IntroductionWelcome| 00:04 | Hi! I am Janine Smith, and welcome to
Photo Restoration with Photoshop.
| | 00:08 | In this course we will begin with the
basics of digital photo restoration and
| | 00:12 | move on to some more challenging issues.
| | 00:16 | I'll start by showing you how to
customize your workspace and assess the
| | 00:19 | damage in your images.
| | 00:21 | We will then take a look at how to
tackle specific restoration issues,
| | 00:25 | such as color correction
and replacing missing pieces.
| | 00:30 | Finally, I'll use many of these
techniques to demonstrate the restoration of an
| | 00:34 | image from start to finish.
| | 00:35 | We will be covering all the fundamentals,
| | 00:38 | plus a few more advanced techniques
for making your restoration projects
| | 00:42 | the best they can be.
| | 00:44 | Now let's get started with
Photo Restoration with Photoshop.
| | Collapse this transcript |
| What you should know before watching this course| 00:00 | Before watching this course,
I recommend you have basic knowledge of Photoshop.
| | 00:04 | If you'd like a course to get started,
I'd recommend you watch one of the
| | 00:07 | Photoshop Essential Training Courses in
the lynda.com Online Training Library.
| | Collapse this transcript |
| Using the exercise files| 00:00 | If you're a Premium member of the
lynda.com Online Training Library, or if you're
| | 00:04 | watching this tutorial on a DVD-ROM,
you have access to the exercise files used
| | 00:09 | throughout this title.
| | 00:11 | As you can see, these are arranged by
chapter and if we open up one of the
| | 00:15 | folders, you will see the images I'll
be using throughout this course, and you
| | 00:18 | can follow along with me.
| | 00:20 | If you're a Monthly subscriber or an
Annual subscriber to lynda.com, you
| | 00:24 | don't have access to the exercise
files, but you can follow along from
| | 00:28 | scratch with your own assets.
| | 00:30 | Now let's get started.
| | Collapse this transcript |
|
|
1. Fundamental Restoration Techniques and ToolsCustomizing your workspace| 00:01 | There are panels and tools you will work
with every day when you do digital photo
| | 00:04 | restoration in Photoshop,
| | 00:06 | so it makes sense to set
your work area up efficiently.
| | 00:09 | There are certain panels you
will use consistently, day after day,
| | 00:13 | project after project.
| | 00:14 | These are my top three can't-do-without,
| | 00:16 | have-to-be-open-all-the-time panels.
| | 00:18 | The most obvious of course is your Layers panel.
| | 00:21 | Keep it up at all times and give it lots of
space to expand so you can see lots of layers.
| | 00:25 | Your layers can add up, and then you
will have to scroll a lot up and down, and
| | 00:29 | you don't want to do that so much.
| | 00:31 | Another panel you want up
is your Adjustments panel.
| | 00:34 | This is only available in CS4 and CS5,
but it's really helpful to have that
| | 00:39 | right in front of you without having
to go to another area to bring it up.
| | 00:43 | My third must-have panel is Channels.
| | 00:45 | Channels are a really good assessment tool.
| | 00:48 | When I open a damaged image, I run
through them really quick, just to assess the
| | 00:52 | damage, and they're great to
have right in front of you.
| | 00:55 | Those are my must-have panels,
but there are some others that can be helpful in
| | 00:59 | your restoration workflow,
like the Navigator panel.
| | 01:02 | This panel is really helpful if
you're working on a very large file and
| | 01:05 | are zoomed in close.
| | 01:07 | This red area right here tells
you where you are in the image.
| | 01:11 | You can even move it here
to find different areas.
| | 01:14 | It helps you to not get lost.
| | 01:16 | The last panel that I have up
all the time is my Brush panel.
| | 01:19 | Here you can change your brush size,
| | 01:22 | change the tip, shape with scatter and
texture, even change the direction--and
| | 01:28 | these are just a few of the
many settings in your Brush panel.
| | 01:31 | Once you have the panels you will use
in restoration work selected and where
| | 01:35 | you want them, you will want to save
them so they're available to you every
| | 01:38 | time you open Photoshop.
| | 01:40 | To do this, go to Windows > Workspace >
New Workspace. Then name your workspace
| | 01:45 | something like Restoration and hit Save.
| | 01:50 | Your custom workspace name appears at
the top now and is available for you every
| | 01:55 | time you need to go back into Restoration mode.
| | 01:58 | You can make other custom workspaces,
and you can also choose from one of the presets.
| | 02:03 | When you work with the same tools
and panels every day, it makes sense to
| | 02:06 | have them near at hand.
| | 02:08 | Become familiar with where your
most-used tools are on the toolbar and customize
| | 02:12 | the panels you use the most into your
own personalized restoration workspace.
| | Collapse this transcript |
| Using layers| 00:01 | What are layers, and why are they so great?
| | 00:03 | Layers are an essential part of
Photoshop and arguably its most useful
| | 00:07 | and powerful feature.
| | 00:09 | Although they can be confusing to
those new to the program, layers need to be
| | 00:12 | understood and utilized before you
can ever hope to master Photoshop.
| | 00:16 | Luckily, layers aren't terribly
difficult once you understand them.
| | 00:19 | So why should you use layers?
| | 00:22 | With layers you can work nondestructively.
| | 00:25 | You can make adjustments and keep
your original image intact, on top of it.
| | 00:29 | For instance, if you want to add let's
say a fill layer, you can create a new
| | 00:35 | blank layer and then fill it from your
color picker with your foreground, your
| | 00:40 | background, or you can choose another color.
| | 00:42 | In this case, we will use the set
foreground color, which is black. Keyboard
| | 00:46 | shortcut Alt+Backspace or Option+Delete.
| | 00:49 | Then you can go to your layer blend
modes and choose one of those if you like,
| | 00:54 | say Soft Light, to darken the image a little.
| | 00:58 | You can change the opacity,
see how you like that.
| | 01:02 | And then on top of that, you could add
say an adjustment layer, such as Curves.
| | 01:07 | You can either your eyedropper or
move your histogram, make it lighter or
| | 01:14 | darker. And then if you decide,
you don't like one or the other,
| | 01:17 | you can either turn them off, or you
can select them and delete them all,
| | 01:24 | and you still would have
your background image intact.
| | 01:27 | You don't have to go back and do Ctrl+Z
or Command+Z. Working with layers allows
| | 01:32 | you to find the best possible methods
of restoration without affecting the
| | 01:35 | original background layer of the image at all.
| | 01:37 | Since their inception in version 3.0 of
Photoshop, they've made countless lives easier.
| | 01:43 | Before layers, if you wanted to change
something you have done to an image, you
| | 01:46 | had to start over from the beginning or
go back with your Ctrl+Z or Command+Z to
| | 01:51 | the point that you needed.
| | 01:52 | Layers are a way of
nondestructively editing your work and gauging your
| | 01:55 | progress step by step.
| | Collapse this transcript |
| Assessing the damage| 00:01 | You can't judge the whole truth of the
damage to a photograph just by looking at it.
| | 00:05 | There's damage you won't be able to see
with the naked eye, some that might even
| | 00:08 | be hard to see under a loupe, or a magnifying glass.
| | 00:11 | You need to scan the image, bring it
into Photoshop, and then look it over to
| | 00:15 | figure out what you need to do next.
| | 00:16 | For example, let's do a
mini-assessment on a couple of photographs here.
| | 00:21 | We can see there's some staining over
here on the edges, some other spots of
| | 00:26 | staining, some specks, and some spots down here.
| | 00:29 | Let's look at this one, and we have some
creases, a very noticeable crease right
| | 00:34 | here, a little bit of staining, maybe a
little rip here, a missing piece here.
| | 00:40 | It could also use a little color correction.
| | 00:43 | And here we have a very faded photograph.
| | 00:45 | When you get into a faded photograph,
the first thing you will want to do is fix
| | 00:49 | the fade, and then you can see some
other damage, such as the stain right here,
| | 00:53 | and we see some spots.
| | 00:56 | Here we have a red colorcast.
| | 00:59 | We can also see some little spaces,
some spots over here that need to be fixed.
| | 01:05 | And in this one we have pieces,
obviously; the photos in pieces.
| | 01:09 | The first thing you want to do is
maybe put those pieces together and then
| | 01:13 | tackle some of these other problems,
like some tears here, some tape, and other
| | 01:19 | problems that we have after
that initial damage is fixed.
| | 01:23 | I have arranged this course so
that once you assess the damage,
| | 01:28 | you can go to the chapter for that damage,
| | 01:30 | for example, fixing color
casts or missing pieces.
| | 01:34 | An initial assessment of the damage in
your photo will help you figure out what
| | 01:38 | tools you might need and give you an
idea of how difficult the work might be.
| | 01:42 | Even if it's just a quick once-over
to see how much damage and where it is in
| | 01:47 | an image, it's a good idea to know
what you're dealing with before you begin.
| | Collapse this transcript |
| Rebuilding color channels in a grayscale image| 00:00 | If you have any power over it at all,
it's always a good idea to scan every photo
| | 00:05 | in color--even the black-and-white ones--
| | 00:07 | so you have the option of color channels.
| | 00:09 | Why are color channels
important in a black-and-white image?
| | 00:12 | Well, they are great for assessing
damage in a photograph to see if more or
| | 00:16 | less damage is contained in one
particular color channel, therefore making
| | 00:20 | restoration a little easier.
