what would that be, his upper left
shoulder, upper right for us and we are going
| | 03:55 | to drag over to here basically, beyond these people.
| | 04:02 | Let me just make sure I have got him in the right place.
| | 04:04 | He looks good and I'm going to move this center point up in
to the upper right of the crop like so and then I'm going
| | 04:10 | to move my cursor outside the crop and I'm dragging down like
this in order to position the crop boundary where I want it to be
| | 04:19 | and that might be a little lower than what I'm looking for.
| | 04:22 | So I will drag this guy up just a little bit.
| | 04:24 | Notice, I'm trying to make sure that we are
offsetting the central column right there.
| | 04:30 | So something along these lines should
work out pretty well for me.
| | 04:33 | Then once I have done that I will make sure that Cropped
Area is set to hide, so because I do have a layer,
| | 04:37 | so I might as well keep that extra layer
information and then I will press the Enter key
| | 04:42 | or the Return key on the Mac in order to accept that crop.
| | 04:46 | There is the cropped version of the image.
| | 04:47 | I think it looks pretty nice.
| | 04:48 | I will go ahead and Tab away my toolbox so that you can see
we are just keeping the real good action inside of the shot.
| | 04:55 | We are throwing the pole over to the right a little bit, we
still got the orange jacket dude, that is nice and his friend,
| | 05:01 | a green jacket dude there, they are very nice.
| | 05:04 | Also, got a double jersey dude right there.
| | 05:07 | All those people are essential.
| | 05:09 | I'm just going to skip a head here.
| | 05:10 | Finally, I scaled the image a little bit, did
bit a little bit of additional cropping action
| | 05:15 | and threw in this text there and also, this exclamation point.
| | 05:19 | You can check out how this is all put together if you
take a look at this document called Cropped RGB crowd.psd
| | 05:25 | that is found inside the 04 Cast lighting
folder and The Crowds Roar For Frozen Four.
| | 05:31 | It's hard to say, a little bit of a tongue
twister there and it is not actually all
| | 05:35 | that accurate because they are really going home.
| | 05:36 | There are not roaring.
| | 05:38 | They were whooping it up every once a while because
they are one team, hit one, couple of teams really.
| | 05:42 | The only thing I want to tell you though, you
can do whatever you want with this document,
| | 05:45 | you can throw in the trash for all,
I don't care, but here is the deal.
| | 05:47 | If you are going to save it, make sure to go up to the File
menu and do a Save As, so that you save it to a separate file.
| | 05:55 | So you don't save over your Lab file with your RGB file.
| | 05:58 | You want to save this as a separate one.
| | 06:00 | So there you have it, a corrected image thanks to
all kinds of different operations that we applied.
| | 06:05 | But here is the key, we identified what the exact
Color Cast was and then we acted on it quite precisely
| | 06:13 | in the Lab mode using Curves here inside Photoshop.
| | Collapse this transcript |
| Applying a Shadows/Highlights Smart Filter| 00:00 | In this exercise we are going to switch focus from images
whose problems have more to do with color cast than they do with
| | 00:06 | lighting to an image whose problems
have more to do lighting than color cast.
| | 00:10 | The image we will be working on
is called Ice cream face.jpeg
| | 00:13 | found inside the 04 Cast_lighting folder and this is a
photograph of my youngest, Sammy, with ice cream on his face
| | 00:20 | and a little bit of ice cream cone on his nose.
I am just warning you in advance here,
| | 00:24 | for those of you who are grossed out by
images of people with food on their face,
| | 00:28 | we have got an image with a people with a food on his face.
| | 00:31 | Just want you to know that up front
so that you are not surprised later on
| | 00:35 | and you write us a big letter.
| | 00:36 | We are going to fix this image and typically, because
the problems with this image have to do somewhat with color.
| | 00:43 | Of course, the colors are drab and
| | 00:44 | the image has a little bit of a bluish color cast, but also,
| | 00:48 | more to the point,
| | 00:49 | we have problem with the luminance levels. Now if you take
a look at the histogram, you can see that we have a nice
| | 00:53 | distribution of luminance levels, that is to say
| | 00:56 | we have got a lot of midtones, which is good.
| | 00:58 | We've got a lot of shadows,
| | 01:00 | maybe too many shadows actually, that
is a pretty spiky shadow number up there.
| | 01:04 | Although we don't have much in the
way of clipped shadow, so that's good
| | 01:08 | and then we have a weak number of highlights
without too much in a way of clipped highlights,
| | 01:15 | but really this is a good looking histogram. It is just a
distribution of those luminance levels that is not very good.
| | 01:20 | Notice that the shirt is really filling in down
here, except where it is covered by ice cream.
| | 01:26 | So we are not really seeing the thread pattern and the
fabric and the folds and the contours and the shadows,
| | 01:32 | the good shadows versus the just filled in shadows.
| | 01:35 | Also, more troubling really,
| | 01:37 | is that Sammy's irises are so very filled
in. He has dark eyes, he has brown eyes,
| | 01:42 | but they're not so dark that you can't even make out the pupils.
| | 01:45 | So we want luminance variety inside
of that eye to really bring it out.
| | 01:49 | And of course,
| | 01:50 | basically all of our highlights are really located
here in the sky which is a little bit of a waste
| | 01:55 | and then inside of his face just an enormous
number of mid-tones, but they are not doing too much.
| | 02:00 | We don't have as much volumetric
detail as I would like to see.
| | 02:04 | So his face comes off as being a little flat and the typical
command for fixing this kind of problem, for elevating the shadows,
| | 02:10 | brightening the shadows and dimming the highlights,
this command up here in to the Image menu,
| | 02:15 | Adjustments and then you go down here to Shadow/Highlight
| | 02:18 | and it will brighten the shadows and dim the highlights. That's
the good news about it. There's a couple of weird things about it.
| | 02:22 | First of all, why am I applying it as a static command
here from the Adjustments menu? Why am I not going over to
| | 02:28 | the black/white icon and adding an adjustment layer?
| | 02:31 | That is because if you go over here
to the black/white icon, you'll see
| | 02:35 | no indication that Shadow/Highlight exists.
| | 02:38 | It's not a typical color adjustment function
like Levels and Curves and the rest of them.
| | 02:43 | Instead, it's an edge comparison function, which puts it squarely
in the Filter camp. It has a lot more to do with Smart Sharpen
| | 02:52 | and with a very close cousin, High Pass here, than it does
anything else because it is actually discovering edges as
| | 03:00 | it's brightening the shadows and dimming the highlights.
| | 03:02 | So if you want to apply that command nondestructively, what you
do is you convert the image into a Smart Object. You go up to
| | 03:10 | the Filter menu, so just pretend that Shadow/Highlight is
under the Filter menu, go up to the Filter menu and choose
| | 03:17 | Convert for Smart Filters.
| | 03:18 | Bearing in mind that this is an RGB image incidentally.
I just want you to be aware of that. It is not Lab yet
| | 03:24 | and then we'll just go ahead and call this
guy RGB SO or something along those lines.
| | 03:29 | So we know it's RGB.
| | 03:30 | Then go on to the Image menu, choose Adjustments and
notice you have got two commands that are secretly filters,
| | 03:36 | one is Variations. You could apply Variations if
you wanted to, as long as we are in the RGB mode.
| | 03:40 | It doesn't work in Lab.
| | 03:41 | And then you have got Shadow/Highlight that works in either mode.
| | 03:44 | All right, let us go ahead and
choose this Shadow/Highlight command
| | 03:48 | and you can see that it does what it promised to do. It does brighten
those shadows quite a bit actually with this default value of 50%.
| | 03:57 | By default, the first time you choose the command
you are only going to see two numerical options,
| | 04:01 | Shadows and Highlights.
| | 04:02 | All right, so we have got 50% shadows,
| | 04:05 | that's a lot of shadow brightening going on
| | 04:07 | and then if we wanted to I can also dim down the highlights with
this guy. Notice it is going to dim the highlights, but as I do this
| | 04:14 | I'm just flattening the heck out
of the contours inside of the face.
| | 04:17 | So I am actually fairly ruining the image
and that is the problem with Shadow/Highlight.
| | 04:22 | Right out of the box, it doesn't do that great of a job.
| | 04:25 | So there are two ways to make it do a much better job. One is to
turn on the Show More Options check box, which we are going to do
| | 04:32 | in the next exercise and play around with the much,
much larger number of options that are presented to us.
| | 04:38 | See that, tons of options now available inside this dialog box,
| | 04:42 | so we'll fool around with those in the next exercise and
an even better way to make this command function properly,
| | 04:49 | or that is better, I would say properly though because so
far it is functioning horribly, is to convert the image from
| | 04:54 | RGB to Lab and we'll do that in the exercise after this one.
| | 04:59 | Stay tuned.
| | Collapse this transcript |
| Tweaking Shadows/Highlights in Lab| 00:00 | In the previous exercise, I showed you how
you can use the Shadow/Highlights Filter
| | 00:05 | applied to a Smart Object in order to nondestructively
brighten the shadows and dim the highlights inside of an image.
| | 00:11 | As we have done so far to this image here,
which is called Ice cream face.jpeg,
| | 00:15 | found inside the 04 Cast_lighting folder.
| | 00:18 | In this exercise, I am going to show
you the best way to apply the command
| | 00:22 | to this specific image anyway
| | 00:24 | and how to use these numerical options right here and then
in the next exercise, I will show you how much better things get
| | 00:30 | when we switch from RGB to Lab.
| | 00:32 | In our case, we want to adjust some
of these Shadows values. Right now,
| | 00:37 | you can see we can increase the brightness
of the shadows by increasing the Amount
| | 00:42 | or reduce the brightness of the
shadows by decreasing the Amount.
| | 00:46 | A larger issue though right now
| | 00:48 | is that we're trying to incorporate
too many luminance levels
| | 00:52 | into the shadow equation.
| | 00:54 | And that's what this Tonal Width value does.
| | 00:56 | At 50%, it is saying that the darkest 50% of the colors
inside of the image are going to be counted as shadows.
| | 01:03 | Now there is a gradual drop-off there,
there is some fuzziness that is to say.
| | 01:07 | So it's not an either/or proposition
| | 01:09 | but currently we are incorporating too many dark colors.
| | 01:12 | So let us go ahead and Shift+Down arrow that value a couple of
times and you notice now we are restricting the number of shadows
| | 01:18 | that are getting brightened.
| | 01:19 | I'm going to go ahead and crank this value up just a little bit.
| | 01:22 | Now, look at this Radius value right there.
| | 01:24 | As I was telling you in a previous exercise, the Shadow/Highlights
command is closely related to Smart Sharpen and High Pass.
| | 01:31 | In that, it is detecting edges, it is going
through and detecting areas of rapid contrast
| | 01:35 | in order to figure out where the shadows and
highlights are located and how to best brighten them.
| | 01:40 | So you can change the distribution of the shading,
how things are getting filled in or opened up
| | 01:45 | by adjusting this Radius value. Notice if
I increase the Radius value, watch the irises.
| | 01:50 | As I increase the Radius value, the irises are getting darker.
| | 01:53 | The good news is that we are losing halos around the collar.
| | 01:57 | Check this out; this is a low Radius value.
| | 02:00 | You can see some fairly pronounced
halos around that collar right there,
| | 02:03 | also around the neck,
| | 02:05 | there is a bright edge right there above the collar, notice that.
| | 02:08 | That starts going away and getting more and
more diffused as we raise this Radius value.
| | 02:14 | So if you can, you want that keep that Radius value high,
| | 02:17 | but in our case we can't to that because if we do, we
lose the irises because the Radius basically is too large
| | 02:23 | to accommodate the iris here inside Sammy's little eyeball.
| | 02:27 | So we have got to reduce that Radius value
until we can see those irises brightening up
| | 02:32 | and we want a Radius value of about 30 actually,
the default value of 30 works pretty good for this image.
| | 02:37 | So we have got Total Width 30
| | 02:38 | and now I am going to take this Amount value
and I am going to raise it pretty high,
| | 02:42 | as we'll see up to 90%.
| | 02:45 | So an extreme Shadows modification here.
| | 02:48 | Now we don't need anything nearly as extreme for Highlights.
| | 02:51 | Let us go ahead and reduce that Tonal Width value a little bit.
| | 02:53 | Notice in doing so, that we are recovering some
of the sculptural detail inside of the face.
| | 02:58 | The face isn't nearly as flat as it
was when we started out this exercise
| | 03:03 | and if I were to take it even farther
down we are going to recover more of that,
| | 03:06 | but we are also going to allow the sky to get to brighten
the background so I am going to take Tonal Width up to 40%.
| | 03:13 | I am also going to take the Radius value up.
| | 03:15 | Notice that we are not really seeing too
much happen as we expand that Radius value.
| | 03:19 | That means that we have the room to raise that Radius
value and we should raise it so that we don't get
| | 03:24 | any more halos than we need.
| | 03:26 | So Radius value of about 90 for this image looks pretty good.
| | 03:32 | I am going to take the Amount value down to 30%,
| | 03:34 | like so.
| | 03:35 | The next option is down here in the Adjustments region.
| | 03:38 | This Color Correction option is designed to account
for the fact that Shadow/Highlights very naturally,
| | 03:43 | gets rid of saturation values inside of the image.
| | 03:47 | So we are reducing the saturation, we are graying up the image.
As you can see, it gives us this strange other worldly appearance.
| | 03:54 | They give you this, basically, what is essentially
a saturation correction function right there
| | 03:59 | and if you raise that value to a 100% for example, you can
see that when you do raise some of the saturation levels,
| | 04:04 | it just happens to be totally weird
looking, not the least bit realistic.
| | 04:08 | So keep this Color Correction value at zero.
| | 04:11 | Don't change the color at all.
| | 04:13 | There are much better ways to modify saturation as we
have seen inside the Lab mode so we will take advantage
| | 04:18 | of those much better ways.
| | 04:20 | Then we have this Midtone Contrast function that allows us to
recover some of the sculptural detail inside of our midtones.
| | 04:26 | We definitely need that to happen in Sammy's face right
here. So I am going to go ahead and raise this value
| | 04:31 | to about 35, ends up looking pretty good
| | 04:34 | and we get a halfway decent effect out of it.
| | 04:37 | I'm going to go ahead and click on the OK button
| | 04:39 | in order to accept this modification. We don't need to
worry about the clipping, so just go ahead and click on OK.
| | 04:45 | Just to give you a sense, of course, we are
working on an RGB Smart Object as you may recall.
| | 04:50 | I am going to go ahead and throw away
that Filter Mask, we don't need it
| | 04:53 | and now we can check out the before and after. This is before, this is
how the image looked originally when we opened it in the previous exercise.
| | 05:00 | And this is the way looks now.
| | 05:02 | Thanks to the Shadow/Highlight command. We certainly have opened up
the shadows inside of the image and we've dimmed down the highlights,
| | 05:07 | but it doesn't look right, does it?
| | 05:09 | We've a lot of weird gray areas,
| | 05:12 | almost has a lunar landscape feel to it, it is just
off. It just doesn't feel like a natural photograph.
| | 05:18 | We are going to begin to solve that problem
| | 05:20 | when we switch to the Lab mode inside the next exercise.
| | Collapse this transcript |
| Rendering Shadows/Highlights in Lab| 00:00 | Just to recap our progress so far, I went ahead and opened an
RGB image, I converted it to a Smart Object and then I went
| | 00:06 | up to the Image menu, chose Adjustments, chose Shadow/Highlight,
which is secretly a filter which is why I'm able to apply it
| | 00:14 | as a nondestructive Smart Filter to the Smart Object.
| | 00:17 | The result is something of an improvement to the image.
| | 00:20 | Let us look at the original image for a moment again.
| | 00:22 | This is the image without the filter and you can see we have
got a lot of filled in, very dark, ultra-dark shadows down here
| | 00:29 | on the shirt as well as below the lip and inside the nostrils.
| | 00:33 | We don't really want to see at the nostrils, but still
we do want to see into those irises a little bit.
| | 00:38 | So by applying Shadow/Highlights we are able to
brighten the colors inside of the shadow region
| | 00:44 | and deepen the colors inside of the highlights.
| | 00:47 | So we get a little more uniform distribution
of luminance Levels inside the image
| | 00:52 | and you can see the resulting histogram favors the mid-tones
over the shadows and the highlights, but at what expense?
| | 01:00 | We end up getting these weird serial grays inside of
both the shadows down here and inside the highlights
| | 01:08 | and throughout various ranges of the mid-tones,
throughout the contours and the mid-tones.
| | 01:14 | It reminds me of another command.
| | 01:16 | Now if you are following along with me, I have saved my progress,
so far as RGB Sam object.psd inside the 04 Cast_lighting folder
| | 01:24 | and as I say Shadows/Highlights, it's behavior where it's
turning the mid-tone gray reminds me of another filter
| | 01:30 | that we have seen so far under the Other menu.
| | 01:33 | I'm going to go ahead and apply it to the Smart Object
because it is not going to harm the thing and it is High Pass.
| | 01:38 | So let us go ahead and apply the High Pass command for a
second here and I'm going to apply an ultra high Radius.
| | 01:42 | If you go with a lower Radius, you are going to do more damage,
turn more mid-tones gray but if I keep that Radius value high,
| | 01:48 | like at 100 pixels then I'm only going to have a few grays
showing up, but still it is very harmful to the image.
| | 01:54 | So I go ahead and click OK let's say.
| | 01:56 | To drop out those grays I would change the Blend
mode to one of the Contrast mode such as Overlay.
| | 02:02 | So I will go ahead and double click on this
little slider icon here inside the Layers palette,
| | 02:07 | wait the usual interminable amount of
time for the Blending Options dialog box
| | 02:10 | to come up, change Mode from Normal to Overlay.
| | 02:14 | There, Bob's your uncle, we go ahead and drop out those grays,
we keep the highlights and shadows from the High Pass effect
| | 02:20 | and we burn them in to the underlying original image.
| | 02:24 | So I will click OK in order to accept that modification there.
| | 02:27 | This is before, without High Pass, the image
that we just saw a moment ago and this is
| | 02:32 | after if I press Ctrl+Z or Cmd+Z on the Mac.
| | 02:35 | So you can see we are not adding any more grays
between the two effects, we are just making the shadows
| | 02:40 | and highlights along the edges more
prominent thanks to High Pass set to Overlay.
| | 02:44 | See my figure, what goes for High Pass might
go just as well for Shadows/Highlights.
| | 02:49 | So let us try it out, let us go ahead
and turn off High Pass once again.
| | 02:53 | Go down to Shadows/Highlights.
| | 02:54 | I don't want you to throw High Pass away.
| | 02:56 | I want to keep it because we will use
it later, but right now turn it off.
| | 02:58 | Go down to Shadows/Highlights, double click on the Blending
Icon, you are going to get an alert message that tells you
| | 03:03 | that you are only going to preview the effect
of the current Smart Filter down the list.
| | 03:08 | So you are not going to see how it mixes with High Pass,
whether High Pass is visible or not, that is a weird thing.
| | 03:13 | So I recommend you let this alert come up every time.
| | 03:16 | In other words don't turn on this check box.
| | 03:18 | Just go ahead and click OK, just so that you know
this is coming every time you do it in the future.
| | 03:23 | All right, so again, what goes for High Pass must goes
it seems for Shadow/Highlight, only, it seems wrong.
| | 03:31 | If I choose Overlay, now these aren't really highlights that
we were seeing inside the irises or inside of the shirt.
| | 03:37 | They are mid-tones.
| | 03:39 | So if I choose Overlay, they are going to drop out.
| | 03:41 | So the grays drop out when you apply Overlay.
| | 03:43 | It is a different kind of effect.
| | 03:45 | Those grays that were dropped out from the High Pass effect
thanks to Overlay were grays that we wanted to drop out.
| | 03:51 | Here, it is an either or thing.
| | 03:54 | Some of the grays we want to get rid of, some of
the grays we want to keep, is part of the problem.
| | 03:58 | So anyway, Overlay doesn't do us any good.
| | 04:01 | None of these guys do us any good.
| | 04:02 | None of these contrast effects, even the most vigorous of the
effects Linear Light just makes a total mess of the image here.
| | 04:09 | So then I think, well all right, so Normal must be applying
Shadows/Highlights to the red channel, the green channel
| | 04:16 | and the blue channel and that is part of our problem, right.
| | 04:19 | So that is why we are getting some of these grays.
| | 04:21 | If we just applied it to the luminosity of
the image and we kept the underlying color,
| | 04:26 | the color from the original image, I bet that would help.
| | 04:29 | So let us choose Luminosity.
| | 04:30 | It doesn't do a darn thing.
| | 04:33 | The reason is Shadows/Highlights is already programmed
to only affect the Luminosity of the image so long
| | 04:39 | as that Color Correction value that we left
set to zero, inside Shadows/Highlights,
| | 04:43 | so long as it is zero, the colors are not getting changed.
| | 04:46 | Blend modes don't do us any good, cancel.
| | 04:48 | What does do us good?
| | 04:50 | Well, what has been the topic of this entire series?
| | 04:53 | That is what is going to do us some good.
| | 04:55 | We go up to the Image menu, you choose Mode and you choose
Lab color, that is going to fix the effect and as soon
| | 05:02 | as choose Lab Color Photoshop is going to ask
you in its fairly irritating way whether you want
| | 05:07 | to Rasterize the effect and it is
going to suggest you Rasterize it.
| | 05:10 | That is wrong, don't Rasterize, please don't
Rasterize, otherwise you will get rid off your effect
| | 05:16 | and you will just convert this effect right here to Lab.
| | 05:18 | It won't look any different.
| | 05:19 | However, by converting the image to Lab and then applying
Shadows/Highlights look what a different effect you get.
| | 05:25 | This was before with those weird serial irises and those weird
grays going on inside of the shirt and the neck and the jowls
| | 05:34 | down here, if a five year old can have jowls and this is
after and I'm pressing Ctrl+Z, Cmd+Z on the Mac in order
| | 05:42 | to do the aftereffect and there it is, much improved.
| | 05:46 | Now not totally improved because we
still have some low color values.
| | 05:49 | We need some improved saturation going on here, but things
look much better than they did a moment ago, much more natural.
| | 05:54 | Just to give you a sense so that you are not thinking,
"Well, it is not that different than the original image."
| | 05:59 | Let us go ahead and turn off the Smart Filters tag.
| | 06:01 | There is the original image.
| | 06:03 | There is the image with Shadows/Highlights
applied here inside the Lab mode.
| | 06:07 | So really just that one little trick of
changing in over the Lab mode and again,
| | 06:12 | it is only being applied to the lightness channel.
| | 06:15 | It is not being applied to a or b and if
you want to check that out for yourself,
| | 06:20 | all you got to do it is double click
on the little slider icon right there.
| | 06:24 | Again, you will get the warning, again
click OK, wait for the dialog box to come
| | 06:28 | up because really what choice do you have there and then
change the Mode from Normal to Luminosity, doesn't do any good,
| | 06:35 | so you will never have to do it again because
these Blend modes are not helping you out.
| | 06:40 | Just go ahead and Cancel.
| | 06:41 | But no, it is a really small trick to
have a pretty big, long lesson about it.
| | 06:45 | The only trick we saw here was convert the image to Lab and if
you want to try that out on your own images what you would do,
| | 06:51 | is you would open up an RGB image, convert it to a
Smart Object, go ahead and apply Shadows/Highlights,
| | 06:56 | try out some different settings, see what looks good.
| | 07:00 | Suffer in frustration because it is not
going to look quite the way you wanted to,
| | 07:04 | go ahead and click OK to accept the
change, don't worry about the Blend mode.
| | 07:08 | Go up to the Image menu, choose Mode, choose Lab
Color then say don't Rasterize and then watch
| | 07:14 | in wonder as Photoshop makes the effect better.
| | 07:17 | If you still need to do a little bit of work on
Shadows/Highlights all you have to do is double click
| | 07:21 | on the words down here, adjust the settings a little
bit and you are get to go and I can do that as well.
| | 07:25 | I will have to get that dialog box again because I
have High Pass act on top of the Shadows/Highlights,
| | 07:30 | but at this point I can say, you know what, I want the shadows
to be even brighter, so I will raise the Amount value to 100%
| | 07:35 | and I will reduce the Radius down to 20 pixels
in order to emphasis the irises a little more
| | 07:41 | and I can make some other modifications, but really,
for my money, the original effect looked totally great.
| | 07:47 | In the next exercise we are going to repair the colors
inside the image which obviously need a little help,
| | 07:53 | then we will sharpen the image and we will be done, join me.
| | Collapse this transcript |
| Correcting color cast and contrast| 00:00 | All right kiddos, we are in the midst of correcting
yet another image in the Lab mode, go figure that one.
| | 00:07 | This time the image has a lot of filled in shadows, some
overly bright highlights, a lot of narrow to well mid-tones
| | 00:14 | and we have managed to fix that image
to an extent, not all the way,
| | 00:18 | just corrected to an extent using the Shadows/Highlights Smart
Filter applied to a Smart Object here inside the Lab mode
| | 00:24 | and the name of this image if you would like
to open it up, my progress so far is saved
| | 00:29 | as an image called Lab Sam object.psd
found inside the 04 Cast_lighting folder.
| | 00:35 | Now one way to approve the colors in this
image which now need improvement, I should say,
| | 00:39 | so far we have sort of fixed the brightness and
contrast of the image, I have a little more work to do.
| | 00:45 | But the colors definitely need improvement the saturation and
the Color Cast and one way to try to fix that is to double click
| | 00:52 | on the Shadows/Highlights Filter here, you will get this
warning telling you that you are only going to see the effects
| | 00:57 | of Shadows/Highlights not High Pass fine, click OK.
| | 01:00 | Then I can grab this Color Correction slider
and I can send it all the way up to a 100.
| | 01:04 | Notice what it does.
| | 01:05 | That is Color Correction?
| | 01:06 | Pardon me, no, that is not color correction.
| | 01:09 | That is stupid.
| | 01:10 | That is just ridiculous.
| | 01:11 | It turns the eyes blue and the lips
pink, that is color correction?
| | 01:15 | No, no, not in application, especially Photoshop.
| | 01:19 | Cancel. So here is what you do and by
the way, remember I was telling you
| | 01:24 | that Shadows/Highlights exclusively affects the
Lightness channel when you are working on a Lab image.
| | 01:29 | That is true so long as you don't
monkey with that Color Correction value.
| | 01:33 | As long as you would, set to zero.
| | 01:34 | So please do, by all means, please do.
| | 01:36 | Then what I would like you to do is press the Alt key or
the Option key on the Mac, click the Black-White icon,
| | 01:41 | choose the Curves command, that is going to the best job
here because this is semi-complicated Color Cast effects,
| | 01:46 | it is not super complicated, but
does take a little bit of effort.
| | 01:49 | Let us go ahead and call this guy a & b because that is all we
are fixing, we are not going to adjust the Lightness channel.
| | 01:54 | Go and click OK because it is just easier to that with
brightness contrast where this image is concerned.
| | 01:58 | So I'm going to switch the Channel over to a and let us make
our standard everyday average symmetrical color adjustments
| | 02:05 | like we like to, just makes life so much easier.
| | 02:08 | So I'm going to go ahead and select this point
as I have, by pressing Ctrl+Tab then I'm going
| | 02:13 | to press Shift+right arrow several times in
a row till I change the input value to -68.
| | 02:18 | I'm moving that point to the right.
| | 02:20 | So I'm turning the image turquoise.
| | 02:22 | Now I will Ctrl+Tab to the other point, the upper right
hand point, I will press Shift+Left arrow 1, 2, 3, 4,
| | 02:29 | 5,6 times in a row to change that value to
67 so we have a symmetrical modification,
| | 02:34 | the curve is going directly the curve as such as it is.
| | 02:37 | It is a straight line right now, but it is going
right through the center of the graph therefore,
| | 02:41 | it is a symmetrical adjustment even though it seems
to favor the reds, the crimsons at this point.
| | 02:46 | That is okay.
| | 02:47 | All right, let us go ahead and switch over to b and same thing.
| | 02:50 | Now currently, the upper right hand point is selected.
| | 02:53 | I'm going to press Ctrl+Tab until the lower left hand point
is selected then I'm going to press Shift+right arrow,
| | 03:01 | what would that be, six times in a row to add a bunch of
cobalt to the image, Ctrl+Tab up to the upper right hand point
| | 03:07 | and then Shift+Left arrow six times as well
in order to add some yellow to the image.
| | 03:11 | Now at this point I'm noticing and I think you are too,
that he is a Fremen like in Dune he has got blue eyes,
| | 03:17 | the whites of his eyes are blue so
we need to somehow adjust with that.
| | 03:20 | We need to try to neutralize the colors in the eyes.