| | 00:22 | It's also a good idea to have color
channels because many of the adjustments in
| | 00:26 | Photoshop aren't available unless
working in color, as opposed to grayscale.
| | 00:31 | But one of the best reasons for
working in color modes is that you can simply
| | 00:34 | make a better-looking image.
| | 00:36 | But what if you don't have the
luxury of scanning a photo in color?
| | 00:40 | Say you were sent a file of an image
that was scanned in grayscale and the
| | 00:44 | person who sent it doesn't have the original.
| | 00:46 | Well, you just have to create your own channels.
| | 00:49 | For instance, let's look at this image
scanned in grayscale, scanned in black
| | 00:54 | and white, and the same image after
the color channels have been rebuilt.
| | 00:59 | We want to get from this to this.
| | 01:03 | So let's look at some of the differences.
| | 01:05 | We will notice over here there is one
channel, Gray, and we go over here to our
| | 01:10 | Adjustments panel. All of
these adjustments are grayed out;
| | 01:14 | you can't use them in grayscale.
| | 01:16 | Now let's look at the RGB version.
| | 01:19 | All of your adjustments are back again.
| | 01:22 | You can use them all, and let's go to
our Channels, and we have four here.
| | 01:27 | Actually, there is the combined, and then
your three channels: Red, Green, and Blue.
| | 01:32 | So let's get this grayscale channel
into RGB by going to Image and Mode.
| | 01:39 | You will notice Grayscale is checked.
Go down here and check RGB Color.
| | 01:46 | Now we have our channels.
| | 01:47 | The only problem is every channel is the same.
| | 01:51 | So what we want to do is make them
different, make the red the lighter, green a
| | 01:56 | little darker, and blue darker still.
| | 01:59 | Red is already light because
this is a very light image.
| | 02:02 | This could differ with your
images if they are a little darker.
| | 02:05 | You may even have to lighten the Red
channel, but we will start here in the
| | 02:09 | Green. Go up to Image > Apply Image.
| | 02:13 | We are going to start in the Multiply
blending mode because it's the best for
| | 02:17 | making something darker.
| | 02:19 | It could be any one of these
darkening modes could work, but Multiply is
| | 02:23 | usually your best bet.
| | 02:24 | If you want to make it lighter, for
some reason, if it's a very dark image,
| | 02:28 | Screen is a very good one to use.
| | 02:30 | So we are going to keep this at
Multiply and 100% and click OK.
| | 02:37 | Now we need to make our blue even darker.
| | 02:40 | Since this is such a light image, we will
start out--again Image > Apply Image--we
| | 02:46 | will start out with
Multiply and at 100% and click OK.
| | 02:50 | Well, of course we did that with
the Green, so they are the same.
| | 02:55 | To make the Blue even darker, go again
to Image > Apply Image, and we are going
| | 03:01 | to have a Multiply and another 100%
Opacity on top of that and click OK.
| | 03:07 | Now all our channels are a little different.
| | 03:11 | The Red is the lightest, Green little
darker, Blue darker still. And our combined
| | 03:16 | image has this color on it.
| | 03:18 | You can take care of that
later if you don't like it.
| | 03:20 | In fact, you can do that in the
adjustments that are now available to you, by
| | 03:26 | clicking, say, Black & White. And now you
can go through all your adjustments, all
| | 03:32 | your filters and they work.
| | 03:34 | Scanning images, even black-and-white
images, in color gives you the power of
| | 03:39 | image adjustments in Photoshop, but if
you don't have the choice, you can get the
| | 03:44 | power back by rebuilding color channels.
| | Collapse this transcript |
| Using a Black & White adjustment layer| 00:01 | Using channels can be a fast and easy
way to get rid of certain kinds of damage
| | 00:04 | in a photo, but using a black-and-
white adjustment layer allows you to do
| | 00:08 | virtually the same thing nondestructively.
| | 00:10 | This image has a blue stain throughout it.
| | 00:13 | Your image could have a different
color stain. But I am going to show you how
| | 00:16 | you can hide that stain with
a black-and-white adjustment.
| | 00:20 | To add an Adjustment layer, go to the
bottom of your Layers panel and click the
| | 00:24 | half-black half-white circle to
create a new fill or adjustment layer icon.
| | 00:30 | Now choose Black & White, go up to
your Presets, click on Default, and go down
| | 00:37 | to the Blue Filter.
| | 00:39 | This mimics your blue channel,
and you'll notice that the blue stain is
| | 00:43 | very prevalent here.
| | 00:45 | Go back up to your Defaults and click the
Green Filter, which mimics your green channel.
| | 00:51 | The stain is still there, but less.
| | 00:53 | Click again on your Presets and go to
the Red Filter, and just like in the red
| | 00:58 | channel, pretty much gone.
| | 01:00 | There are two other presets you can
look at in the Black & White Adjustment
| | 01:04 | panel, which is the High Contrast
Blue Filter--and you can see the stain is
| | 01:08 | really, really noticeable--and your High
Contrast Red Filter, which actually looks really good.
| | 01:15 | The stain is all gone.
| | 01:17 | You can go through your other
presets and just see what they do.
| | 01:20 | Let's look at Infrared, Yellow.
And the Yellow looks pretty good actually.
| | 01:26 | It closely mimics the Red Filter,
but in this case we are going to stick with
| | 01:30 | the High Contrast Red Filter.
| | 01:32 | If you don't like to start black-and-
white look, you can always go up here and
| | 01:36 | click the Tint box, and you can change
the tint colors and add a little tint to
| | 01:42 | it and then click OK.
| | 01:44 | Using a Black & White Adjustment layer
allows you to see if any of the damage in
| | 01:48 | your image is residing in any one of
the channels, and if it is, to fix it in a
| | 01:52 | way that allows you to go back and
re-adjust your settings at any time.
| | Collapse this transcript |
| Using the Clone Stamp, Healing Brush, and Patch tools| 00:00 | The most common tools used in digital
photo restoration are the Clone Stamp, the
| | 00:05 | Patch tool, and the Healing brushes.
| | 00:07 | We will be using these
tools throughout the course,
| | 00:09 | so I want to go over
briefly what each of them can do.
| | 00:12 | The Clone Stamp tool can work on
a new blank layer as well as on an
| | 00:17 | existing image layer.
| | 00:18 | Let's go over and add a new blank
layer and then move over to our toolbar and
| | 00:24 | select the Clone Stamp tool. It looks
a little like a rubber stamp here.
| | 00:28 | If you do work on a blank layer, be
sure the use Current & Below option as
| | 00:32 | selected from the dropdown menu at the top.
| | 00:36 | The Clone Stamp works best on small-to-
medium areas of damage and where there's
| | 00:41 | plenty of similar areas around the
damaged bar your selection's from.
| | 00:45 | Keep your brush on the smaller side,
using the open and close bracket keys to
| | 00:49 | adjust your brush size, and hold down
your Alt or Option key to select the areas
| | 00:55 | you wish to clone from.
| | 00:58 | Let's go back to the toolbar
and select the Healing brush.
| | 01:02 | The Healing brush only works on layers
that contain pixels, not new blank layers,
| | 01:07 | so you will need to duplicate your
original image to work with this tool.
| | 01:11 | You do this by holding down
Ctrl+J or Command+J.
| | 01:17 | The Healing Brush tool is a little
like the Clone Stamp in that you need to
| | 01:21 | tell it where to source from, again
by holding down Alt or Option and
| | 01:25 | selecting your source point.
| | 01:27 | But unlike the Clone Stamp, Photoshop
then tries to analyze the surrounding
| | 01:31 | pixels to closely match the
source in terms of tone and texture.
| | 01:36 | This tool also works best
in smaller areas of damage.
| | 01:40 | Next, we will have a look
at the Spot Healing brush.
| | 01:43 | The Spot Healing brush doesn't
have to be told where to sample from;
| | 01:47 | it chooses the pixels from
the surrounding areas for you.
| | 01:51 | If you have Photoshop CS4 and previous
versions, you need to make sure Proximity
| | 01:56 | Match is selected and then just
begin painting in an area, or clicking.
| | 02:04 | If it's a very pattern-heavy or busy area,
it's probably better to click than to drag.
| | 02:12 | See, that added a little smudge.
| | 02:16 | You just begin clicking, and you
don't have to tell it a source point.
| | 02:20 | This tool also works best
on smaller areas of damage.
| | 02:24 | If you're repairing an area with a
heavy texture or pattern, you can also try the
| | 02:28 | Create Texture option. But on areas
like this grass, you'll see that it just
| | 02:36 | makes a blurry mess.
| | 02:38 | Let's look in really close at that,
and you'll see it has an actual texture to
| | 02:44 | it. And we will go back out again.
| | 02:48 | This option works best when you're using
a pattern, say, on cloth. Then it comes in
| | 02:53 | very handy because it can add that
texture of a cloth, of a linen or a cotton.
| | 02:59 | If you're using Photoshop CS5, there's
another option available, which is Content-Aware.
| | 03:04 | Let's get back into the Spot
Healing brush from the Zoom tool and
| | 03:09 | click Content-Aware.
| | 03:11 | The Content-Aware Healing brush works
in much the same way as the regular Spot
| | 03:15 | Healing brush, except you can use it
to repair much larger areas of damage.