| | 03:23 | Now I don't know if you have noticed this yet.
| | 03:24 | I have failed to mention it thus far.
| | 03:26 | I will no longer fail to mention it, notice the gray eye dropper
right there which is allows you to just select it then click
| | 03:33 | on the color and make that color neutral
is not available in Lab, you can't use it.
| | 03:39 | So, so much for automating the neutrality of a color in Lab
that is the way that is but anyway, here is what you do,
| | 03:45 | you drag over the eyes and you watch the
bouncing ball, watch the bouncing ball over here
| | 03:49 | in the graph you drag over the eye
and there is the bouncing ball.
| | 03:52 | So then I will just Ctrl+Click at this point
Cmd+Click in a Mac in order to establish this point
| | 03:57 | and this represents eye highlight,
basically the Fremen blue right there.
| | 04:01 | Now I will press Shift+Up arrow a couple of times actually
to get that output value up there and I want to take it,
| | 04:08 | well actually, -4 is pretty good, -3 is even better.
| | 04:10 | Basically, if you want to follow exactly along with me I'm going
to input value of -13 and output of -3 and that is pretty good
| | 04:19 | where the yellow-blues are concerned I think
and we definitely are highlighting the yellows
| | 04:23 | in this image and overly warming him, but I like it.
| | 04:26 | I think it looks great.
| | 04:27 | Then I'm going to switch to the a channel
by pressing Ctrl+2, Cmd+2 on the Mac
| | 04:32 | and I feel like we have now overwhelmed
the crimsons in the image.
| | 04:36 | I want that ruddy flesh.
| | 04:38 | I want to emphasize that.
| | 04:39 | So I'm going to make sure that upper right
hand point is selected and then I'm going
| | 04:43 | to press the left arrow key three times in a row in
order to exaggerate the crimson colors in his face
| | 04:50 | and so that makes him look him like he is a little windburnt
and stuff, but he just looks little boy fresh to me.
| | 04:55 | I think he actually looks really great.
| | 04:56 | So I'm going to click OK.
| | 04:58 | If you felt like you would over-saturate the colors,
you would want to back off of everybody or click OK
| | 05:04 | because I'm only effecting color saturation, right.
| | 05:06 | I didn't change the Lightness channel.
| | 05:08 | I can just back off the opacity value.
| | 05:10 | I can just go ahead and say well, let us see what looks better.
| | 05:12 | Maybe about there is more same in terms of the colors.
| | 05:16 | Maybe that is more representative
with the real scene as my eyes saw it.
| | 05:19 | I don't care about that.
| | 05:20 | I like it this way.
| | 05:21 | I don't want a photograph that represents what I actually saw.
| | 05:24 | I want a photograph that's powerful and has a ton
of impact and looks great and is really graphic.
| | 05:29 | So that looks good to me.
| | 05:30 | All right now, I'm going to press the Alt key or the Option
key on the Mac and I'm going to click the Black-White icon
| | 05:35 | and I'm going to choose Brightness/Contrast
and we will just call it contrast.
| | 05:39 | It doesn't have enough contrast, we are going to boost the
contrast, click OK because really this brightness is just fine.
| | 05:43 | You can monkey with that if you want to, but I suggest no monkey.
| | 05:46 | Tab to contrast, Shift+Up arrow, 123.
| | 05:49 | That looks good.
| | 05:50 | This is a great command.
| | 05:51 | It does a really svelte job especially in Lab in Photoshop CS3.
| | 05:55 | You have to be using Photoshop CS3.
| | 05:57 | Photoshop CS2 and earlier, this is
a terrible command, they rewrote it.
| | 06:01 | Also, when you are working in Lab this
command affects the Lightness channel only.
| | 06:06 | It automatically doesn't effect a and b so just go and
click OK and there is just one more thing I want to do folks
| | 06:11 | and that is I want to sharpen the image and
we are going to that in the next exercise.
| | Collapse this transcript |
| Completing a low-frequency portrait with High Pass| 00:00 | All right gang, welcome to the last exercise in the fourth
chapter of this series. We have managed to do, I think,
| | 00:08 | and I didn't invest all that much in
this particular image, but for my money
| | 00:11 | we have performed a fantastic color
modification here, color contrast and so on.
| | 00:16 | We started with this image right here.
| | 00:20 | So dark, pretty lifeless, I would go far as to say,
| | 00:24 | we went ahead and applied Shadows/Highlights and we applied it
inside the Lab mode so we did a fairly good job of brightening
| | 00:30 | the shadows and darkening the highlights and so on and keeping
the contours of the face, but not an utterly fantastic job
| | 00:36 | because we still have a lot of weird grays going
on inside the shirt, in the flesh tones and so on.
| | 00:41 | We got rid off those though as soon as
we added these adjustments layers right here.
| | 00:45 | Notice, no more grays inside the shirt. It's just a nice,
bright, olive green, looks really good and then we've got some
| | 00:53 | great detail inside of the irises, we are looking good
inside the flesh tones. He is a little windburnt, a little
| | 00:58 | possibly, overly red in the cheeks and the chin and along
the ears, but I think it looks awesome and he's got this
| | 01:04 | little scab on his head, you can see that fell off. And
this is my Sammy incidentally. And I am calling this image
| | 01:10 | progress so far Freshly windburnt boy.psd,
found inside the 04 Cast_lighting folder.
| | 01:15 | We are going to finalize the effect by sharpening it.
| | 01:19 | This is a low frequency image for those of you who may
have seen my Photoshop CS3 Sharpening Images series.
| | 01:27 | You know that for high frequency images, when I am sharpening
high frequency images I use Smart Sharpen. When I am sharpening
| | 01:33 | low frequency images such as portrait shots I use High Pass and
lo and behold, we were fiddling around with High Pass earlier.
| | 01:42 | So I will just go ahead and turn on that High Pass effect right there.
| | 01:45 | It's already set to the Overlay blend
mode, so it's going to blend in nicely. Sort of.
| | 01:51 | The only problem is I have the Radius value set
to 100. We don't want that. So double click on the
| | 01:55 | High Pass effect right there. Notice this time you don't
get an alert message. You still get a big delay of course,
| | 02:00 | because it's a Smart Filter, but you don't get an alert message
because you're going to be able to preview the effects of High Pass and
| | 02:06 | Shadow/Highlights mixed together because High Pass is on top.
| | 02:09 | If it were on bottom, it would complain.
All right, let's reduce the Radius value to 6 pixels
| | 02:14 | and then click OK.
| | 02:16 | Now, actually that does a pretty darn good job. That looks
like a nice sharpening effect at this point, but I want more
| | 02:22 | sharpening so I am going to over and double click on this
little blending slider icon thing and that will bring up
| | 02:28 | the Blending Options dialog box and then let's switch the Mode from
Overlay to Linear Light, which is the most vigorous of these contrast modes
| | 02:37 | and it's going to give us the highest impact effect.
| | 02:40 | Now, that's a little bit over the top so I'll change the
Opacity value to 80 instead of 100% and then I'll click OK.
| | 02:46 | Well, that's still almost twice as much
sharpening as you get out of Overlay,
| | 02:50 | right up there and that's it, gang. The next thing I would
do, because I am really happy with this effect, the next thing
| | 02:56 | I would do is I would go up to the File menu, I'd choose
Save As, but of course, right? We need to save our changes
| | 03:02 | and I'll go ahead and save this as something along the lines
of sharply shaded Sam or something along those lines and then
| | 03:10 | click the Save button in order to save off my layered Lab image.
| | 03:15 | Then having done that, I would probably go up to the Image menu,
| | 03:18 | I would go to Mode and I would go to RGB Color because let's
say I want to send this off to somebody or I might want to
| | 03:24 | print it to an Inkjet printer something along those lines. RGB typically
works better in that case. So I choose RGB. I would say Rasterize.
| | 03:31 | I would say Merge because now I am just getting rid off everything.
I'm just collapsing the image into a single layer image right there.
| | 03:38 | After- actually I would go ahead and flatten it. Notice
it's still a single layer image. So you go up to the Layer menu,
| | 03:44 | I always forget this step, go to Flatten Image.
| | 03:46 | Then once it's a background layer then you can go to File,
| | 03:49 | choose Save As and save it to the JPEG format. Then I would
go ahead and scale it and we are doing this so that we can see
| | 03:55 | the before and after here. We are going to go ahead and
scale this image. So I will choose the Image Size command
| | 04:00 | and I am going to change the width of the image
to 1024 pixels because this is a 1024 x 768 monitor
| | 04:09 | and I will go ahead and Tab away my
palettes, switch the Full Screen mode
| | 04:12 | and let's go ahead and zoom in to 100% zoom ratio.
| | 04:15 | All right, then so here is the final version of the image. Here is
the original, just to give you a sense of how far we've come here.
| | 04:22 | So before and after.
| | 04:24 | I would say this is a much better version of the image. Check out
the collar detail down here. So before, it's totally filled in,
| | 04:31 | after,
| | 04:33 | bright, beautiful tons of texture going on as well. We have
a lot of great texture in the neck, a lot of good action
| | 04:39 | here inside the face. A lot of this peach fuzz here showing
up. So before again, just you basically can't see any
| | 04:45 | of the detail inside of the face going on here. This is
almost, after we're done, it almost looks like an HDR image,
| | 04:52 | a High Dynamic Range Image because we have so much detail going
on and the final thing, I think the thing that really sells it
| | 04:58 | is the fact that we can see into these irises.
So again, before, irises totally filled in,
| | 05:04 | don't have that kind of sparkle that they do once we've completed
this effect by combining Shadow/Highlight with the Lab mode
| | 05:11 | and of course, some saturation and contrast effects applied
with a combination of Curves and Brightness/Contrast
| | 05:18 | adjustment layers here inside Photoshop.
| | Collapse this transcript |
|
|
5. Selective Color ModificationsChanging some colors, leaving others as is| 00:00 | The last thing I want to show you is less corrective and more
selective. We have all seen catalogues online or in print that
| | 00:07 | show a model in an outfit. And even though it's just one shot,
the outfit changes colors. To show that it's available in,
| | 00:14 | I don't know, gosling green or flowering rye or dying monkey.
| | 00:19 | All real colors by the way.
| | 00:21 | And you have probably seen how you can change the color of just
a single part of an image, just the reds the yellows for example,
| | 00:28 | using the Hue/Saturation command.
| | 00:30 | Only thing is there is a much better way in Lab.
| | 00:33 | Nothing against Hue/Saturation. When it works, it works, but
when it doesn't work, the following exercises show you what to do.
| | 00:40 | We'll start by changing color of the
car, without any masking whatsoever.
| | 00:44 | Then we'll see how to change the color of a blue shirt and
tie set against a blue background, using a mask created by
| | 00:51 | Cross Pollinating Lab and RGB. And we are going to achieve such control,
the results are going to look so good, you will be tickled pink.
| | 01:00 | Carnation pink, pink Cadillac pink,
| | 01:03 | dying monkey pink.
| | 01:05 | Enjoy!
| | Collapse this transcript |
| Rotating hues in RGB with Hue/Saturation| 00:00 | Alright gang let's start off with something relatively simple
anyway, and we will move to something a little more complicated,
| | 00:05 | where selective color modifications are concerned.
| | 00:08 | Here I'm looking at a photograph of a classic pink Cadillac
from photographer Bill Philpott of iStockPhoto.com
| | 00:16 | and you can see that I have already
converted it to the Lab format.
| | 00:19 | The name of this image incidentally is Pink
cadillac.psd found inside the 05selective folder.
| | 00:25 | And we are working in Lab, I have gone ahead and converted
this image to a Smart Object and we have a couple
| | 00:31 | of Smart Filters applied, Shadows/Highlights and High Pass.
| | 00:33 | Because this is a low frequency shot and if you don't
think this is a portrait shot, I've got news for you.
| | 00:38 | This is a portrait shot.
| | 00:39 | Whoever shot this thing loves that car.
| | 00:42 | So I'm going to go ahead and turn
off Smart Filters for a moment,
| | 00:45 | just so we can get a sense what the original image look like.
| | 00:47 | And then I will press Ctrl+Z or Cmd+Z to turn them back on.
| | 00:50 | So you get a sense of -- we have got more
of a high definition feel to the car now.
| | 00:54 | A lot more detail going on here.
| | 00:56 | Let's say we get it in our collective head whether it's just
because we decided it should be this way or and Director
| | 01:03 | or whatever your client told us that
this car needs to be yellow not pink.
| | 01:08 | And of course we can switch it to
any number of other colors as well.
| | 01:11 | Blue, green, purple, what have you,
but yellow's going to look the best,
| | 01:15 | since its one of the hardest transformations to pull off here.
| | 01:18 | So, that's our mandate, make the car yellow.
| | 01:21 | Well, old school, if we are working in RGB we go with
Hue/Saturation, which isn't the worst solution on earth.
| | 01:28 | It's just not as good as Lab and you will see
Lab is actually better when used properly.
| | 01:33 | So let's go back to RGB with this image here.
| | 01:35 | I'm going to go up to the Image menu,
choose Mode and choose RGB Color.
| | 01:39 | And I will just go ahead and Rasterize
the image, because this is just a test.
| | 01:42 | And then, I'm going to go up to the Image menu,
choose Adjustments and choose Hue/Saturation.
| | 01:49 | You can rotate the Hue value in order to
rotate all of the colors inside of your scene.
| | 01:55 | Now that gives us a yellow, Hue value of 49 does
gives us a yellow but its kind of a washed out yellow.
| | 02:00 | So, then we might pump up the Saturation and then we might
back up the Hue to warm it up a little bit, that kind of thing.
| | 02:07 | But, there is a fairly obvious problem
I think with our modifications so far.
| | 02:10 | That is that, it kind of changed the grass and the sky as well.
| | 02:13 | Just ever so slightly.
| | 02:14 | We now have a ridiculous violet sky for example.
| | 02:18 | Go ahead and Alt+Click or Option+Click and what was formerly
the Cancel button to reset the options in the dialogue box.
| | 02:23 | And then you would go up to the Edit menu and say, Reds,
presumably, and we really want to change the pinks.
| | 02:29 | But they should fall somewhere in the red or magenta spectrum.
| | 02:32 | Either one, it doesn't really matter because what
are we going to do then is click inside of the hood
| | 02:37 | to identify that is one of the colors we want to change.
| | 02:39 | And I would actually Shift+Drag over the hood and
maybe Shift+Drag over this area of the car as well.
| | 02:45 | Don't -- I'm not dragging down here, don't drag around
here, because we are going to pick up of the reflected grass.
| | 02:50 | And you don't want that.
| | 02:51 | Once you have done that, then you
can rotate those Hue values again.
| | 02:54 | Look at that, that's a green car.
| | 02:56 | Let's go and make it sort of yellowish since
we're trying to moderately stay on task here.
| | 03:01 | La-di-da there you go.
| | 03:02 | But actually I think this fairly wretched.
| | 03:04 | Because you zoom in on it and you get these
really bizarre transitions where we are going
| | 03:09 | from the yellow mid tones into these purple shadows.
| | 03:13 | Which begs the question of course, why are the shadows purple?
| | 03:16 | What are they picking up?
| | 03:18 | Where are they getting the purple from, the grass?
| | 03:20 | No, nothing.
| | 03:21 | There is nothing that purple in this scene, there
is no way those shadows will be picking a purple.
| | 03:26 | So, this is okey-dokey, if you just
had to get the job out really fast.
| | 03:30 | Why not? But if this was the thing that really mattered, when
you wanted to do a good job, this I would not call a good job.
| | 03:36 | So go ahead and cancel out of there.
| | 03:38 | And I'm just going to note these values, 45, 45.
| | 03:41 | Let's say, just to keep it easy.
| | 03:42 | Cancel out for a second.
| | 03:43 | Because I'm now going to press Ctrl+Alt+z
or Cmd+Option+Z on the Mac in order
| | 03:48 | to restore the original Lab version
of the image with its Smart Filters.
| | 03:53 | And let's just go ahead and try Hue/Saturation
here as an adjustment layer inside the Lab mode,
| | 03:58 | just so that we can see if it behaves any better,
because it does behave differently by the way.
| | 04:01 | I want to hit an Alt or Option and choose the
command and I'm going to call it Hue Twirl
| | 04:06 | because we are twirling the Hue around and I will click OK.
| | 04:09 | And we know we want to go the Reds, so we know
we want to click on the hood and then shift drag
| | 04:14 | across the hood and shift drag over in this region.
| | 04:16 | And we want this value to be 45-45.
| | 04:19 | Those two values just like that.
| | 04:21 | Well, that's interesting, right, its worse interesting.
| | 04:24 | We still have that same problem we had before
where these slightly different yellows this time,
| | 04:28 | they are more orangey are picking up some strange violet shadows.
| | 04:33 | But then over here -- actually in a way we were
doing a better job of keeping the grass reflections.
| | 04:38 | But it looks wholly bizarre, I think, it doesn't
look like what this car should look like.
| | 04:43 | Not that I have a picture of a yellow Cadillac sitting in front
of me, but just somehow this doesn't resonate as being credible.
| | 04:50 | So tell you what, let's just cancel out man.
| | 04:52 | Let's not do that, instead, let's do something different.
| | 04:55 | And I will tell you, exactly what that
something is, beginning in the next exercise.
| | Collapse this transcript |
| Modifying colors in Lab with Curves| 00:00 | All right gang, the goal remains the same,
we are going to take this pink Cadillac,
| | 00:04 | which goes by the final name Pink cadillac.psd found inside
the 05_selected folder and we are going to turn it yellow.
| | 00:11 | But we are going to accomplish this amazing feat
inside the Lab mode using the Curves command,
| | 00:16 | which gives us the most control over the process.
| | 00:19 | Now, it's a much different, much stranger technique.
| | 00:22 | It's not as easy to pull off as it is with Hue/Saturation.
| | 00:25 | For one thing we can't limit our modifications
to adjust the reds with the pinks of the car.
| | 00:30 | So, we are going to change the entire scene.
| | 00:32 | Secondly, the way that we go about making our
modifications inside Curves is quite a bit different
| | 00:38 | than it is with Hue/Saturation.
| | 00:39 | We can't just revolve the Hue for example.
| | 00:42 | So, before we go into the Curves command, I want
you to see this, I want you to remember this anyway.
| | 00:46 | This diagram came to us in Chapter4 you may recall.
| | 00:49 | And it's called Color moves.psd found
inside the 04_Cast_lighting folder.
| | 00:54 | Look specifically at these A and B charts down
here, toward the lower right region of the image.
| | 01:00 | If we want to make the image more crimson, we are
going to create points and drag them up or to the left.
| | 01:07 | If we want to infuse the image with
more turquoise and more green,
| | 01:10 | we will create some points and drag them down or to the right.
| | 01:13 | Meanwhile in the b channel, we are going to make points and
drag them up into the left to make the image more yellow
| | 01:19 | down into the right to make the image more cobalt or blue.
| | 01:22 | Things change however, if you reverse the angle of the graph.
| | 01:25 | So, if I take this black point here and send it all the way to
the top and then I take the white point and send it all the way
| | 01:30 | to the bottom, so that the angle of the
curve is the opposite of the way it is now.
| | 01:36 | Then the graph lifts horizontally only.
| | 01:39 | So, the crimsons become up in this region, upper
right and the turquoise, greens goes lower left.
| | 01:46 | That makes it a little confusing.
| | 01:48 | I mean why don't they flip this direction,
why doesn't crimson go down south
| | 01:52 | to the lower right region and turquoise goes up that direction.
| | 01:54 | The reason is, when you flip the curve, so it goes in the
opposite direction, you are flipping the histogram horizontally
| | 02:02 | and only horizontally, because you are just
flipping the outputs, not the input values.
| | 02:06 | You will see us do that in just a moment and if we make the
angle of this graph like this, then yellow is going to be
| | 02:11 | in the upper right region and cobalt blue
is going to be in the lower left region.
| | 02:15 | Alright. Just want you to be able to track that, just
kind of remember it, you are going to see it in action.
| | 02:19 | Let's switch back to Reasonable Screen
mode here and bring back our palettes.
| | 02:24 | And here is what I want you to do.
| | 02:26 | I want you to Alt+Click or Option+Click on a black/white
icon and choose Curves as I say, it gives us the most control
| | 02:32 | and we are going to call this guy hue shifter
or something along those lines and click OK.
| | 02:37 | We are not going to make any modifications
to the Lightness channel, because if we did
| | 02:41 | and then we started blending the colors with
the original image then we would lose some
| | 02:46 | of our lightness modifications where we need to make some.
| | 02:48 | So, I would make the lightness modifications again, we are to
make and I'm happy with the brightness and contrast right now.
| | 02:53 | But we are ready to do it.
| | 02:54 | I would use a separate command.
| | 02:55 | I want to limit my changes here to just A and B.
We will start with b because after all we want
| | 03:00 | to make the car more yellow and yellow is in the b channel.
| | 03:03 | I'm going to grab this white point right here and as long as
we keep the angle of the graph like this starting down left
| | 03:10 | and going up right, then the yellows are up in this
region, and the cobalt/blues are again in this region.
| | 03:17 | So I'm going to grab that white point, press Shift+Left arrow,
a handful of times, until I change this input value to 74.
| | 03:25 | How do I know, it should be 74?
| | 03:27 | Trial and error.
| | 03:28 | Once you understand, where the colors are
located, then you are free to experiment,
| | 03:32 | it just takes a little bit of experience
to start getting used to it.
| | 03:35 | But anyway, I'm going to press Ctrl+Tab to switch to the
black point and I'm going to press Shift+Up arrow a handful
| | 03:41 | of times until I change the output value to 30.
| | 03:45 | You can see because my modifications are all going up left, so I
am moving both the black and the white points, up into the left,
| | 03:53 | making the car more and more yellow, along with the
rest the scene, of course is going yellow as well.
| | 03:58 | One of the problems here is that I'm
confusing the car with too much orange.
| | 04:03 | So, it's less yellow and more orange at this point.
| | 04:05 | Sort of a golden ride I would say.
| | 04:08 | I need to get rid of some of the redness
or some of the crimson inside of the image.
| | 04:13 | So I'm going to go the A channel and
I'm going to reverse the A channel.
| | 04:17 | I'm going to grab the black point down here and I
am going to move it all the way top and that's going
| | 04:21 | to make the image a little bit more crimson than it was before.
| | 04:25 | And I'm going to grab that upper right point,
the white point and move it all the way downright,
| | 04:29 | so that are reversing the colors in the image.
| | 04:31 | Part of the reason I'm doing this is so
that I can show you what I was talking about.
| | 04:34 | Once you have the graph going at the opposite angle
like so, now crimson is this away, it's upper right
| | 04:42 | and the opposite color turquoise is down left.
| | 04:45 | That way, whatever you want to call it.
| | 04:47 | All right, so let's grab this point right here.
| | 04:49 | Actually I'm happy with the location of the white point.
| | 04:52 | What was formerly the white point.
| | 04:53 | I'm going to go to what was formally
the black point over here and I'm going
| | 04:56 | to press Shift+Right arrow because
we have made the image too green.
| | 05:00 | We have definitely defeated that crimson, that red, that was
going on that orange that was going on in the hood of the car.
| | 05:05 | But now we have set it all the way green, that's too far.
| | 05:07 | So, now we need to go back to crimson, which
is now located in this area of the graph.
| | 05:12 | I will press Shift+Right arrow in order to warm up that car.
| | 05:18 | Right here is about a value I want, -48
for input, 127 for output and of course,
| | 05:24 | the white point down here in the lower right corner of the graph.
| | 05:27 | Beautiful, go ahead and click OK now, it
doesn't look like it's such an awesome change,
| | 05:31 | but that's because Curves affects the entire images
not just affecting the pinks inside of the car.
| | 05:38 | We need to make it affect the pinks, by
adjusting the Luminance Exclusion Slider Bars
| | 05:44 | and we are going to do that in the very next exercise.
| | Collapse this transcript |
| Blending colors with Underlying Layer| 00:00 | At this stage I might argue that we have done a little
bit too effective of a job of colorizing the car.
| | 00:06 | Certainly we have managed to swap the paint job
from pink to yellow, but we have also switched
| | 00:12 | out the environment from earth to the center of a volcano.
| | 00:16 | So, that the car is sitting here in this
grassland of magma and that's no good.
| | 00:21 | We just want to keep the yellow.
| | 00:23 | And we're going to do that using
the Luminance Exclusion Slider Bars.
| | 00:27 | Those slider bars at the bottom of the Layer
Style dialog box, that we have look at before.
| | 00:30 | But this time instead of using, here I will go ahead and double
click here for a moment, so you can see what I'm talking about.
| | 00:35 | Instead of using the This Layer slider, we are going to rely
on the Underlying Layer slider which allows us to force layers
| | 00:41 | through based on there color and
there luminance Levels and so on.
| | 00:45 | But before we could actually take a look at how to use
this option, we need to more closely inspect our image.
| | 00:51 | So, cancel out of that dialog box for a moment.
| | 00:53 | I have gone ahead and save my progress so far.
| | 00:55 | It's this document here, Yellow planet.psd
found inside of the 05_selective folder
| | 01:01 | and I'm going to turn off hue shifter for a moment.
| | 01:04 | What we want to do is we want to attack the pinks.
| | 01:06 | We want to affect the pinks, that is, and
we want to protect all the other colors.
| | 01:11 | We are going to protect the other colors using their own
inherent luminance Levels on a channel by channel basis.
| | 01:17 | So, we need to check out those channels.
| | 01:19 | So, here is what we are going to do.
| | 01:20 | Press Ctrl or Cmd+1 or you can switch over
to Channels palette, if you want to just click
| | 01:24 | on the Lightness channel to check out its luminance Levels.
| | 01:26 | Now they are all over the map.
| | 01:27 | We are not going to be able to use these luminance
Levels to isolate just the body of the car.
| | 01:32 | So, let's switch over to the a channel, Ctrl or Cmd+2.
| | 01:35 | It's colorized which makes it very difficult
to analyze from a masking perspective.
| | 01:41 | So, what I want you to do is press Ctrl or
Cmd+K to bring up to Preferences dialog box.
| | 01:46 | Switch to interface and turn Show Channels in Color off.
| | 01:49 | So, if you had turned it on, turn it off, click OK.
| | 01:52 | Now you can see the actual luminance Levels and you
can see that the body of the car is light and the areas
| | 01:58 | that we want to protect are dark comparatively.
| | 02:01 | That's good, that kind of difference
is really going to help this out.
| | 02:04 | Then we go to the b channel, not so good.
| | 02:06 | We got highlights that we want to protect.
| | 02:08 | We have got shadows that we want to protect.
| | 02:10 | We got mid tones that we want to reveal but
we also have mid tones that we want to hide.
| | 02:14 | It's probably the a channel that's
going to our best bet, good to know.
| | 02:18 | Go back to the full color composite by clicking on
Lab, go to the Layers palette and turn on hue shifter,
| | 02:24 | double click on an empty area outside the word
hue shifter here but not on the thumbnail.
| | 02:28 | Double click out here to bring up the big old Layer
Style dialog box and where colorization is concerned,
| | 02:35 | you are frequently better off using this Underlying Layer slider
so that you can force through the colors that you want to protect
| | 02:41 | because after all those underlying colors, they have a lot
more variety associated with them then this Colorization layer
| | 02:47 | which is really just warm colors,
just yellows and reds and so on.
| | 02:50 | So when I can not get too far with the Lightness channel, we
already saw that it's luminance Levels are all over the place.
| | 02:55 | Let's go to a, we know a is going to
work for us because we just saw it.
| | 02:58 | It's the dark colors that we want to
protect which correspond to the turquoise
| | 03:03 | as opposed to the crimson which are the light colors.
| | 03:05 | So, drag this black slider over to the right like so and
at a point you will start revealing colors like that,
| | 03:12 | now what you doing is you are saying
if a pixel has a luminance level of 133
| | 03:16 | or darker in the a channel, then
Photoshop is going to force it through.
| | 03:20 | Photoshop is going to protect it from the Adjustment layer.
| | 03:23 | If it has a luminance level of 133 or lighter
then the Adjustment layer is going to win out.
| | 03:28 | When I want however in order to get the best result
here, I'm going to take this up to as high as 165,
| | 03:36 | press the Alt or Option key because that pretty much wipes
out the effect and drag the left half off the triangle
| | 03:42 | over to the right until we take it down to 125 and notice that
gives us a nice soft transition and the paint job looks really,
| | 03:50 | really great and that's all we need to do there.
| | 03:53 | We don't need to work with b or Lightness, just
the a channel does the work that we needed to do.
| | 03:57 | Now one another thing I discover that
I think is pretty interesting here,
| | 04:01 | I just started fooling around with these checkboxes for channels,
| | 04:04 | they allow you to just basically turn the
effect off inside of a certain channel.