| | 03:20 | It works by comparing all the nearby
pixels, and determines which of those pixels
| | 03:25 | will best fill your selection.
| | 03:27 | Another Healing tool is the Patch tool.
| | 03:30 | Again, it only works on a pixel layer--
an image layer itself, not a transparency,
| | 03:35 | so you will have to duplicate your layer.
| | 03:36 | If you have the Source option checked,
you select a damaged area to repair and
| | 03:41 | move it over a clean area.
| | 03:43 | With the Destination option checked,
you do the reverse, moving a clean source
| | 03:48 | area over the damage itself.
| | 03:54 | You need to be careful with the Patch
tool not to get an area of radically
| | 03:57 | different tone in your selection, such
as a much darker or lighter area, as you
| | 04:02 | will get a large blurry smudge as a result.
| | 04:05 | One last tool I'd like to go over
for repairing damaged areas is the
| | 04:09 | Content-Aware Fill feature in Photoshop CS5.
| | 04:13 | To access Content-Aware Fill, make the
selection and either go to Edit > Fill
| | 04:18 | and select Content-Aware or hold
down Shift and F5 to bring up the Fill
| | 04:24 | dialog, and click OK.
| | 04:26 | Content-Aware Fill allows you to repair
larger areas of damage in an image and
| | 04:32 | more often than not, has pretty great results.
| | 04:34 | It doesn't work on completely blank
layers, but it does work on transparent or
| | 04:39 | solid-color areas within an image.
| | 04:42 | When it comes to healing tools you
will use in digital photo restoration
| | 04:46 | Photoshop offers quite a selection.
| | 04:48 | While no one tool always works in every
situation, one, or a combination of these
| | 04:53 | tools, will certainly do the job.
| | Collapse this transcript |
|
|
2. Basic FixesFixing a faded black-and-white photo| 00:00 | Fading is one of the most common
types of damage to old photographs.
| | 00:04 | Faded photos are very intimidating,
especially when the fading is very pronounced.
| | 00:09 | The good news is they're
usually easier to fix than they look.
| | 00:13 | Just a click or two can make
a really dramatic difference.
| | 00:16 | I use this photo of my grandfather a
lot while demonstrating how to fix fading,
| | 00:20 | because the change is so dramatic.
| | 00:23 | I've heard so many people say there was
virtually nothing left to fix. And if you
| | 00:27 | can believe it, it looks worse in person.
| | 00:29 | We're going to try to bring this
photo back out by using Curves.
| | 00:34 | Go down to the bottom of the Layers
panel to this half-black half-white circle,
| | 00:39 | and click it, and go to Curves.
Go to your black eyedropper and try to access
| | 00:46 | the darkest part of your image. That can
be really hard when it's very faded, but
| | 00:51 | you can see his pants down here are dark,
so we'll click on that, and look at how
| | 00:57 | dramatic that just one click was.
| | 01:01 | Now go up to your white eyedropper,
and let's look for the lightest portion.
| | 01:05 | You can always use the frame,
but it's really better to try to find
| | 01:09 | something inside the photo.
| | 01:11 | We'll click on his collar there.
| | 01:13 | If it's too light, you can
adjust over here on your histogram.
| | 01:18 | You can try to bring it down a
little bit, make it a little darker.
| | 01:22 | You can adjust your midpoints.
| | 01:30 | There are a lot of ways you can adjust this.
| | 01:32 | Let's try our medium gray point
eyedropper, try to find a gray area, and that
| | 01:39 | brings a little bit out.
| | 01:40 | Again, if it's too pronounced, you can
always go to your Opacity and bring that down.
| | 01:48 | You can add other adjustments on top,
a black-and-white adjustment, another
| | 01:52 | curves. But as you can see from the
before and after, just a couple clicks made
| | 02:01 | a really dramatic difference.
| | 02:04 | Sometimes the most intimidating-looking
damage is really easy to fix, especially
| | 02:08 | in the case of faded photos.
| | 02:10 | In many cases all the
information is still there in the image;
| | 02:14 | it's just a lot lighter than it was--
and if it's there, there are ways to
| | 02:18 | bring it back out again.
| | Collapse this transcript |
| Removing small splits, specks, and spots| 00:00 | Small split specks and spots are some
of the everyday problems you'll find
| | 00:05 | in old photos and among the most common
repairs you'll need to make when doing restoration.
| | 00:10 | Some of the damage is more obvious,
like light specks on dark background or
| | 00:14 | vice versa, and some are barely
noticeable, unless the image is highly
| | 00:18 | magnified in Photoshop.
| | 00:20 | Fixing every bit of the damage you can will
only make for a better image in the long run.
| | 00:25 | Begin by duplicating the original layer,
Ctrl+J on a PC, Command+J on a Mac.
| | 00:30 | Let's do a quick assessment of the
damage in this photo at 100%. Use Ctrl+Plus or
| | 00:37 | Command+Plus to zoom in.
| | 00:40 | You can see all these specks and spots here.
| | 00:44 | If we move over, we can see
there's a crack right here.
| | 00:51 | There's a fingerprint really visible right here.
| | 00:53 | There are also a few stains and smudges
throughout this, and just a lot of small
| | 00:59 | damage to get rid of.
| | 01:00 | In a case like this with so much small
damage, you really don't want to start
| | 01:05 | off having to click sampled areas
like you would with the Healing brush, so
| | 01:09 | let's start with the Spot Healing
Brush tool, which chooses its own sample
| | 01:14 | areas. Come over here to the toolbar
and choose Spot Healing Brush tool.
| | 01:19 | Make sure the Proximity Match radial is
ticked if you have CS4 and before. Lower your
| | 01:27 | brush size using your open or close bracket--
your open bracket to make it smaller. Do
| | 01:35 | it just about the size of some
of the damage and start clicking.
| | 01:41 | You only want to click one
area of damage at a time;
| | 01:44 | you don't want to try to get too much
in one click, or it could get smudgy.
| | 01:52 | In Photoshop CS5, you can go up to the
top and click the Content-Aware radial.
| | 01:59 | With this you can either click or paint the
area with the brush, with really good results.
| | 02:09 | With the Content-Aware, you can even
get these larger areas, which you can't do
| | 02:16 | with the other tools with quite the same result.
| | 02:21 | For larger areas, you can
always go with your Patch tool.
| | 02:25 | Let's go back here to the toolbar and
click Patch tool, and let's surround some
| | 02:32 | of these areas and move
them over to the sample area.
| | 02:39 | A good area to do this on is something
like this fingerprint, a very large area,
| | 02:44 | and you can bring it down to another
area. Then you might have this problem
| | 02:50 | sometimes with the Patch tool of
getting it a lighter area and just repeat it
| | 02:57 | and do it in smaller areas
until you have a good match.
| | 03:03 | Find a fairly clear area to bring it up
to, and if you haven't cleared that area
| | 03:09 | you might have more specks that you can
fix with your Healing Brush tool later.
| | 03:15 | This is fairly tedious work, and we're
all tempted to cut corners and skip some--
| | 03:20 | the stuff we don't think will be seen--but
if it's worth doing, it's worth doing right.
| | 03:26 | This sort of repetitious work is a
great opportunity to listen to some music.
| | 03:31 | Repairing the little spot, specks,
and splits is some of the easiest work in
| | 03:35 | restoration, and also the hardest, in
terms of monotony, but it's often the
| | 03:39 | difference between a good
restoration and a really great one.
| | Collapse this transcript |
| Repairing red-eye| 00:00 | There are a lot of ways to fix the
dreaded red eye in your photos, such as the
| | 00:05 | much-maligned Red Eye tool, channels,
channel mixers, masks, adjustment filters.
| | 00:10 | Well, there are probably as many ways
to fix it as there are people fixing it.
| | 00:15 | As with any given problem you're
repairing in Photoshop, we'll go over to the
| | 00:19 | easiest today: Black & White
adjustment filter and the Red Eye tool.
| | 00:23 | We'll start with the Red Eye tool.
First thing you will want to do when you use
| | 00:27 | this is duplicate your original layer
using Ctrl+J on a PC, Command+J on a Mac.
| | 00:34 | The Red Eye tool resides over
here with your Healing brushes;
| | 00:38 | it will be down at the bottom.
| | 00:41 | The default settings for the Red Eye
tool are 50% Pupil Size, 50% Darken Amount.
| | 00:48 | Let's zoom in using Ctrl+Plus or Command+Plus
on this image and move it over, so we can see both eyes.
| | 01:00 | We use this default setting first to
show you what happens. Select far away
| | 01:05 | from the red, and you'll see that there's
still a lot of area around it that it didn't cover.
| | 01:14 | Now we'll go up here and we'll change
the settings to 100% Pupil Size and bring
| | 01:20 | the Darken Amount up to 75 or so.
| | 01:23 | We can adjust those at any time, the Darken
Amount, if you need to, and we'll try this area.
| | 01:34 | Now, that made it a lot darker, and again
you can adjust the Darken Amount as you
| | 01:38 | see fit, but there's still a ring around it.