| | 04:08 | I noticed when I turned off the a
channel, the paint job looks even better.
| | 04:12 | So, just applying the b channel not the
a channel of our curves modifications.
| | 04:18 | So, I just drop the a channel out of there.
| | 04:20 | In other words, the a channel was great for determining
what portion of the car we wanted to colorized,
| | 04:25 | where the b channel really delivers all of the yellow we need.
| | 04:28 | You can make those decisions after
the fact and it's entirely parametric.
| | 04:32 | Meaning if I click OK, then I can double
click in this blank area again to bring back
| | 04:36 | up the Layer Style dialog box and my modifications are live.
| | 04:40 | I can change my mind, I can go back to the ridiculous
world that I had before by resetting this slighter triangle
| | 04:46 | and turning a back on, everything is still there.
| | 04:49 | All right gang, that is the finished version
of the effect and you just have to see here.
| | 04:53 | Let's go ahead and fill the screen with
the image and tab away the palettes
| | 04:56 | and I'm going go ahead and center the image a little bit here.
| | 04:58 | Let's go ahead and drag it down.
| | 05:00 | All right, now just for the sake of comparison this, of course
as you know this is the Lab corrected version of the image.
| | 05:06 | Thanks to the Curves command along with
the Underlying Layers slider triangle
| | 05:11 | and this is the Hue/Saturation corrected version in the RGB mode.
| | 05:16 | You can see how the RGB mode isn't really as
good as the Lab corrected version right there.
| | 05:23 | Just an amazingly better effect.
| | 05:25 | So bad, but easy with Hue/Saturation.
| | 05:28 | A little more complicated and all that much more work,
but little more complicated to figure out, but a much,
| | 05:33 | much better affect and I got to show you one more thing here.
| | 05:36 | I'm going to go ahead and zoom in on some of these details.
| | 05:39 | Notice right here around the headlights, how it brilliantly
sculpts here into the bumper just like it should.
| | 05:45 | This is what the car looks like before
we changed its colors and this is after.
| | 05:51 | So, it exactly grabs those pinks that we want to grab
and even this reflection in the bumper right there.
| | 05:57 | This is before and this is after.
| | 05:59 | Those kinds of details still get pulled out and get pulled
out brilliantly and realistically here, thanks to Lab.
| | Collapse this transcript |
| Changing colors in wardrobe shots| 00:00 | Alright good people, in this final
project of the series we are going
| | 00:04 | to attempt something pretty complex,
something that takes a little bit of work.
| | 00:08 | Specifically we are going to change the color of this
man's wardrobe independently of the rest of the image.
| | 00:13 | Why that's difficult is because much of the rest of
the image is virtually the same hue as the shirt.
| | 00:20 | Let me show you what I mean.
| | 00:21 | I'm working inside this image called Blue shirt
man.jpg inside the 05_selected folder comes to us
| | 00:27 | from photographer Eduardo Jose Bernardino of
istockphoto.com and were you to approach this image normally.
| | 00:35 | It's an RGB image at this point.
| | 00:36 | You would probably go up to the Image menu and
choose Adjustments and choose Hue/Saturation.
| | 00:42 | Alternatively you could apply a Hue/Saturation
Adjustment layer if you like.
| | 00:46 | I'm just going to go ahead and apply a static adjustment,
switch the Edit function from Master to Blues like so
| | 00:53 | and then you would identify to make sure
you have got the right color selected.
| | 00:57 | You would click some place inside the shirt and then Shift
drag across the shirt, taking care not to Shift drag elsewhere.
| | 01:03 | We do not want to shift drag in his face or in the background
and I'm not dragging at this point, I'm just gesturing.
| | 01:09 | All right, we will go ahead and rotate the hues and Photoshop
does a pretty darn good job inside certain ranges of hues.
| | 01:17 | Notice that the shirt switches to purple pretty nicely or
this kind of crimson color at this point, good old crimson.
| | 01:23 | But if we try to switch it to something like a violet, the shirt
color goes pretty darn flat and then other colors are just hard
| | 01:29 | to nail down or it actually works up pretty nicely.
| | 01:32 | But yellow, we are not going to get yellow very well.
| | 01:35 | It's going to either look a little
bit amber or a little bit chartreuse.
| | 01:40 | If we want just straight on yellow, we are going to have to
increase the saturation which as you can see if I zoom in here
| | 01:45 | that we are getting some fairly jagged transitions between
the neighboring pixels there, so that's kind of bad thing.
| | 01:53 | Also we have got this blue line that's
tracing along his neck and that's it,
| | 01:57 | the big changes, we are really rotating those hues around.
| | 02:01 | Theoretically what you can do is use these little slider
doodads in order to curtail the colors that you are affecting.
| | 02:08 | So, I could try to just bring these guys together a
little bit and then I will send this guy over here.
| | 02:14 | Let's see if we can bring him over,
so I can grab them, there we go.
| | 02:17 | Then we will move them tighter to see
if we can rule out the background.
| | 02:20 | But notice there's not really a value.
| | 02:22 | Like it's just a single little dinky
value that I can hit that rules
| | 02:26 | out the background without ruling out the shirt as well.
| | 02:29 | So, the shirt and the background share the same hues.
| | 02:32 | Because that's what Hue/Saturation is doing.
| | 02:34 | It's allowing you to edit within a certain hue range.
| | 02:37 | That's all it pays attention to, iss just hue.
| | 02:39 | We can do better in Lab.
| | 02:41 | We could do better in just about any
environment than what we are getting right here.
| | 02:45 | I will go and cancel out. So the moral of the story is
when Hue/Saturation works for this purpose it works great.
| | 02:51 | When it does not work, it really doesn't work.
| | 02:53 | All right, so let's switch over to Lab mode.
| | 02:55 | This is a guy, another version of the image.
| | 02:58 | It's called Available in these designer colors.psd
and it has got a ton of layers associated with it.
| | 03:03 | It's still found inside the 05_selected folder.
| | 03:06 | Notice I have added an Adjustment layer down here.
| | 03:08 | We are going to be doing this together,
but I added this Adjustment layer
| | 03:10 | that normalizes his skin a little
bit, so that he's not quite that pale.
| | 03:15 | That's a little bit radioactive and by
toning it down he looks a little more normal,
| | 03:21 | I would say little bit less creepy and all that jazz.
| | 03:23 | Just something closer to how we all want
to look, those of us who are very pale.
| | 03:27 | I'm just as pale as this guy.
| | 03:28 | So, I have got a bunch of groups of Adjustment layers now that
are going to switch him to different colors and I'm going
| | 03:34 | to bring out my Layer Comps palette just so that
we can see these different colors in action.
| | 03:38 | Let's go ahead and move them over,
just to give them more room to see.
| | 03:41 | So, there is my Blue shirt version,
that's how he was brought to us.
| | 03:44 | That's the original version of the image.
| | 03:46 | Here is Brown shirt incidentally which I think looks
pretty nice and that's the one we will be working
| | 03:52 | to create together as this Brown shirt version.
| | 03:54 | Here is Orange shirt, just to show you it's possible
that you can get some very bright colors if you want to.
| | 04:00 | So, if you want to send them into
quasi-disco room you certainly can.
| | 04:04 | Here is red shirt, it's interesting because not only
does it have a wide variety of hues associated with it,
| | 04:10 | it also turns his tie a totally different color.
| | 04:13 | So, your modifications inside the Lab mode don't always
produce the same results that they do inside RGB.
| | 04:18 | My tweaks are the same to the tie as they are to the shirt.
| | 04:20 | It's just that the tie is different enough that it ends
up turning into this sort of yellowish orange color.
| | 04:25 | Here is the Green version of shirt,
which I think is also quite fetching.
| | 04:28 | It looks pretty darn nice actually and
then I decide that wasn't good enough.
| | 04:32 | What about bright green, so this is the
leprechaun flavor of the shirt, isn't that nice.
| | 04:37 | All right, but anyway they are all
interesting, you know not every single one
| | 04:40 | of them has the same degree of credibility associated with it.
| | 04:43 | I think leprechaun starting to leave the mortal realm here.
| | 04:47 | But this is what we are going to go for, his Brown shirt.
| | 04:49 | But if you want to see how any of the others
are put together, all you have to do is switch
| | 04:54 | to a different layer comp, like you could say, "Gosh!
| | 04:56 | What's going on with orange shirt?
| | 04:57 | I like orange shirt," so go and switch to orange shirt and
you would, here let's clasp the Color palette for a moment.
| | 05:03 | I'm going to twirl open Orange shirt, so that we can see
what's going on and drag it open a little and you can see
| | 05:09 | that there is a couple of Adjustment layers here
one of which actually changes the shirt color.
| | 05:13 | I will turn this one off.
| | 05:14 | This one changes the shirt color to orange.
| | 05:16 | But then I decided some of those colors were getting a
little out of control, that they are getting too bright
| | 05:21 | and we were having transitional problems right there.
| | 05:23 | Not as bad as we saw with that yellow shirt example
with Hue/Saturation, but still doesn't look quite right.
| | 05:29 | So, I settled those colors down with a Levels adjustment layer
right there and you can see that just tones it down ever
| | 05:36 | so slightly, makes things a little more realistic.
| | 05:39 | All right, once again, just to make
sure you know where we are going.
| | 05:42 | We are going for brown shirt.
| | 05:44 | I just think it has a certain nice look to it.
| | 05:46 | Also we are kind of revealing more
of the metallic sort of color tie,
| | 05:49 | it has got a little bit of blue still left
in it and I think that's kind of nice.
| | 05:54 | Hey! If you are interested in creating such a shirt
yourself, why then join me in the next exercise.
| | Collapse this transcript |
| Blending the Red and b channels| 00:00 | Hey, I see you are back.
| | 00:02 | Very encouraging, I mean saying you are tenacious
which is what I love about you and your reward is going
| | 00:07 | to be a special masking technique that's
only found inside this series, nowhere else,
| | 00:13 | at least nowhere else inside the
lynda.com Online Training Library.
| | 00:16 | What we are going to be doing is we are going to be
merging an RGB channel with the Lab channel in order
| | 00:22 | to create the best base Alpha channel that we could
possibly get where this particular image is concerned.
| | 00:28 | So the particular image concerned is Blue shirt
man.jpg found inside of the 05_selective folder and we
| | 00:35 | and need to create a mask in order to distinguish his shirt
from the background because no other methods are left to us.
| | 00:41 | We are going to be using the Curves command inside the Lab
mode in order to effect our color shift and Curves, by itself,
| | 00:47 | doesn't provide any masking control that we saw that even
though Hue/Saturation does provide limited masking controls,
| | 00:52 | they are just not going to work for our purposes.
| | 00:54 | All right, so here's what I want you to do.
| | 00:56 | For starters, and those of you who have worked with
me in my Photoshop CS3 Channels and Mask series,
| | 01:02 | also part of the lynda.com Online Training
Library, know that when you are creating a mask,
| | 01:06 | you start by examining the channels that are available to you.
| | 01:09 | So this is an RGB image and actually we have Red,
Green, and Blue channels, so let's check them out.
| | 01:13 | Here's the Red channel, now there is a high degree of contrast.
| | 01:17 | Bear in mind, while we are making
a mask, we want a lot of contrast.
| | 01:20 | What we are really looking for is the opposite of this; we want
a white shirt against the black background but we can change
| | 01:26 | that as easily as just by pressing Ctrl+I or
Cmd+I in the Mac in order to invert the colors.
| | 01:31 | So we have a white shirt against a dark background that's great.
| | 01:34 | But you can see now that we don't really
have as much contrast as we really need
| | 01:37 | and of course, you wouldn't want to change the Red channel.
| | 01:39 | That's going to fairly mess up the composite RGB image.
| | 01:43 | Yeah, let's not do that.
| | 01:44 | But this is a good starting point.
| | 01:47 | Green, not so good.
| | 01:48 | We have a little bit of contrast between the shirt and
the guy's flesh in the background but we are losing it.
| | 01:54 | We have a lot of shared gray values going on.
| | 01:57 | Then Blue is just no good at all for our purposes because
that's where his shirt and the background are the best match.
| | 02:03 | And then, of course, he looks quite gruesome in the Blue channel.
| | 02:06 | I have to say it's not just him, we all look our worst in
the Blue channel, but older we get too that's the great thing
| | 02:13 | about it; aging really happens in the Blue channel.
| | 02:17 | In a perfect world, we wouldn't have Blue, then we wouldn't age.
| | 02:21 | That's my theory because look at me.
| | 02:22 | It looks great in the Red channel.
| | 02:24 | Let's go back to RGB.
| | 02:26 | So we want the Red channel to be available to us but
we need the Lab mode to be available to us as well
| | 02:31 | in order to perform this little technique here.
| | 02:33 | So let's go ahead and duplicate them and then convert into Lab.
| | 02:36 | Go up to the Image menu, choose the Duplicate command, and
let's just go ahead and call this guy Living large in Lab
| | 02:42 | so that we can find him very easily later inside
the 05_selective folder and I'll click OK.
| | 02:47 | We'll go ahead and zoom in, move him over to the right
a little bit and of course, convert him into Lab.
| | 02:52 | That's very important.
| | 02:53 | Go to the Image menu, choose Mode and choose Lab Color.
| | 02:57 | Now we have Lightness, a, and b channels.
| | 02:59 | So let's check them out.
| | 02:59 | There's a Lightness channel, a good
looking channel but not enough contrast.
| | 03:04 | It looks a lot like a Green channel, in fact.
| | 03:06 | Here's the a channel.
| | 03:08 | If you have thought he looked bad in the
Blue channel, check him out in the a channel.
| | 03:13 | You know what, he is not a spring-fall kind of person;
the turquoises and the crimsons don't work for him.
| | 03:20 | I don't know if those are spring-fall colors but
whatever colors they are, they are not his colors.
| | 03:26 | Very, very gruesome indeed but if we go to b, hey he is
still looking bad but we've got some contrast going on.
| | 03:33 | We've got a little bit of contrast between
the shirt and the background and his flesh.
| | 03:36 | Actually, his flesh is going really light.
| | 03:39 | I have a hanker in here, that if we somehow
mix the best of the b channel with the best
| | 03:43 | of the Red channel, we are going to get somewhere.
| | 03:45 | So let's try that out, let's test out that theory.
| | 03:47 | Let's go up to Lab once again, go back to the composite image.
| | 03:50 | Then I want you to go to the Image menu
and choose the Calculations command.