And it also looks pretty unrealistic there.
| | 01:46 | If you want something that looks a
little more realistic--zoom back in here--you
| | 01:54 | can try a Black & White adjustment filter.
| | 01:56 | Let's hide this layer and go down to
this half-black half-white circle, create a
| | 02:03 | new fill or adjustment
layer, and choose Black & White.
| | 02:07 | Now you want to do now is go over to
your Brush tool and adjust your brush size
| | 02:12 | using your open and close bracket
keys. So it goes over the entire pupil.
| | 02:18 | You want to go up and check your
Hardness setting and make sure it's at 100% and
| | 02:24 | then click on the pupil.
| | 02:27 | Now what you want to do is invert your
mask by using Ctrl+I or Command+I. Make
| | 02:34 | sure that your mask is
selected when you do this.
| | 02:37 | You can see that it didn't fill out the
whole thing, so what you need to do, if
| | 02:41 | you want to adjust this, is go down to
your foreground and background colors
| | 02:45 | and invert them, and you can go and fill in
the areas that didn't get filled in so well.
| | 02:56 | Now the next thing you want to do is
go up to your Defaults in your Black &
| | 03:01 | White adjustment and scroll through
them. I am going to use the downward arrow
| | 03:06 | key on my PC. You'll see the Blue filter
is very, very dark, and the Darker is a
| | 03:13 | little bit lighter, a little more
natural looking, the Green filter lighter.
| | 03:18 | The High Contrast Blue is horrible.
Actually I like the Darker filter, so we're
| | 03:24 | going to stick with that. And the next
thing you want to do is go over to Filter >
| | 03:31 | Blur > Gaussian Blur.
| | 03:33 | Now the reason you want to do this is
just to soften the edges a little bit.
| | 03:39 | If you're zoomed in, you have your eyeball
right here in your viewing window, so you
| | 03:44 | can kind of see how much you're
blurring it and also look over here to see what
| | 03:50 | effect it's having--just a little bit,
3, 3.5 the most. This is
| | 03:56 | getting a little too soft.
There: 2, 2.5, 2.4 is good.
| | 04:01 | Now let's click OK and compare the Black
& White adjustment to the Red Eye tool.
| | 04:10 | The Black & White adjustment looks just
a bit more natural. Bring that out here.
| | 04:16 | Now let's look at both of them again.
| | 04:19 | There's the red eye. There is your Red Eye
tool with both settings and your Black &
| | 04:27 | White adjustment layer,
and that's actually much better.
| | 04:32 | Now of course you do your other eye;
| | 04:33 | you wouldn't leave one red. But now you
know how to do it and what would look best.
| | 04:39 | We've gone over just two ways to remove
red eye and there are many more. Like I
| | 04:43 | said before, there are as many ways to fix a
problem in Photoshop as there are people
| | 04:47 | fixing them, and most of the methods have merit.
| | 04:51 | The trick to any given way is to
experiment with settings and adjust them to get
| | 04:55 | the best possible result for your image.
| | Collapse this transcript |
| Reducing paper texture| 00:00 | There is nothing wrong with
paper texture in a photo; sometimes it looks really
| | 00:04 | good, and some people love the effect.
| | 00:06 | I have even had customers ask me
specifically to not remove the paper texture,
| | 00:12 | which tends to make my job a little bit tougher.
| | 00:15 | You see, while paper texture may
look pretty on those old photos,
| | 00:19 | it can make restoring a lot harder.
| | 00:22 | Texture presents a unique problem.
| | 00:24 | When using, say, the Spot Healing brush,
and running it over a bit of damage, it
| | 00:33 | can make a smudge where the texture
doesn't line up perfectly any longer.
| | 00:38 | What we need to do is smooth the texture,
making it easier for us to get a better result.
| | 00:45 | Texture shows up on a digital photo
because the light catches in the texture
| | 00:50 | during the scanning process.
| | 00:52 | If scanning is your only option--the
other being a good camera with a copy
| | 00:57 | stand, lights and filters--then there's
another way to reduce the appearance of
| | 01:01 | texture, if you have the
original photo and a scanner.
| | 01:05 | Begin by scanning the image, facing
at least two different directions,
| | 01:10 | preferably four directions.
| | 01:12 | This cancels out the light, catching
the texture from all of the angles.
| | 01:17 | After scanning, bring your scans up in Bridge.
| | 01:21 | If you need to rotate any of your scans,
select them and go to the rotate arrows up here.
| | 01:28 | When the scans are all oriented the
same direction, select them all by
| | 01:32 | holding down Shift.
| | 01:34 | Now go to Tools > Photoshop and Load Files
into Photoshop Layers. Back in Photoshop,
| | 01:42 | select all the layers by clicking on
the bottom and top layers while holding
| | 01:46 | the Shift key down.
| | 01:49 | Now go to Edit > Auto-Align Layers.
| | 01:54 | Leave it at the default, Auto, and click OK.
| | 02:00 | This will align the images just a
little bit more than they may have been, to
| | 02:04 | make sure you have a really good match.
| | 02:06 | Now, we're going to turn off the
visibility of all but the bottom two layers by
| | 02:11 | clicking on the Eye icon. And select the
second layer by clicking on this area.
| | 02:17 | Now go up to your Layer
Blend modes and select Darken.
| | 02:22 | You can still see a texture pattern,
but since the amount of the light has been
| | 02:26 | cut down, it's just a bit better.
| | 02:28 | Now, we want to combine these bottom two
layers by selecting Shift+Ctrl+Alt+E on
| | 02:36 | a PC, Shift+Command+Option+E on a Mac.
And now we're going to select the next
| | 02:43 | layer up and make it visible: go again
to Layer Blend modes and select Darken.
| | 02:51 | That takes a little bit more of the
texture out, and we're going to repeat the
| | 02:55 | process again, combining the
layers using Shift+Ctrl+Alt+E or
| | 02:59 | Shift+Command+Option+E and select the
next layer, the last one, make it visible,
| | 03:07 | go to your Layer Blend modes and select Darken.
| | 03:11 | That takes care of the last bit of
remaining light from the light of the
| | 03:14 | scanner on the texture.
| | 03:16 | Now, we want to combine all the layers
one more time, again Shift+Ctrl+Alt+E or
| | 03:21 | Shift+Command+Option+E and go up to
Filter > Blur > Surface Blur, and try a
| | 03:29 | radius of around 3 and a threshold
of 50, which we have here already--
| | 03:37 | that's not your default--and clicking OK.
| | 03:42 | If you feel it's a little bit blurry, you can
always go to your Opacity and bring it down.
| | 03:48 | We'll try around 75%.
| | 03:51 | Now let's zoom the image in on her face.
| | 03:55 | Let's get it back up to her face
here and look at before and after.
| | 04:00 | Let's bring this here.
| | 04:04 | Here is before, and here is after.
| | 04:07 | That's a pretty dramatic difference.
| | 04:09 | Now we have a nice photo without all
the light from scanning the texture, but
| | 04:14 | the texture still visible.
| | 04:15 | Even though you're not often going to
be able to get rid of texture 100%, and
| | 04:20 | even if you lessen it, there will be
a loss of at least a little detail.
| | 04:24 | But it's still possible to reduce the
appearance of texture without making the
| | 04:28 | image a blurry mess.
| | 04:29 | Later in this course we'll go over how
to get a little bit more of the detail back.
| | Collapse this transcript |
| Reducing dot patterns in printed photos| 00:00 | Another type of texture occurs
on pictures from a newspaper.
| | 00:04 | Newsprint is made up of patterns,
either dots or crosses usually, called moray.
| | 00:09 | This newspaper photo of my parents'
wedding is an extreme example because the
| | 00:13 | photo is so small the newsprint pattern
dominates the details, like the facial features.
| | 00:20 | There's no way to make a newsprint
picture look like a pristine, just-out-of-the-
| | 00:24 | camera photo of course,
| | 00:26 | but we can try to get a little detail back--
| | 00:28 | even if it's a little soft and blurred.
The technique will be basically the same
| | 00:33 | as for regular paper texture,
but with different settings.
| | 00:37 | Open your image and duplicate the
original layer using Ctrl+J on a PC or Command+J on
| | 00:43 | a Mac. Go to Filter > Blur >
Surface Blur and move your sliders around
| | 00:52 | to find which are the best for your image.
| | 00:55 | All the images will be different.
| | 00:57 | For this particular image, I'm going
to keep the Radius a bit low, around 3
| | 01:02 | again, and take the Threshold up to
around 105, or thereabouts. 104 is good.
| | 01:12 | I'd like the image to be a little softer,
but we don't want the result to be so
| | 01:17 | blurry that we lose what little detail there is.
| | 01:20 | So we'll hit OK and then go back up to
the Filter menu and Blur, and this time
| | 01:28 | we're going to select Gaussian Blur.
| | 01:30 | We need to keep this very low, so as not to
blow out any detail, just soften it a little bit.
| | 01:36 | So we're going to stick around
a Radius of--let's do around 1.8.
| | 01:44 | You can see it's still not a perfect
picture, but it does look a little better.
| | 01:48 | So let's hit OK and see the difference.
| | 01:53 | You can at least see that they have faces.
| | 01:57 | Here's one more way to lessen the Moray pattern.
| | 02:00 | Let's turn off the visibility of the
layer we just did, select the background
| | 02:05 | layer, and use Ctrl+J or Command+J
again to duplicate that layer.
| | 02:10 | Now I will go back up to
Filter > Noise > Median.
| | 02:16 | Move your slider to see
the results on the image.
| | 02:23 | See, the higher you get, the more
indistinguishable the picture is at all,
| | 02:28 | so that tells us we want
to keep it nice and low.
| | 02:31 | We'll look at a Radius of about 3.
| | 02:33 | Notice it still looks pretty bad,
but then you hit OK and go back up to Filter >
| | 02:44 | Blur > Gaussian Blur and do the same
bit of Radius, around 2 or so, and hit OK.
| | 02:54 | Now let's compare all
three and see how they look.
| | 02:57 | Let's start with our original image.