| | 03:54 | Now, Calculations allows you to blend two channels, two
channels that are already inside of the image in order
| | 04:00 | to create a new Alpha channel, a base Alpha channel
that you will eventually develop into a mask.
| | 04:05 | You can not only blend channels inside the same image
but you can blend channels inside different images,
| | 04:11 | different open images as long as they contain
the same exact number of pixels wide and tall.
| | 04:15 | So go to Calculations and you'll see
up here for Source 1, notice right now,
| | 04:20 | it's trying to multiply the two Lightness channels by each other.
| | 04:24 | So pretend that they are different layers; Source 1 is on
top and Source 2 is on bottom, set to Multiply at 100%.
| | 04:30 | Well we want to start with Red because
it's our really great channel.
| | 04:33 | So go up to the Source 1 pop-up menu and choose Blue shirt man.
| | 04:37 | If you have Available in these designer colors open as well,
| | 04:40 | you'll also see it because it's also
the same physical dimensions.
| | 04:43 | Well, let's go to Blue shirt man here and we
want Red and we want the Background layer.
| | 04:46 | These are flat files so background is all you are going to see.
| | 04:49 | Then for Source 2, Living large in Lab that's what we want,
we want Background and we want to change it to the b channel.
| | 04:55 | Right now we are multiplying, which I don't know,
it could work if there were no other blend modes
| | 05:00 | on earth, this could service reasonably well.
| | 05:03 | Let's check out a couple of other things.
| | 05:05 | First set it to Normal and this allows you
to see the Red channel by itself just so that
| | 05:09 | that we can be reminded of the channels
that we have to work with.
| | 05:11 | Setting it to Normal 100% allows us to just see Source 1.
| | 05:14 | If we set things to Normal 0% then we are just
going to see Source 2 because we are seeing
| | 05:19 | through Source 1 so this is the b channel right there.
| | 05:22 | All right, so interesting.
| | 05:23 | Let's change Opacity back to 100%
and let's try out some other modes.
| | 05:28 | Like Overlay.
| | 05:29 | Let's go ahead and kind of burn the two channels into each other
and that is better than what we saw a moment ago with Multiply.
| | 05:37 | If we wanted a stronger effect, we could go with something like
Linear Light but it doesn't work out very well for this image.
| | 05:43 | What we really need is to lighten the effect more than we are
seeing here so let's try Screen, the opposite of Multiply.
| | 05:50 | So we are getting a very, very light image and
that's interesting but we are losing our darks.
| | 05:55 | Now there's an even lighter mode than Screen called
Linear Dodge (Add) and tell you about Add in just a second
| | 06:01 | but if you choose that, it's really going to blow out the colors.
| | 06:04 | This is actually a good degree of contrast between highlights and
shadows but we need to save the shadows to more darken them up
| | 06:09 | and to bring the highlights back into the
Normal realm because right now it looks
| | 06:14 | like he has got his face about three inches from the sun.
| | 06:18 | So I want a control that gives me this kind of
brightness but it allows me to darken things up and add,
| | 06:24 | notice that Add in parenthesis that's because it's
really dRAWing from this guy right there, Add.
| | 06:28 | If you switch to Add, you are going to get exactly the same
effect but you are going to get a couple of different options.
| | 06:33 | Offset allows you to brighten or darken the
image by a certain amount of luminance level.
| | 06:38 | So if I start pressing Shift+Down arrow, you are
going to notice that we are reducing the brightness
| | 06:43 | of the entire image at this point by 60 luminance Levels.
| | 06:47 | That's still bringing some of the colors back
into the visible range because these colors,
| | 06:51 | these whites are so blown out, they are way beyond white.
| | 06:54 | If I kept reducing this value, we could really get those
whites down to something more reasonable but if we did that,
| | 07:02 | we would start bringing in too many grays as well.
| | 07:05 | So what I suggest we do is take the
Offset value down to -70, let's say.
| | 07:10 | In that way, we have some decent blacks, we got some good whites,
| | 07:13 | we have a few midtones in between them
that we can rub them out pretty easily.
| | 07:17 | But here, I just want you to see this.
| | 07:18 | This is a difference just so you know we've made some progress.
| | 07:21 | This is a difference between just having the Red channel
which was as close as we were with the single channel.
| | 07:28 | Notice the difference between that and
Add according to our current setting.
| | 07:32 | So we are really getting rid of a lot of those
bright colors especially in the background.
| | 07:37 | We are brightening up this section of the color but that's okay.
| | 07:40 | It's worth to hit, and now I'm going to
click OK in order to accept that modification.
| | 07:44 | So this is going to become our base, I'll go
ahead and rename this channel right here, base.
| | 07:49 | It's going to be the base for mask.
| | 07:51 | We are going to actually turn that into a mask, we are
going to elevate the contrast with the Levels command
| | 07:57 | and then do a little bit of brush work,
you'll see it's very quick and easy.
| | 08:00 | We are going to be doing all that in the next exercise.
| | Collapse this transcript |
| Developing a base mask| 00:00 | In this exercise, we are going to be taking our base
Alpha channel and developing it into a bone fide mask.
| | 00:05 | I've got ahead and save my progress so far as a document called
Living large in Lab.tif found inside the 05_selective folder.
| | 00:13 | If you are opening that image up right now, you'd have to switch
to the Channels palette and click on the base Alpha channel.
| | 00:20 | Now if this is going to serve as a mask, it only has to have a
higher degree of contrast but when you are working with the mask,
| | 00:27 | white represents the selected area and
black represents the deselected area.
| | 00:31 | So this image as it stands so far,
is the reverse of what we want.
| | 00:35 | Well, we can both elevate the contrast and reverse the
colors inside the Levels dialog box in one operation.
| | 00:43 | So let's go ahead and do that.
| | 00:44 | I'm going to go up to the Image menu,
choose Adjustments and choose Levels.
| | 00:48 | I have to apply a static color adjustment because Adjustment
layers are not available to us in the Channels palette.
| | 00:54 | I'm going to go ahead and focus right now in just
elevating the contrast of the image so I'm not going
| | 01:00 | to worry about blacks and whites at this point.
| | 01:02 | So for starters, let's go ahead and exaggerate the white point.
| | 01:05 | I'm going to drag this white point slider triangle over to the
left and as you know that's going to make the image lighter.
| | 01:13 | Something like about 115 works pretty well.
| | 01:16 | So we are taking any pixels that have a luminance
level of 115 or brighter and turning them white.
| | 01:20 | You wouldn't want to do that with this standard continuous toned
photograph because you'd be blowing out all kinds of highlights
| | 01:26 | but when you are working with the mask, you want to
blow out all kinds of highlights so this is good.
| | 01:31 | Now we need to turn around and bolster the shadows.
| | 01:33 | So I'm going to drag this black point, this black
slider triangle over to the right until I get
| | 01:39 | to about 35, actually it works out pretty well.
| | 01:42 | Now I don't want to go all the way black like that
because I could end up creating overly jagged transitions.
| | 01:48 | So I just want to be a little conservative
here, 35 works out nicely.
| | 01:52 | Then I'm going to not click OK because
I also want to invert the colors.
| | 01:57 | Here's a little trick you may or may not know about.
| | 01:59 | If you also want to invert the colors in
Levels dialog box as you are modifying them,
| | 02:04 | then you can reverse the two Output Levels slider triangles.
| | 02:08 | Notice that if you drag white all the way over to the left,
and then black all the way over to the right, and notice,
| | 02:14 | I started that out with a little half motion there.
| | 02:17 | I drag black half way over there because if I drag it all
the way over then I've got two slider triangles on top
| | 02:21 | of each other and I can't tell which is which.
| | 02:24 | So I just drag it most of the way they are,
just so that I have made some progress.
| | 02:28 | Then I drag this guy all the way over to the
left and then this guy over to the right.
| | 02:32 | You could also just switch out the values if you wanted to.
| | 02:34 | Now we've also inverted this gentleman.
| | 02:37 | I'll go ahead and click OK in order to accept that modification.
| | 02:40 | All right, now we want to do a little bit of brushwork.
| | 02:43 | Again, those of you who are familiar with my Channels and Mask
series, you know that when we are brushing inside of a mask,
| | 02:49 | we don't just start brushing, we don't
just start painting things like that.
| | 02:53 | That would fairly ruin the mask.
| | 02:54 | Instead what we do, go and undo that modification and I'll reduce
the size of my brush a little bit, we switch to the Overlay mode.
| | 03:02 | That's one way to do it anyway, the easiest way really.
| | 03:05 | So I'll switch to the Overlay mode here and I'll make sure my
color is white for starters that's good and then let's go ahead
| | 03:12 | and zoom in on the image, on the collar
because that's what needs to be whiter.
| | 03:15 | Then I'll jut go ahead and paint and notice that Photoshop,
because of the Overlay mode, is respecting the black,
| | 03:22 | it's protecting the blacks and just painting the highlights
and midtones sort of proportionally to how light they are.
| | 03:29 | So I might lighten this up a little bit down in shoulder,
| | 03:32 | don't go too far though because this
shoulder area really wants to be darkened.
| | 03:35 | If you want to darken an area, just press
the x key to make the foreground color black,
| | 03:40 | leave the brush at the Overlay and now just paint in black.
| | 03:43 | And notice, this time, Photoshop is very kindly
protecting the highlights inside of the image.
| | 03:49 | And that's nice then x again, reduce
the size of the brush, paint that back.
| | 03:54 | So we are just started going through back and forth and
painting away the whites or painting in the whites really
| | 03:59 | and then pressing the x key and painting away those blacks.
| | 04:03 | Just do it just along edges is all we care about
at this point, into that neck might be nice.
| | 04:08 | And otherwise, we can take care of
the other issues using the Lasso tool.
| | 04:11 | Just make sure you got what you need to get and
you've got a good margin to select inside of.
| | 04:17 | Now I'll go ahead and grab the Lasso tool here and I
am going to Shift+Tab away my palettes for a moment.
| | 04:23 | Another good thing to do actually.
| | 04:25 | I'll get the Magic Wand tool and the Magic Wand tool is not
a great tool but nor is it a horrible tool for some purposes.
| | 04:32 | For some purposes it's really great and the purpose I
am about to show you, it works out tremendously well.
| | 04:36 | Make sure the Tolerance is set to 0,
so it's only going to select one color,
| | 04:40 | Anti-alias should be off, Contiguous on, Sample All Layers off.
| | 04:45 | So the options are just so as you see them there.
| | 04:47 | It's a little different than the defaults.
| | 04:48 | Then click inside of a shirt and you'll see which colors are
exactly white and which color still need a little bit of work.
| | 04:58 | So we've got some colors there, they need to
work up there and around in this area as well.
| | 05:04 | That's fine.
| | 05:05 | I'm going to go ahead now and get my Lasso tool and I'm going
to press the F key again to switch to the full-screen mode.
| | 05:12 | With the Lasso tool, I'm going to Shift+drag as we want to add
to the selection, I'm Shift+dragging around these areas in order
| | 05:19 | to select these colors that needed
to selected and added to the mix.
| | 05:24 | Then I'm going to select these colors as well because I'm going
to go back and do a little more brush work in just a moment.
| | 05:30 | I'll grab these guys- so these are all Shift+drags, by
the way, with Lasso tool- and Shift+drag around there.
| | 05:35 | Now press Alt+Backspace because foreground
color is white at this point.
| | 05:39 | Alt+Backspace or Option+Delete in
order to fill that zone with white.
| | 05:43 | Now press Cmd+D or Ctrl+D to de-select the image.
| | 05:47 | Let's go back to the Brush tool.
| | 05:49 | In some of those areas just we are working for memory,
some of those areas that needed to be a little whiter,
| | 05:54 | I'm just going to sort of go at them a little bit even
sometimes just clicking in an area does pretty nicely.
| | 06:00 | I think that should be it this time, let's skip that area.
| | 06:03 | Press the W key for the one, click again and that's good
enough, we still have a few little sort of garbage-y pixels here
| | 06:10 | and there that we could take care of if we wanted to.
| | 06:12 | Why don't we in this area, actually?
| | 06:14 | Press Ctrl+B, B for the Brush, paint along
there to get rid of those garbage-y pixels.
| | 06:19 | Well, not so bad.
| | 06:21 | I could deal with this, this works out okay.
| | 06:23 | All right, now let's do the same for the black pixels
clicking the black area to see what still needs to go away.
| | 06:29 | If we zoom out, we can see that we've got most
of the black pixels at this point, at least I do.
| | 06:34 | So I'm going to Shift+drag around this area with
the Lasso tool like so, like you see me doing.
| | 06:40 | The reason it's helpful to be working
in the full-screen mode is we have a lot
| | 06:44 | of this sort of gray pasteboard stuff on the outside.
| | 06:47 | Shift+drag around that area to select it, the background color
is currently black so you just have to press the Backspace
| | 06:52 | or Delete key in order to fill it with black.
| | 06:56 | Now let's zoom in pretty tight and I'm going
to Shift+drag around these areas to select them,
| | 07:03 | the remaining areas that we need to get rid of, maybe Shift+drag
around this as well and then press the Backspace key again
| | 07:09 | to make sure all that stuff is filled with black.
| | 07:11 | This is a nice mask, people, I like it.
| | 07:14 | Just one little area here if you want to be persnickety.
| | 07:17 | This needs to be brushed, so press Ctrl+D, Cmd+D
on the Mac to make sure nothing is selected because,
| | 07:22 | otherwise, the stuff you want to modify is deselected.
| | 07:24 | Press the x key for black and then just kind
of get that area paint and we are all good.
| | 07:29 | Nice -- that's not nice, look at that.
| | 07:32 | What's going on there?
| | 07:33 | Who thought that was nice?
| | 07:34 | B for the Brush tool, press the x key
to switch the foreground color to white
| | 07:38 | and let's just click in those areas to firm up those details.
| | 07:41 | Alright, I think that's good, we
should be done by now, I would think.
| | 07:46 | All right, there's a selected shirt that --
actually it's a shirt mask that we have now created.
| | 07:51 | Let's go back to the Lab mode.
| | 07:54 | We've got a mask right ready to go.
| | 07:56 | We don't have to call it base anywhere,
we could go ahead and call it shirt
| | 07:59 | if we want to and go back to the Lab composite View.
| | 08:03 | In the next exercise, we are going to use that
mask to change the shirt to a different color.
| | Collapse this transcript |
| Colorizing an isolated area| 00:00 | In this exercise, we are going to take the Shirt mask that
we created over the course of the last couple of exercises
| | 00:05 | and we are going to use it to change the colors
inside of the shirt here in the Lab mode.