And this is the first texture reduction we
| | 03:04 | did, and this is the second. And let's
compare the two methods. You'll see, there is
| | 03:13 | a distinct difference.
| | 03:14 | The second method we did is a little
more blurry than the first, but it all
| | 03:20 | depends on your personal preferences.
| | 03:22 | There are many different types of
texture and many different ways to lessen it.
| | 03:27 | I've only gone over a couple
of very basic methods here.
| | 03:30 | Also remember, the settings of the
filters will vary greatly from image to image
| | 03:35 | and depend also on the resolution
and quality of the image itself.
| | 03:40 | Whether you need to reduce texture to
help with the restoration process or to
| | 03:45 | improve the image itself, there are
ways you can reduce the texture without
| | 03:49 | ruining the picture.
| | Collapse this transcript |
| Fixing lens distortion| 00:00 | Occasionally, you may have a picture
sent to you of a framed photograph, maybe
| | 00:04 | from a relative who has an old family
photo that they don't want to take off
| | 00:07 | the wall. Ideally you'd like to have a
number of photos taken of the picture,
| | 00:13 | all from different angles, so you can
stitch it together to make one great
| | 00:16 | image, but sometimes all you get is one photo
taken in bad light, complete with lens distortion.
| | 00:23 | This photo was taken straight on of an
oval bubble-glass portrait, and it has a
| | 00:28 | distortion both on the sides and the top.
| | 00:31 | Let's go over a couple of ways to correct that.
| | 00:34 | Begin by duplicating the original layer,
Ctrl+J on a PC, Command+J on a Mac,
| | 00:39 | and then go to Filter > Lens Correction.
| | 00:45 | You can go over here to the Remove
Distortion tool, but it can be a little on
| | 00:50 | the frustrating side, pulling it down and up
trying to get it exactly the way you like it.
| | 00:59 | If you don't like how it looks and you
want to start over, you can hold down
| | 01:03 | the Alt or Option key, and it will
turn your Cancel button into Reset, and go
| | 01:10 | back to the original photo.
| | 01:12 | You may find it easier to go into the
Custom menu and work with the Setting sliders.
| | 01:17 | It offers a bit more control.
| | 01:19 | If the distortion is bowing out, as
this is, you want to bring it back in.
| | 01:25 | If the sides bulge out in a convex
manner, you want to make them more concave.
| | 01:30 | So looking at the two icons on the
Remove Distortion slider, you want to move
| | 01:35 | this towards the right, towards
the Concave icon, to around +60 or so.
| | 01:41 | You can move the slider, or you can also
just type in the amount you'd want to try.
| | 01:50 | The image is still going
outward at the top corners,
| | 01:53 | so let's go down to the Vertical
Perspective slider and put it at about -25 or so.
| | 01:59 | Again, you can just type in the value
if you don't want to move the slider.
| | 02:06 | Now let's go down here to the bottom
and uncheck the Preview, so we can see the
| | 02:10 | before and the after.
| | 02:15 | You can continue to tweak the
settings while you are in the Lens Distortion
| | 02:18 | dialog, but I am going to click OK and
get out of Lens Correction, and we'll go
| | 02:22 | over one other way, the manual way.
| | 02:27 | Let's begin by hiding this layer,
clicking the eye icon. And again we're going to
| | 02:33 | duplicate the original layer by using
Ctrl+J or Command+J. Select the Duplicate
| | 02:38 | layer and press Ctrl+T on a PC, Command+T
on a Mac to initiate Transform.
| | 02:46 | Now right-click on the
image and select Distort.
| | 02:50 | The idea here is the same as we
discussed regarding the lens correction.
| | 02:55 | Make the convex distortion more
concave to correct, grab on the top transform
| | 03:00 | handles one at a time and
pull them slightly up and out.
| | 03:07 | You can hold down your Shift key.
| | 03:09 | It will help you make it a
little more even across the top.
| | 03:14 | Now, right-click on the
image again and select Warp.
| | 03:19 | Bring the midpoints of all sides in
to create the concave shape. Bring the
| | 03:24 | corners in or out as needed.
| | 03:27 | Just move things around until it looks right.
| | 03:31 | This method is mostly based on
perception, what you see and what looks right.
| | 03:36 | You can also do this manual method
after the lens correction if you feel it
| | 03:39 | needs a little more tweaking.
| | 03:41 | When you get the result you like, hit Enter.
| | 03:45 | Let's look at a before and after,
and see if there's any improvement--and
| | 03:50 | there is just a bit.
| | 03:52 | You can always use more tweaking;
| | 03:54 | you can go back again to the Transform
or back into Lens Correction if you like.
| | 03:59 | Sometimes you have no
control over images you have.
| | 04:02 | If a distorted image of a framed family
photo is the only one you have, you need
| | 04:07 | to make the best of it
and correct what you have.
| | 04:10 | The Lens Correction filter in
Photoshop does an admirable job of correcting
| | 04:14 | distortion, and a little manual
transformation can help even more.
| | Collapse this transcript |
| Straightening a crooked image| 00:00 | No doubt you'll find among your family
photos a few that are less than perfectly aligned.
| | 00:05 | Maybe you'll have photos by one relative,
like I do, that all tilt decidedly to the left.
| | 00:11 | While it's hardly worth throwing them
away, sometimes you might wish for them to
| | 00:14 | be just a little straighter.
| | 00:16 | Luckily, it's an easy
matter to straighten things out.
| | 00:19 | First thing you want to do is
duplicate your original layer in your image.
| | 00:24 | You do that by selecting Ctrl+J on a PC,
Command+J on a Mac. We are going to go over three ways to
| | 00:32 | straighten an image.
| | 00:33 | The first is using ruler guides and Transform.
| | 00:36 | If the ruler guides aren't visible,
go to View > Rulers or press Ctrl+R or
| | 00:43 | Command+R to bring them up.
| | 00:46 | Having rulers visible is the only way to
pull down the guides you need for this.
| | 00:50 | Click on the top ruler and pull down
your guide to around the horizon line.
| | 00:57 | Press Ctrl+T or Command+T and select one
of the corner handles to rotate the image
| | 01:02 | so the horizon line follows the
guide and click Enter to accept.
| | 01:08 | Make sure your Move tool is selected
and move the guide down closer to the
| | 01:14 | horizon to check how straight it is.
| | 01:18 | If you click off the eye icon on your
original layer to hide it, you'll see there
| | 01:23 | is all these areas of
transparency we need to take care of.
| | 01:26 | You can do that of course either
with the Content-Aware fill if you have
| | 01:30 | Photoshop CS5, or with your Clone
Stamp tool, or your Patch tool, or you can
| | 01:37 | select Ctrl+T or Command+T to
transform and make the image larger until the
| | 01:46 | transparent areas are gone, and select Enter.
| | 01:52 | That makes it easier. If you don't
want it too big and you still have
| | 01:54 | a transparent area,
| | 01:56 | you can either make it bigger, or you
can correct it with one of your healing
| | 02:00 | tools, like the Clone Stamp or the Patch.
| | 02:04 | Before we do the next method, I'll hide
this layer, making sure our original is
| | 02:09 | visible, and select the background layer.
| | 02:12 | Now I am going to move our
guide back up into the ruler.
| | 02:17 | Again, we're going to duplicate the
original, Ctrl+J or Command+J, and we'll go to
| | 02:21 | Filter > Lens Correction.
| | 02:26 | This time we are going to use the
second icon down, the Straighten tool.
| | 02:31 | Click on one area of the horizon and
move the tool to the other side, and it
| | 02:39 | straightened it for you automatically.
| | 02:41 | If you have an image with a lot of
horizontal and vertical lines, it may take a
| | 02:45 | few tries along different
lines to get a satisfactory result.
| | 02:49 | But the Lens Correction
filter does a pretty good job.
| | 02:51 | Now let's click OK to get out of this
dialog. And for our third method, we are
| | 02:57 | going to actually duplicate the image,
by going to Image Duplicate, and click OK.
| | 03:04 | We are going to get rid of the other layers--
| | 03:08 | we have our original--because this method
will try to straighten all of your layers.
| | 03:15 | Go over to your Eyedropper Tool
dialog and select the Ruler tool. And again
| | 03:21 | I'm going to drag it by clicking one side and
bringing it over so the line follows your horizon line.
| | 03:28 | Then we'll go up to the top and click
Straighten. And this method also fills in
| | 03:34 | all the transparent areas for you.
| | 03:36 | Even if you have a few less-than-
straight images in your family photo
| | 03:39 | collection, there are at least three
easy ways to straighten things up again.
| | Collapse this transcript |
|
|
3. Fixing Damaged PhotosFixing large rips, tears, and other damage| 00:00 | The most basic part of digital
restoration work may be the little specs and
| | 00:04 | spots that most photos of a certain age have,
| | 00:07 | but the larger rips and tears tend to
happen, and a lot of times they tend to
| | 00:11 | happen in the most inconvenient places.
| | 00:13 | Take this image for instance.
| | 00:15 | This large creased tear combination
just so happens to be in a place in the
| | 00:19 | image where a whole lot is going on.
| | 00:22 | One good thing about all this is it
isn't in an area that would be even harder
| | 00:27 | to reconstruct, like the face.
| | 00:29 | What we do need to repair here is a small
portion of the horse and some harness mostly.
| | 00:35 | Let's zoom out and have a
look at the whole picture.
| | 00:38 | I am using Ctrl+Minus or Command+Minus.
| | 00:41 | You can see it goes right through
the middle, so we just need to repair a
| | 00:45 | little of that area.
| | 00:46 | It's a good idea to start on the
smaller end of a rip and a tear. And the tools
| | 00:52 | you use mostly are your Patch tool,
your Clone Stamp tool, and if you have
| | 00:56 | Photoshop CS5, your Content-Aware fill.
| | 01:00 | Begin by selecting an area. Keep to the
smaller side; if you try to get too big,
| | 01:04 | you're just going to get big smudgy
areas. And work just in a little pieces.
| | 01:11 | Another hint when you are using your
Patch tool is go ahead of yourself with the
| | 01:17 | Clone Stamp tool and prepare areas.
| | 01:20 | When you do this, it's a good idea to
work from the top and the bottom, not just
| | 01:26 | try to make one big sweep. Again, work
in little areas, and make yourself little
| | 01:33 | bridges that you can then go in and use
your Patch tool to select the area, and
| | 01:38 | you don't have all that white area
around that will smudge. Just bring it up.
| | 01:47 | Sometimes you'll have to go over the
area again and again to fix the areas, and
| | 01:51 | that's okay, to fix the little smudges.
| | 01:54 | That's a really good way to
whittle away the small areas.
| | 01:58 | Now this big area is much the
same, just on a larger scale.
| | 02:03 | Again, get your Clone Stamp tool, select an
area, and make a bridge for your other tools.
| | 02:13 | If you try to do the whole thing with
your Clone Stamp tool you'll probably end
| | 02:17 | up repeating yourself too much,
and that's not going to be a good fix.
| | 02:20 | Let's just do a couple quick bridges here.
| | 02:25 | Try not to make your area that
you're making your bridge in too large.
| | 02:31 | Again, it's not a good idea
to go in too large an area.
| | 02:34 | Get your Patch tool, select the
area, and bring it up, and that's a much
| | 02:43 | better way to fix it. And you can go back and
fix any little smudges that occur this way.
| | 02:50 | Larger rips and tears take more
patience and care than the small ones,
| | 02:54 | especially when they happen in
detailed inconvenient areas. But attention to
| | 02:59 | the surrounding areas and
details can make the job easier.
| | 03:02 | Take your time, take breaks as needed,
and whittle away at the large areas to
| | 03:07 | make the big stuff smaller.
| | Collapse this transcript |
| Removing long scratches| 00:00 | There are scratches on an image,
and then there are scratches that go on
| | 00:03 | forever through an image.
| | 00:05 | Especially when they're through highly
detailed areas, like patterns or eyes, the
| | 00:10 | repair can be pretty detailed.
| | 00:12 | First thing you need to do with your
image before working on any of them is
| | 00:17 | duplicate it by using Ctrl+J,
Command+J. That way you'll always have your
| | 00:25 | original image to go back and
see how your work is faring.
| | 00:29 | This is a great public-domain
image from the Library of Congress
| | 00:32 | photographic collection.
| | 00:34 | You can see that this large scratch--
I am going to zoom out just a little bit
| | 00:38 | here so you can see the whole thing--
| | 00:39 | this scratch starts on one end and goes
through into this patterned area on the vest.
| | 00:47 | Let's zoom back in with Ctrl+Plus
or Command+Plus to about 200%.
| | 00:54 | This kind of detailed damage,
especially right over here on the vest, is a good
| | 00:58 | fit for the Patch tool.
| | 01:01 | Unlike a large rip that has a lot of
white space, we can just take a small space--
| | 01:06 | go over here and select the Patch tool--
take a small space through the pattern
| | 01:13 | and drag it down, keeping your lines aligned.
| | 01:18 | You can also do that here in this area
with the shadow, which is just a line on
| | 01:24 | the photograph after all, bring
it down, and that's a nice repair.
| | 01:30 | If you have Photoshop CS4 and before,
the Patch tool is probably your best bet
| | 01:35 | with this kind of work.
| | 01:36 | If you have Photoshop CS5, you can always
try the Content-Aware Spot Healing brush.
| | 01:41 | Let's go over to the toolbar again,
| | 01:44 | your Spot Healing Brush tool, and make sure
your Content-Aware radio button is ticked.
| | 01:52 | We're going to go through this
area right here. And just with the
| | 01:56 | Content-Aware you can drag it more
than you could with your regular Spot
| | 02:01 | Healing brush, which would smudge.
| | 02:03 | With this you can kind of drag it
through and it does a pretty good job.
| | 02:10 | Now if you have smudgy areas, like you
do right here from the dragging, you'll
| | 02:14 | want to go back over to your Patch tool
and do the same as we did before in the
| | 02:21 | pattern--drag it up, keeping
them aligned--to clean up the areas.
| | 02:28 | It's rare that you're going to
have one tool to do the whole job.
| | 02:33 | You're more than likely going to use
multiple tools--Patch, Healing brush, even
| | 02:39 | the Clone Stamp--and you're going to
clean up the areas if they don't do such a
| | 02:44 | good job with another tool.
| | 02:47 | Working with multiple tools is
always going to be your best bet.
| | 02:52 | On edges like this, that's where your
Clone Stamp tool can come in very handy.
| | 02:58 | Use your Alt or Option, select the
area, and you can clean up that edge and
| | 03:04 | make it nice and sharp.
| | 03:06 | Large areas of damage can
require smaller detailed repairs.
| | 03:11 | If you start trying to work fast and
repair large areas at a time, the results
| | 03:16 | can be smudged and nothing like
you want your work to look like.
| | 03:19 | A little bit of time and a lot of
patience will all pay off in the end.
| | Collapse this transcript |
| Fixing creases| 00:00 | Unless a photo is stored in a very
secure way, laying flat in an archival
| | 00:04 | folder or box, and has been treated
very carefully its whole life, creases can,
| | 00:09 | and often will, happen.
| | 00:12 | Our mission is to repair them so no
one would ever know they had anything but
| | 00:15 | the best storage facility.
| | 00:17 | First thing you'll want to do on your
image is duplicate the original layer:
| | 00:22 | Command+J on a Mac, Ctrl+J on a PC. One thing that'll
make your life easier in a situation where,
| | 00:30 | like this, you have some major
discoloration in areas, like this very yellow
| | 00:35 | streak, is to use a Black & White
adjustment filter to bring out a channel
| | 00:39 | where the discoloration could be less evident.
| | 00:42 | Go to the bottom of the Layers panel
and select the Create a New Fill or
| | 00:47 | Adjustment Layer button
and choose Black & White.
| | 00:50 | Start by going through the channels to
see in which one the dark streak is less,
| | 00:55 | and in this case it's in the Red channel.
| | 00:57 | Ctrl+E or Command+E to add the
adjustment to the layer below.
| | 01:04 | This will now be your working
layer over your original layer.
| | 01:07 | You can add a little color tone back in
later and probably something a lot more
| | 01:12 | attractive than that yellow cast.
| | 01:14 | Now let's select the Zoom
tool and zoom in on the crease.
| | 01:18 | The trick with creases is that usually
one side is a different tone than the
| | 01:23 | other, due to the light from the
scanner catching on the bend of the photo.
| | 01:27 | You need to blend them
together for a seamless look.
| | 01:30 | Especially in an open area, like the sky for
instance, I'd recommend using the Patch tool.
| | 01:36 | Let's go over and select that from the
toolbar and then select an area of the
| | 01:42 | sky and drag it to one side or the other.
| | 01:47 | Just by dragging we've blended
those areas in just a bit.
| | 01:51 | Let's go get another and move it to the
other area, and again that's a pretty good blend.
| | 01:59 | But what you'll want to do is after
you're done with a pretty good space, select
| | 02:04 | the area again that you've gone over
and then bring it over for a better blend.
| | 02:10 | When you get into the areas that
are more detailed then you may need to
| | 02:14 | change your tools up.
| | 02:15 | I am going to zoom in a little closer
with the Zoom tool and go to this area at the
| | 02:20 | very top of the head.
| | 02:22 | This isn't going to be a good
candidate for the Patch tool because it curves.
| | 02:28 | You can either use the Healing brush,
the Clone Stamp tool, or the Content-Aware
| | 02:33 | Spot Healing brush in CS5--or
more likely, a combination of tools.
| | 02:38 | I am going to start off with a quick
pass of the Content-Aware Spot Healing
| | 02:43 | brush by going to the toolbar, Spot
Healing brush, making sure Content-Aware is
| | 02:48 | checked, and then just go through a quick pass.
| | 02:53 | You see that followed the
contours of the head pretty well.
| | 02:58 | If I want to clean that up, I can go down
to the Clone Stamp tool. You can adjust
| | 03:04 | the brush size with your
open and close bracket tools.