| | 00:10 | I have gone ahead and saved out my progress so far as a file
called Mask complete.tif found inside of the 05_selected folder.
| | 00:18 | I want you to go to your Channels palette, press and hold the
Ctrl key or the Command key on the Mac and click with the Ctrl
| | 00:26 | or Command key down on the shirt thumbnail here at the bottom
of the Channels palette to load that mask as a selection.
| | 00:33 | We have now the selected the shirt.
| | 00:35 | Now, go over to the Layers palette, I
want you to press the Alt or Option key,
| | 00:38 | click and hold on the black/white
icon and choose the Curves command.
| | 00:43 | We will go ahead and name this guy shirt
color or something along those lines
| | 00:47 | and then I will click OK in order
to bring up the Curves dialog box.
| | 00:50 | Now, you may recall when we are working inside the a and b
channels, let's go to a here, you can drag points up and to left
| | 00:59 | to make the colors more crimson, more lavender as we are
seeing them here, down and to the right, I should say down
| | 01:05 | or to the right will invoke turquoise or green.
| | 01:09 | So, we already started with blue, we are
just adding turquoise or green to the mix.
| | 01:13 | All right, so I'm not sure exactly where I want to go with
this, we will just move it up a little bit because we are going
| | 01:17 | for a brown, which is the low saturation version of an orange.
| | 01:23 | So, one would accept we are going to warm things up, we are going
to go toward the warmer colors which would be crimson in the case
| | 01:28 | of the a channel and then of course in the case of
the b channel, we go this direction with the curve,
| | 01:33 | either up or to the left for yellow and then of course
it would be down or to the right for blue/cobalt.
| | 01:40 | Well, that's the last direction we want to go because this image
is so predominantly blue here and especially inside the shirt.
| | 01:46 | But I'm not sure what we are doing is
really getting us what we want either.
| | 01:49 | So, let's go ahead and delete that point
and I'm going to reverse this graph.
| | 01:54 | I'm going to drag the black point all
the way to the top and that's going
| | 01:57 | to make what were formerly the blues
inside the image quite yellow.
| | 02:01 | So, that has the desired effect all right,
but we are also losing the histogram entirely.
| | 02:05 | We are sending the entire channel to white.
| | 02:08 | We don't want that.
| | 02:09 | So, let's recover some of the range of
luminance Levels inside the b channel
| | 02:15 | by dragging the white point down to the bottom of the graph.
| | 02:20 | If we feel like that goes too far,
then let's just go ahead and raise it.
| | 02:23 | I will press Shift+Up arrow a handful
of times until we raise that value.
| | 02:27 | Actually I want the output value to be -64.
| | 02:30 | So, we have an input of 127, output of -64 and if
we feel like we are going too close to yellows,
| | 02:37 | I could drag this down a little bit in order to lose of
the yellow and go back down to sort of a brownish color.
| | 02:43 | But check this out for a second, let's go ahead and raise that
back up and I will go to the a channel and we've already seen
| | 02:49 | that I have added a lot of a, I have
added a lot of crimson to this image.
| | 02:54 | But I'm not getting orange.
| | 02:56 | How would I get that bright orange shirt?
| | 02:58 | Remember that?
| | 02:58 | How do I go about getting that because nothing I do
to the a and b channels that's going to get me there.
| | 03:04 | Well, that's because recall that, the Lightness channel
really affects the colors that you are going to get.
| | 03:09 | If you can take your mind away back to Chapter1
when we looked at that big color wheel,
| | 03:15 | you may recall how as we went toward the center
of the color wheel where the colors are darker,
| | 03:19 | we actually got a lot of different colors as well and the
really bright colors were toward the outside of the wheel
| | 03:27 | which means that they would have to be very bright.
| | 03:28 | That's why only the tie is showing
up in sort of yellow right now.
| | 03:32 | So, let's go to the Lightness channel and let's try this, I
am just going to set a color here and start dragging it up
| | 03:40 | and notice now we are starting to get that
orange shirt here inside the Lightness channel.
| | 03:45 | So, it really depends on making the colors inside of
that shirt very, very bright and yet if we go ahead
| | 03:53 | and sync these darks a little bit, you can see that we still have
a hack of an orange and that it's a pretty dark orange as well.
| | 03:59 | So, it's not like we are completely losing all that
luminance variety, we are just brightening things up a lot
| | 04:06 | and thanks to the fact that Lab offers us all those
imaginary colors that are inside the blacks and the whites,
| | 04:13 | we are still retaining a lot of color differentiation.
| | 04:15 | We are not blowing out any colors at this point;
we are not absolutely clipping any colors.
| | 04:21 | Alright, but I want brown as I said, so let's not worry
about these guys, let's go ahead and get rid of these points.
| | 04:26 | I will just go ahead and delete this point here
and then click on this one and delete it as well
| | 04:30 | by selecting the point, pressing Backspace or Delete.
| | 04:34 | Now, let's go back to the a channel and
let's tone things down just a little bit.
| | 04:40 | I think I'm going to go ahead and anchor a point here
and about this location here, I'm just experimenting, oh!
| | 04:47 | That looks nice, I'm just kind of dragging this point around.
| | 04:50 | I'm going to anchor it, so that it's an output
value, -15 as well as an input value of -15.
| | 04:57 | So, -15 is going to -15, that's a lockdown point right there.
| | 05:01 | And then I will click another higher point, a little
higher in the graph because we want to take some
| | 05:05 | of these colors right there, see when I drag inside this
region of the collar, I'm bouncing the ball around this area.
| | 05:11 | Why don't we just Ctrl+Click or Cmd+Click right
there at that location and then I will go ahead
| | 05:17 | and lift this point a little bit, I'm going to -- actually I'll
take the input value over to 29 by pressing Shift+Right arrow
| | 05:24 | in my case, you may need to press something different.
| | 05:27 | But I'm trying to get that input value to 29 and
then I'm going to take the output value up to 23.
| | 05:33 | So, I'm slightly darkening the reds of this location
and that's making the shirt too kind of yellowish brown.
| | 05:41 | So, what I want to do is back off of the yellows now.
| | 05:43 | The sort of distribution of reds inside of this image
is just fine, I'm going to go and it's actually,
| | 05:49 | notice we are greening things up a little bit.
| | 05:51 | We are actually taking those blues and spinning them
more toward green because if anything we are going
| | 05:56 | down into the right here into turquoise country.
| | 06:00 | But it gives us the results we want, so that's what counts.
| | 06:02 | Then I'm going to b and I'm going to take this
black point value right there and I'm going
| | 06:08 | to press Shift+Down arrow a few times and then
actually down arrow a couple of more times
| | 06:13 | after a point to get the output value down to 84.
| | 06:16 | So, we are going for a 128 as input to 84 as
output and then if I Ctrl+Tab to the other point,
| | 06:22 | you can see that it's still input 127, output 64.
| | 06:25 | That produces this nice brown, sort of a tannish brown color.
| | 06:31 | There is a lot of other colors you can
choose, you could go green if you want to,
| | 06:35 | you could go a variety of different
colors, you can checkout that other image.
| | 06:38 | That one called available in these designer colors,
that's one has got tons of different curves modifications
| | 06:44 | that you can plant through on your own if you like.
| | 06:46 | Alright, I will go ahead and click OK and you may discover
other ones, you can create purples, you can create yellows,
| | 06:52 | you can do all kinds of stuff if you are
patient enough, you spend enough time.
| | 06:56 | All right, so there's that.
| | 06:57 | That's looking pretty darn good,
however, I've got a couple of issues.
| | 07:01 | One is, I notice that the tie is looking a little greenish gold.
| | 07:05 | I want to drop it to a little more of a blueish kind
of gold color, to give it more or a silver feel.
| | 07:12 | I also- I'm feeling like we are getting too much
posterization, too harsh transitions going on inside some
| | 07:18 | of these dark mid tones and they
are looking hyper saturated as well.
| | 07:23 | They don't look right at all or shadow detail.
| | 07:25 | This isn't looking the way it needs to.
| | 07:27 | We are going to take care of those
problems in future exercise, stay tuned.
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| Revealing complementary highlights| 00:00 | In this exercise we are going to
tone down the color of the tie here,
| | 00:03 | so it's not this ultra-golden color,
sort of a greenish gold at this point.
| | 00:08 | We are going to tone it down by introducing
some complementary color,
| | 00:11 | so it starts looking little more
neutral, little more silvery actually.
| | 00:15 | And then we are also going to take care of these
reddish shadows so that they look more natural as well.
| | 00:21 | I have gone ahead and saved out my progress
as a document called The brown shirt.psd.
| | 00:26 | I'm not implying he is the brown shirt,
he is just wearing a brown shirt of course,
| | 00:30 | and it's found inside the 05 Selective folder.
| | 00:33 | All right, I'm going to expand my palette
a little so that I could double-click.
| | 00:37 | What I want to do is I want to drop out some of the colors in
this Adjustment layer using the Luminance Exclusion sliders,
| | 00:45 | notably that Underlying Layer Slider
that allows me to force through colors,
| | 00:49 | and I can get to it by double-clicking
in an empty area of the layer.
| | 00:52 | If you can't see any empty area of your layer, if it
looks like this, then you go up to the Layer palette menu
| | 00:59 | and you choose Blending Options, so called because it brings
up the blending option section of the Layer Style dialog box.
| | 01:05 | There is the Underlying Layer Slider right there, go ahead
and reduce this white value, I will drag this white value down
| | 01:13 | and you can see that as I do over to the --
I'm dragging it actually over to the left,
| | 01:17 | that I'm forcing through the lightest colors
inside of the original blue shirt image there,
| | 01:23 | so that we are forcing these highlights through
the adjustment layer version of the tie.
| | 01:30 | That's obviously going too far, it's also so very,
very jaggy; let's reduce the jaggies by Alt dragging
| | 01:36 | or Option dragging the right half of this slider
over to the right side, the full right side,
| | 01:41 | notice that I'm going all the way up to 255.
| | 01:44 | And then I'm going to take the left side
of that slider triangle down to about 83.
| | 01:51 | I thought it worked out pretty nicely.
| | 01:53 | Now, in this case we are not really exposing
any blue, any complementary color in the tie,
| | 01:57 | we are just going to neutralizing the highlights.
| | 02:00 | If I want to expose some blue I'm going to have to
do a little more work, I will go over to the a channel
| | 02:05 | which is the complement to the blues after all and
that's going to give me a little tighter control
| | 02:11 | because if I start revealing the blues in the b
channel I'm going to reveal colors very, very quickly.
| | 02:15 | This is going to give me a little more
subtle control because it's the off axis.
| | 02:19 | So I will switch over to a. The colors
are bound to be in the turquoise area
| | 02:23 | because it can't possibly be over in the crimson area.
| | 02:27 | There was no red to work with here inside of the shirt.
| | 02:29 | So I'm going to drag this guy over.
| | 02:31 | Notice as I do at a point I'm going to start revealing
blues once again as I drag the black slider triangle
| | 02:37 | over to the right then I will Alt+drag the left half
back to 0 and I will go ahead and drag the right half
| | 02:44 | and I will hit the Alt+drag at this point because they are
already separated, I will drag the right half up to 150.
| | 02:50 | Now we are introducing a little bit of complementary
color; it's kind of little bit of bluish,
| | 02:54 | gives it that highly-reflective sort
of satin feel and that's good.
| | 02:59 | Now, click OK in order to accept that change.
| | 03:01 | The next step is to go ahead and
downplay the red of the shadows here.
| | 03:05 | So they don't look like super colored
shadows, they look like natural shadows.
| | 03:09 | They go along with the rest of the color in the fabric and we
are going to invoke that modification in the next exercise.
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| Repairing strangely colored shadows| 00:00 | In this exercise our job is to the address
the reddish shadows inside of this image,
| | 00:05 | and perhaps you are familiar with
this phenomenon from your own images.
| | 00:08 | It's not always necessarily an art
effect of manipulating the colors.
| | 00:13 | Sometimes its inherent in the image when you shoot
it in the first place, or when you scan it as well
| | 00:18 | as some scanners have this tendency to give you
for example bluish shadows, or purplish shadows.
| | 00:26 | Well this is something that you can address
in Lab using the following technique.
| | 00:31 | So it just happens that we are seeing this
apply to an image that has some heavily modified
| | 00:35 | in the first place but that's not always that case.
| | 00:39 | All right, so here's what you do.
| | 00:40 | First you make sure you are working
in the same image, I'm working in.
| | 00:43 | I have gone ahead and saved off my progress as Reddish
shadows.psd found inside the 05_selective folder.
| | 00:50 | And the next thing I'm going to do is I'm going to basically
isolate these shadowed areas using the Color Range command,
| | 01:00 | just the easiest thing to do because sometimes
that your deep shadow that have colors in them,
| | 01:04 | sometimes that your mid shadows, your
quarter tones and that kind of thing.
| | 01:07 | So regardless of where they are at, Color Range can find them.
| | 01:10 | I'm going to go up to the Select menu, choose Color Range and
once the command appears on screen, I'm going to click inside
| | 01:18 | of this area, these reddish shadows right here.
| | 01:22 | And I'm going to just Shift+Click
in a few other areas of the image.
| | 01:27 | And maybe move down there and Shift+Click
right there, or Shift+Drag across it perhaps.
| | 01:33 | And lets make sure that we are getting
some of these red shadows as well.
| | 01:37 | Now that's going to add a lot to the selection but that's OK.
| | 01:41 | Notice we get a little bit green in
these dark, dark shadows back here.
| | 01:45 | So those are already that way, I just want to show you before
we apply our adjustment layer, that we're about to apply.
| | 01:51 | These guys were already a little bit greenish.
| | 01:53 | But that's okay, better to go this
route than the overly red route.
| | 01:57 | Because the rest is assured actually this brown that we have is
a little bit more in the green side, than it is on the red side.
| | 02:05 | Alright, having done that we have now got a decent
selection, set the Fuzziness to about 50 that works well,
| | 02:10 | and click OK in order to create that selection outline, that's
interfering with our ability to tell what's going on right now.
| | 02:17 | That'll go away in just a moment.
| | 02:18 | Press and hold the Alt key or the Option key in the Mac,
click the black and white icon and choose the Levels command.
| | 02:25 | And then I'm going to go ahead and call this one
Desat A+ and the reason I'm calling it that is
| | 02:31 | that when it desaturates the reds, the reds are going
to be located on the right side of the A channel.