| | 03:08 | Don't use an overly large brush.
| | 03:10 | Hold down Alt or Option, select an area, and
| | 03:15 | you can clean that up just a bit.
| | 03:18 | If you have a jagged area that there is
a noticeable difference between the two,
| | 03:23 | say this little area right here--I
am going to zoom in a little closer--
| | 03:27 | this area right here looks a little jagged,
| | 03:29 | you can always go down to your Blur tool,
lower your brush size--don't want it
| | 03:35 | too big--and go over there,
and that blends in those jagged areas.
| | 03:42 | Once you get your very detailed areas
finished, you can go back and grab your
| | 03:46 | Patch tool and continue down the crease.
| | 03:53 | Switch to other tools as you need, or want.
| | 03:55 | It's always better to use multiple tools;
| | 03:58 | it's very rare that one tool is
going to work through the whole image.
| | 04:03 | Let's zoom back out and look at a quick
before and after to see how that crease is looking.
| | 04:09 | That's a pretty good blend.
| | 04:11 | Now if you want that color back, or any
color at all, you can simply go in, bring
| | 04:17 | your original up, sample a color, have a
new blank layer on top, fill it in with
| | 04:27 | Alt+Backspace or Option+Delete
for your foreground color,
| | 04:31 | go in and change your layer Blend
mode, scroll through them to see which
| | 04:35 | might work best for you.
| | 04:37 | In this case Overlay does a pretty good job.
| | 04:40 | Bring down the Opacity a little if
you'd like, just to bring some color back in
| | 04:45 | from the black-and-white. And you just
continue along your whole crease until
| | 04:51 | you get it all fixed.
| | 04:53 | When creases go through the entire
photo, and through detailed areas in
| | 04:56 | particular, they need to be worked on
close up, with many different tools and
| | 05:00 | adjustments to get the best result.
| | 05:02 | With a little work and care, one would
be hard pressed to know there was ever a
| | 05:06 | mark there to begin with.
| | Collapse this transcript |
| Stitching large photos using Photomerge| 00:00 | There will come a time when you have a
photo that's just too big for your scanner.
| | 00:04 | The only thing for it is to scan it in
pieces--sometimes just a couple of pieces
| | 00:09 | and sometimes many more.
| | 00:10 | That could present a problem if you had
no easy way to piece them back together,
| | 00:14 | especially if your only option was to
put them together with just your mouse and
| | 00:18 | your eye to guide you.
| | 00:19 | Luckily, that's not the case,
| | 00:21 | for inside Photoshop is a very
powerful, highly-accurate photo-stitching
| | 00:25 | tool called Photomerge.
| | 00:28 | Open all your scans in Photoshop, or
have them all in the same folders.
| | 00:32 | If all the scans aren't facing the
same direction, Photomerge will flip
| | 00:35 | the images for you.
| | 00:37 | With all your images open, go to
File > Automate and then all the way to the
| | 00:43 | bottom, where you'll find Photomerge.
| | 00:46 | If your images are all in a folder, you
can go up to Browse, or if they're open,
| | 00:52 | click Add Open Files.
| | 00:54 | Keep your Blend Images Together box checked.
| | 00:57 | This program does a really good job of
blending and will save you a lot of time.
| | 01:02 | I pretty much always check the
Correct Geometric Distortion box.
| | 01:07 | This setting is actually meant for photos
taken with an extreme wide-angle or fisheye lens.
| | 01:12 | The trouble there, you see, is I'm not a
photographer, so I can't always tell, and
| | 01:17 | I can't go back in time to see what was used.
| | 01:20 | Since it does no harm to the photo to
have it checked and it won't correct
| | 01:24 | something that's not there in the first place,
| | 01:26 | I just go ahead and check it.
| | 01:28 | Over here under Layout I just usually
leave the Auto button ticked and click OK.
| | 01:33 | And now Photomerge is doing the work
for me to put these photos all together.
| | 01:41 | You can see Photomerge is doing its work
editing the pieces together and blending them.
| | 01:46 | It's fully automated, so if you have a
huge photograph with many pieces, you can
| | 01:50 | get up, walk around, get a drink,
do some other work, or whatever.
| | 01:54 | So now that Photomerge is done, you can
see the four pieces of the image have
| | 01:59 | been merged together.
| | 02:00 | We'll zoom in and have a look at the result.
| | 02:03 | Using Ctrl+Plus or Command+Plus,
zoom it into around 100%.
| | 02:13 | In most cases you won't ever
know this was stitched together.
| | 02:17 | In the rare instance, you see a line
or a tonal variation marking a seam,
| | 02:21 | simply treated like part of the
restoration work and use the Clone, Patch, or
| | 02:26 | other tools to disguise it.
| | 02:28 | All of your pieces will be on separate
layers along with the masks Photomerge
| | 02:32 | added to blend them.
| | 02:34 | Select the layer at the top and
then Shift+Ctrl+Alt+E on a PC or
| | 02:40 | Shift+Command+Option+E on a Mac to
combine all of the layers into one.
| | 02:46 | You can then delete the layers underneath.
| | 02:48 | You still have all the individual
scans in their separate files, so you don't
| | 02:53 | really need them anymore.
| | 02:55 | Scanning large photos in multiple
pieces, then putting them back together in
| | 02:59 | Photoshop is a breeze with Photomerge.
| | 03:02 | The only thing you need to do in terms
of preparation is to make sure you have
| | 03:06 | plenty of overlap between scans.
| | 03:09 | If you have too little, Photomerge won't work.
| | 03:12 | So be sure to overlap your scans by
at least 25% for the best results.
| | Collapse this transcript |
| Reassembling torn photos| 00:00 | Stuff happens, and sometimes bad stuff
happens to good photographs--things like
| | 00:05 | them getting ripped and torn into pieces.
| | 00:08 | If you're lucky enough to have all the
pieces and luckier still to have them in
| | 00:12 | separate pieces and not taped together by
some well-meaning ancestor, it's not as
| | 00:17 | hard as you think to put
them back together digitally.
| | 00:20 | If you're able to scan the pieces
yourself, lay them out in the general order in
| | 00:25 | which they belong, with
plenty of space in between pieces.
| | 00:29 | Duplicate the original layer using
Ctrl+J on a PC, Command+J on a Mac.
| | 00:35 | Now move over to your toolbar and
select your Magic Wand tool, and in the
| | 00:40 | Duplicate layer, click on the
background space, the white space.
| | 00:44 | Now use Ctrl+X or Command+X to delete.
| | 00:49 | Hide the visibility of the background
layer, and there's all your transparency.
| | 00:54 | Now we need to get the
separate layers into their own layers.
| | 00:58 | In the toolbar, select the Lasso tool and
draw a selection around one of the pieces.
| | 01:09 | Once you have it selected, use Ctrl+J
or Command+J, put it on its own layer.
| | 01:16 | When you do your next piece, be sure to
go back to the duplicate layer where all
| | 01:21 | the pieces are and not on the layer
where you just put that other piece on, and
| | 01:25 | select another piece.
| | 01:28 | Try to get a good distance away, but if
you do have a space here that goes into
| | 01:36 | the image, simply hold down your
Shift key and select the area again.
| | 01:43 | It's going in there, and it'll open it up.
| | 01:46 | Now hit Ctrl+J or Command+J
to put it on its own layer.
| | 01:50 | Continue to put all the pieces on
their own layer, but for time's sake we
| | 01:54 | are going to jump ahead and see
what all these pieces look like once
| | 01:57 | they're on their own layer.
| | 01:59 | Now we have all the pieces on their own layer.
| | 02:02 | If we make some of these invisible, you can
see how each one is on its own layer now.
| | 02:09 | Now you want to take your largest piece
and move it to the top of the layer stack.
| | 02:15 | This will be our main layer and most of
the pieces are going to slide under it.
| | 02:19 | With your Move tool selected, make
sure your Auto-Select check box is checked
| | 02:24 | here at the top and click
on one of the smaller pieces.
| | 02:28 | We want to move this over in its
general area, either with your mouse or with
| | 02:35 | the arrow keys, and just try to
get it in its general position.
| | 02:43 | Continue with the pieces and if you
run into a spot where the edges aren't
| | 02:52 | lining up as they should, use Ctrl+T
or Command+T to transform and just move
| | 03:02 | it around. Again, use your arrow keys,
or your mouse and rotate it as you need
| | 03:08 | to to get a good fix.
| | 03:12 | In this case these shadows here,
| | 03:13 | it's a good indicator of where you
need to be to align it the correct way.
| | 03:21 | And once you're through with that,
you can hit Enter to accept your change.
| | 03:26 | It's all right if there's a small
gap and it doesn't line up perfectly.
| | 03:30 | It's more important to make
sure that it aligns on the edges.
| | 03:35 | You can take care of this gap
later using your Healing tools.
| | 03:39 | Continue putting all your pieces in
their areas, in their general area, and line
| | 03:43 | them up as best you can.
| | 03:45 | Now we have all the pieces where they should be.
| | 03:47 | Select the topmost layer and use
keyboard shortcut Shift+Ctrl+Alt+E on a PC or
| | 03:53 | Shift+Command+Option+E on a Mac to
put all the pieces on a combined layer.
| | 03:58 | If you're certain all the pieces are
exactly where you want them, you could
| | 04:02 | delete all your individual layers now.