| | 02:37 | So bright colors in the A channel translate to Crimsons
or Lavenders, or Red or whatever you want to call it.
| | 02:43 | So that's where we are going to desaturate the
+ side of the A channel and actually I should do
| | 02:48 | with a lower case A because that's the way Photoshop does it.
| | 02:51 | And then I'll click OK, in order to create this new layer.
| | 02:55 | We are going to go ahead and switch over to the A channel
and now if I were to move this white slider triangle,
| | 03:03 | right here over to the left, you may recall
that colorized version of the version,
| | 03:08 | when in that document called Color Moves back in the 04
Cast_lighting folder that moving any of these slider triangles
| | 03:16 | over to the left side of the A channel gives us crimson
and actually creates more crimsons inside the image.
| | 03:23 | So we don't want that, what we want to do is move down
to Output Levels instead and take those Crimson Colors,
| | 03:29 | take those colors that are too red, and
just drag the life out of them a little.
| | 03:34 | Notice that I'm leeching that crimson out which
leaves green in its wake if you go too far of course.
| | 03:41 | Instead what I want to do is just take it down a little bit.
| | 03:44 | Alt+Shift+Down arrow to take the value from 255 down to 245
and I'm thinking that's not quite enough so I'll take it
| | 03:50 | down a few more clicks to 240 or something like 242.
| | 03:55 | And let's see if that works for us.
| | 03:56 | So let's go and zoom out a little bit so
that we can take in the resulting image,
| | 04:00 | at the zoom ratio, so we don't get those weird water patterns.
| | 04:04 | And that looks pretty darn good to me, so I'll go ahead
and click OK in order to accept that modification.
| | 04:10 | So this is before the red shadows.
| | 04:13 | Notice how much red is being contributed
by the shadow detail inside the shirt
| | 04:19 | and this is after those red shadows are neutralized.
| | 04:23 | Remember this technique for any of your
images that have bizarre, colorized shadows.
| | 04:30 | Just go ahead and select those shadows with the
Color Range command inside the Lab Mode of course,
| | 04:35 | and then follow it up by desaturating whatever
portion of the A or B channel, like if I had bluish
| | 04:42 | or purplish shadows I would go to the B channel.
| | 04:45 | I would take the black value, which represents Blue/Cobalt,
and I would raise it in order to make those blues more yellow.
| | 04:54 | In order to take the wind out of the blues a little bit.
| | 04:58 | So that's how you work.
| | 04:59 | Anyway, it does a beautiful job.
| | 05:00 | I'm going to click Cancel because I
don't really want to change that Layer.
| | 05:03 | Go ahead and zoom-in, just so we see it even closer.
| | 05:06 | This is before; this is after nice, now we have
a consistent, brownish shirt here to work with.
| | 05:14 | In the next exercise we are going to
tan up the skin tones a little bit.
| | 05:18 | I just want to touch on a little more skin tone information
and to tan them up and darken him down a little bit,
| | 05:23 | make him look like just normal, standard, everyday average human
being while retaining the bright whites of the eyes and the teeth
| | 05:31 | and you will find that how as soon
as you click that next link button.
| | Collapse this transcript |
| Tanning and deepening skin tones| 00:00 | Alright, the final step, the step we are going to perform in
this last exercise here is to tan up the skin a little bit,
| | 00:06 | darken the environment, give them more of a healthy glow.
| | 00:09 | We are also going to add a little bit of yellow to the skin
which gives him a tan feel as long as you don't go too far
| | 00:14 | with yellow which sort of gives people a jaundiced feel.
| | 00:18 | But you can use this yellow to take out that pink
which sometimes shows up in pale people's skin.
| | 00:25 | Alright, so the first thing to do, make sure you've got the right
document open or if you have been following along with me, great,
| | 00:31 | if not, I have saved the progress file that's called In
need of tan.psd, found inside the 05 Selective folder.
| | 00:38 | I'm going to click on the background layer.
| | 00:39 | I'd like you too as well.
| | 00:40 | We are going to add another Adjustment layer, Alt+Click
or Option+Click in the black/white icon and choose Curves.
| | 00:47 | So now of course this means we are heaping Adjustment layer on
top of the Adjustment layer, that's really generally speaking
| | 00:52 | for what we are trying to pull off here, okay, because after
all so far we have been only affecting the a and b channels.
| | 00:58 | And this is going to be a subtle a, b adjustment here.
| | 01:01 | We haven't been affecting the Lightness channel at all
and that's where most of our work is going to get done.
| | 01:06 | All right, so let's name this guy tan and then click OK.
| | 01:09 | And I'm going to start here in the b channel, and I'm going to
click on the black point right there which represents of course,
| | 01:18 | it represents the cobalt, the blues inside the image, and I'm
going to press Shift+Up Arrow in order to raise that Output value
| | 01:26 | to 118 which adds a little bit of
yellow to the guy in space here.
| | 01:31 | As I say that little bit of yellow can tan up
the skin without making him appear jaundiced,
| | 01:36 | and just to make sure that we are not going too yellow, let's put
back some red, let's give him a little bit of ruddy feel as well.
| | 01:42 | I'm going to go the a channel, make sure that black point
is selected, and this direction up or to the left is crimson,
| | 01:49 | so I'm going to press the Up Arrow key three times
in a row in order to raise that Output value to -125.
| | 01:57 | So that just gives him a little bit more ruddiness,
just reestablishes the ruddy feel of his face.
| | 02:02 | Now, he is still very, very bright and we are going
to calm down the brightness in the Lightness channel.
| | 02:07 | So that's where we are going to apply
our most significant modifications.
| | 02:11 | And I want you to lift the color from right
about here on the other side of shadow,
| | 02:15 | so in the mid tone area right there Ctrl+Click, and that's
going to set a point some place close to the middle.
| | 02:21 | I want that Input value to be exactly 50 and
I want the Output value to be more like 40.
| | 02:28 | So we are mapping the Input of 50 to an Output of
40, that's darkening up those mid tones quite nicely.
| | 02:33 | We need to darken the highlights as well.
| | 02:37 | So I'm going to go ahead and scroll up to the forehead.
| | 02:39 | We've got a lot of the sort of sweaty
highlights going on up here, I mean, just glow,
| | 02:44 | it's not really sweating, it's just
got a little bit of a glow there.
| | 02:46 | I'm going to Ctrl+Click or Cmd+Click on a point right
about there in order to lift this point inside of the curve
| | 02:54 | and I've got an Input of 85, that's exactly what I want.
| | 02:58 | Let's press Shift+Down Arrow in order
to reduce the Output value to 77.
| | 03:03 | So that's what we want, Input 85, Output 77, however, you get
there, that's goodness, that's a real tanning goodness there.
| | 03:10 | Now, bear in mind, we are not trying
to make him George Hamilton tan,
| | 03:13 | we are just trying to make him look
like he gets out every once in a while.
| | 03:16 | Now click OK in order to accept that
modification; let's zoom back out.
| | 03:20 | Actually, the image looks a heck of a lot better so
this is before, he is too bright and this is after.
| | 03:26 | Very, very nice.
| | 03:29 | So let's go ahead and compare our images,
compare the changes that we have made.
| | 03:33 | This is the original image right there and this is the
modified version with a nice brown shirt and some tanned skin,
| | 03:41 | a darker environment in general, and
the last thing that we need to do.
| | 03:46 | Did I say this was the last exercise?
| | 03:48 | It's not. This was the second last exercise in this series.
| | 03:51 | In the final exercise we need to bring back the white to
the eyes, notice how the eyes have gotten a little darker,
| | 03:57 | this is before and this is after, so we
are darkening up the whites of the eyes,
| | 04:00 | we are darkening up the teeth every since slightly as well.
| | 04:03 | We want to bring back those good highlights, eyes
and teeth, my god, it shows a good highlight,
| | 04:08 | and we are going to do that as I say in the last exercise.
| | Collapse this transcript |
| Exposing bright eyes and teeth| 00:00 | Welcome to the last exercise of the series for real.
| | 00:04 | In this exercise we are going to bring back the whites of the
eyes and the highlights inside of the teeth and it's just going
| | 00:09 | to look great, it's certainly easy to do too.
| | 00:12 | I've gone ahead and saved my progress so far as He's so tan.psd
inside the 05 Selected folder, he is not really all of that tan,
| | 00:19 | he just has more of a healthy glow, but you get the idea.
| | 00:22 | Alright, let's go ahead and what we really need is a
Density Mask, something that's going to protect the eyes,
| | 00:27 | so the eyes are going to turn black inside the mask,
so are the teeth and that's going to protect the eyes
| | 00:32 | from this tan modification right there, it's a tan modification,
it's darkening the eyes and teeth as well as all the other stuff.
| | 00:39 | So we want to turn off the Adjustment layer because
we need to get those really light eyes and teeth.
| | 00:45 | All right, so now go to the Channels palette, the Channels
palette is always showing you the composite image.
| | 00:49 | Ctrl+Click or Cmd+Click on the Lightness channel right
there, go back to Layers, turn on the Tan Layer right there,
| | 00:57 | make sure it's active as well and click on that
little Layer Mask icon at the bottom of the palette.
| | 01:03 | And that's going to go ahead and
protect the light portions of him
| | 01:06 | and not protect the dark portions,
that's the opposite of what we want.
| | 01:10 | So we need to change this channel.
| | 01:12 | So here's what we are going to do, we are going to
Alt+Click or Option+Click on that Layer Mask right there.
| | 01:17 | So we are seeing just the mask by itself.
| | 01:19 | Now I want you to go to the Image menu,
choose Adjustments and choose Levels;
| | 01:24 | and in order to protect the eyes here's what we are going to do.
| | 01:27 | We are going to actually increase the blacks like really
significantly up to 185, so we just have a little bit of eye
| | 01:34 | and teeth highlight left, some of the skin tones as well are
pretty light and then we'll reduce the white value down to 215
| | 01:43 | in order to make sure that those eyes and the teeth are
absolutely white at this point, so that looks pretty good to me.
| | 01:48 | And then we are going to do that trick where we
reverse things, because we want a Density Mask,
| | 01:52 | right, we want to protect the eyes and the teeth.
| | 01:54 | So we are going swap out the Output values with each other.
| | 01:57 | This time I'll just do it numerically, 255 instead of 0 for
the first one, 0 instead of 255 for the last one, awesome!
| | 02:05 | Alright, and if we feel like I don't know, I feel like, maybe
I'm going a little too far with it, I would raise it up,
| | 02:10 | notice now if you modify these values,
this white point is now a black point
| | 02:14 | because I reversed them; white is now getting mapped to black.
| | 02:18 | So I'm changing the blacks with white points, it's
a little confusing, and then I'm changing the whites
| | 02:22 | with the black point because I'm in opposite world.
| | 02:26 | All right, now click OK, so I like these values
better 195, 225 work out better, click OK.
| | 02:32 | Now what do you do, while you zoom in and you grab
your lasso tool because this is like just a quick
| | 02:37 | and dirty mask, it's going to work out beautifully though.
| | 02:40 | And just go ahead and sort of lasso this eye a little bit and
then Shift+Lasso this eye like so, and then Shift+Lasso the mouth
| | 02:50 | like this, here, just the teeth, don't go
down there into the lips we don't need that.
| | 02:55 | And that's some good selecting, pretty easy, and then go up to
the Select menu and choose Inverse in order to deselect the eyes
| | 03:03 | and the mouth, and white is the foreground
color, so press Alt+Backspace
| | 03:07 | or Option+Delete to fill that selection with white, nice!
| | 03:11 | Up to most elaborate mask on earth that's going to do as well.
| | 03:13 | Now, Alt+Click or Option+Click on that mask in order to
bring back the full color image and now let's zoom in
| | 03:19 | and see what we've wrought, this is what it looks like.
I'm going to Shift+Click on the mask incidentally.
| | 03:24 | This is what the image looked like when
we were darkening the eyes and the teeth.
| | 03:29 | If I Shift+Click again, this is revealing the eyes and the teeth.
| | 03:33 | If you don't want to reveal look at those little highlights
I'm starting to reveal under the eye, check that out,
| | 03:37 | see I'm highlighting those highlights right there.
| | 03:39 | Why? Then just go ahead and grab yourself the
Brush tool, make sure that you have a hard brush.
| | 03:45 | So I'm going to click here and increase the hardness to a 100%
like so, make sure the Mode is set to Normal because we just want
| | 03:51 | to paint, I'm going to reduce the size of my brush and
I'm painting with white, white is my foreground color,
| | 03:56 | and if I paint with white I'm going
to go ahead and un-protect those areas,
| | 03:59 | reveal them so that they get toned down by the Adjustment layer.
| | 04:02 | So just the eyes, let's see this under the other eye as well,
just to make sure that we are not making too much light,
| | 04:08 | and the teeth too so he's got some nice bright eyes and teeth,
that's very important to a man of his stature of course.
| | 04:14 | So this is just- so you know how far we've come in
this last final project in the last final exercise.
| | 04:21 | This is the before version, the original version of the image;
this is the after version colorized and just basically modified
| | 04:30 | in general so that we have these deep rich colors also some
nice healthy skin here inside the ultra-powerful Lab mode.
| | Collapse this transcript |
|
|
ConclusionSee ya| 00:00 | I am known for my in-depth video series, but this,
| | 00:03 | this is one of the shortest things I have
ever done, I feel a little guilty in fact.
| | 00:08 | but then it occurred to me that shortness of this
series is in fact a testament to the efficiency of Lab.
| | 00:15 | This is a color space that realizes you have better things
to do with your time. It looks to you and it thinks,
| | 00:20 | there's a busy professional.
| | 00:22 | What can I do to help?
| | 00:24 | Lab acknowledges,
| | 00:25 | Lab appreciates,
| | 00:26 | Lab respects. And you know what else?
| | 00:30 | This is just a jumping off point. You are going to do things with
Lab I never envisioned, you and Lab, I don't know something about
| | 00:37 | the two of you.
| | 00:38 | I see a happy future together. I now pronounce you
| | 00:42 | two things that work well together.
| | 00:45 | You may kiss the color space.
| | 00:47 | Well, that's that. As I have mentioned I have lots more
to show you, 30 hours on Channels and Masks alone,
| | 00:53 | only about five minutes of which were spent with Lab,
| | 00:56 | and don't forget
| | 00:57 | if you want to see a series on Smart Objects,
| | 00:59 | let us know.
| | 01:01 | In the meantime, for lynda.com,
this is Deke McClelland saying,
| | 01:06 | See ya!
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