| | 04:04 | If not, it's better to be safe than
sorry and leave them where they are.
| | 04:08 | Now continue on with all these cracks
as if they are a regular restoration and
| | 04:14 | these are creases and rips, and you go
over to your, say, for instance, your Patch
| | 04:20 | tool and you begin working on that
just as you would, a normal rip or tear.
| | 04:28 | And you have all of them taken care of.
| | 04:30 | So now let's see what this will
look like after you've spent the time
| | 04:34 | repairing the rips.
| | 04:35 | With a little care and making sure you
get everything aligned, you can see how
| | 04:40 | this looks like it never
had a rip in it to begin with.
| | 04:44 | Even though a photograph that's been
torn into pieces may look like a lost cause,
| | 04:48 | that's rarely the case, as long as
all of the pieces are still there.
| | 04:52 | With time, patience, and practice
you can put a photo back together.
| | Collapse this transcript |
| Replacing missing pieces| 00:00 | Sometimes pieces of a photo fall off and get lost.
| | 00:04 | Usually when the photo is old and
brittle, or is bent or has creases, it can
| | 00:08 | lead to areas, mostly the corners, tearing off.
| | 00:12 | If you're really lucky, it happens in a
corner that holds nothing but the faded-
| | 00:16 | out sky, so it's a snap to fix.
| | 00:19 | If the area has anything at all in it,
like trees for instance, it could be a
| | 00:23 | little more difficult to fix,
but still entirely doable.
| | 00:27 | First thing you want to do is
duplicate the background layer, Ctrl+J on a
| | 00:32 | PC Command+J on a Mac.
| | 00:35 | The first thing we are going
to use is the Clone Stamp tool.
| | 00:38 | With the Clone Stamp, you can either
add a blank new layer by going to Create
| | 00:44 | a new layer icon at the bottom and clicking
on it, or you can work on the layer itself.
| | 00:49 | In this case we'll work on the layer
itself, but if you do work on a new blank
| | 00:53 | layer, be sure when you select your
Clone Stamp tool that you go up here to this
| | 00:59 | dropdown box and select Current & Below,
| | 01:03 | because if you don't it
won't pick up the bottom layers.
| | 01:06 | We'll work on the duplicate
layer, so we'll reselect that.
| | 01:10 | With your Clone Stamp tool selected,
hold down Alt or Option to pick an area to
| | 01:15 | sample from to begin cloning.
| | 01:17 | Don't pick an area too close to where
you are cloning, like right in here, or
| | 01:23 | you're going to get obvious
repetition. And change your sample area often.
| | 01:30 | Go back over areas that don't look
right or that have obvious repetition.
| | 01:35 | You can't use the Patch tool on areas
like this that don't have any pixels at
| | 01:40 | all, such as Transparency or this
large white area, because if you do, you're
| | 01:45 | going to get a smudge from that area.
| | 01:48 | Let's change to the Patch tool and
select an area that goes into the white area
| | 01:54 | and drag it down, and you
can see how it's smudged.
| | 01:58 | We're going to undo that with Ctrl+Z or
Command+Z and deselect using Ctrl+D or
| | 02:04 | Command+D. If you have Photoshop CS5, you can
give Content-Aware Fill a try to see out works out.
| | 02:10 | To use your Patch tool or any
selection tool, you can select an area--
| | 02:16 | we'll start off with this smaller area
on the corner--go up to Edit > Fill >
| | 02:23 | Content Aware, and click OK.
| | 02:26 | And just like that, it's filled in.
| | 02:29 | You see, there is a little smudgy area
here and if there is, you can just use
| | 02:34 | your Patch tool and bring
it down for a better blend.
| | 02:37 | You can do that as many times as you need to.
| | 02:43 | Let's try another area down here with
Content Aware, a bigger area this time.
| | 02:51 | Edit > Fill > Content Aware. Click OK.
| | 02:56 | Now you'll see this got the area of the
foot over here and to take care of that,
| | 03:03 | just select it, and you can either bring
it over--although in this case there's
| | 03:08 | going to be this white, so the Patch
tool won't work so good--or you can go up
| | 03:12 | to Edit, once again, Fill > Content Aware, and OK.
| | 03:19 | That filled that in nicely.
| | 03:22 | You can get rid of the white areas on the
side the same way: Edit > Fill > Content Aware.
| | 03:31 | Now let's just do this one very
large area to see how that works for us.
| | 03:36 | You can again either go to Edit >
Fill > Content Aware, or you can Shift+F5 to
| | 03:44 | bring up the dialog box. Click OK.
| | 03:51 | And that filled that in very nicely.
And again, if you get these blurred areas,
| | 03:56 | just use your Patch tool to blend.
| | 03:58 | Even when pieces of an image go
missing, there are ways to get them back.
| | 04:02 | Missing corners are especially easy,
because there are often areas to sample from
| | 04:07 | to reconstruct them.
| | 04:09 | The pitfalls in doing this kind of sampling
are the ever-present dangers of over-cloning,
| | 04:14 | when areas are repeated over and over
within a small area, but just a little
| | 04:18 | attention to detail can
prevent that from happening.
| | Collapse this transcript |
|
|
4. Fixing Stains, Mold Spots, and Other ProblemsRemoving stains| 00:00 | There are a lot of reasons why a
photograph might have stains, but our main
| | 00:04 | concern is getting rid of them.
| | 00:06 | I am going to show you one way to do that.
| | 00:09 | Some stains are going to be easier
than others. Take this one for instance.
| | 00:13 | It has a number of things going for it.
| | 00:16 | One, it's in a rather
unimportant area of the image.
| | 00:18 | There is no detail under the stain, in other
words; it's not over someone's face or something.
| | 00:24 | Two, if you go to the Create a new fill
or Adjustment layer icon at the bottom
| | 00:29 | of the Layers panel and select Black
& White adjustment, you can see, while
| | 00:33 | scrolling through, especially in the
light filters, like High Contrast Red, the
| | 00:38 | stain is greatly diminished.
| | 00:40 | You may not be able to scroll through on a
Mac, but you can select each one individually.
| | 00:45 | Let's select the High Contrast Red
and go back to the Create a new fill or
| | 00:49 | Adjustment layer icon.
| | 00:51 | This time we'll select Curves.
| | 00:55 | Bring the center of the histogram up
towards the upper left-hand corner.
| | 00:58 | This lightens the whole image.
| | 01:02 | Make sure the foreground and
background colors are set to the default Black &
| | 01:05 | White. And if you need to, invert them,
with the black being the background color.
| | 01:11 | Hold down Ctrl+Backspace or Command+Backspace
on your keyboard to invert the
| | 01:15 | Curves adjustment mask.
| | 01:17 | The lighten curves adjustment is now hidden.
| | 01:20 | Go over to your toolbar and
select the Brush tool and paint in the
| | 01:24 | remaining area of the stain.
| | 01:26 | You can adjust the size of your brush
using the open and close bracket key.
| | 01:32 | You can use a fairly large
brush on an area like this;
| | 01:35 | you don't have to worry
too much about the detail.
| | 01:37 | I am going to go back over to the
toolbar and select the Zoom tool.
| | 01:42 | We are going to zoom in
on the area of the stain.
| | 01:46 | I am going to go back out a little bit
using the Ctrl+Minus or Command+Minus key so we
| | 01:53 | can see the whole stain.
| | 01:54 | Next we are going up to Filter >
Blur > Gaussian Blur, and we are going to blur
| | 02:02 | and soften the edges of this.
| | 02:03 | You can go up pretty far
on this. It doesn't matter.
| | 02:07 | You are not getting a
great amount of detail there.
| | 02:09 | You just want to blend it in really well.
| | 02:12 | Keep it at around 20 pixels or so,
and click OK. And now you can go and adjust
| | 02:20 | the opacity of the curves layer to
blend it in just a little better with the
| | 02:26 | surrounding area. Let's bring it up to about 80%.
| | 02:32 | There's still a ring around the
stain, so we need to blend that.
| | 02:36 | First thing you want to do is use
keyboard shortcut Shift+Ctrl+Alt+E on a PC,
| | 02:42 | Shift+Command+Option+E on a Mac, to
combine the layers. Then go over to the
| | 02:48 | toolbar, select the Patch tool.
| | 02:51 | Make a selection around an area at the edge
of the stain and bring it over into a clean area.
| | 03:04 | Either way, it doesn't matter;
| | 03:06 | we are just trying to blend in these areas.
| | 03:08 | Let's do a couple more.
| | 03:11 | You can get rid of your creases or
whatever at the same time if you need to.
| | 03:15 | Let's do another little area here. And we see
| | 03:25 | we have a nice blend between areas.
| | 03:31 | Stains on old photos come in all shapes
and sizes and colors and are caused by
| | 03:36 | many different things.
| | 03:38 | The tools and methods can differ
depending on the size and placement of the
| | 03:41 | stains, but sometimes something as
simple as a Black & White or a Curves
| | 03:45 | adjustment can do the trick.
| | Collapse this transcript |
| Removing ink marks| 00:00 | How easy it's going to be to
digitally remove ink from an image depends on a
| | 00:04 | couple of things: Was the image
scanned in color, and what color is the ink?
| | 00:09 | If it was scanned in color and the ink
is in a tone of red, blue, or green, then
| | 00:14 | you may be able to use a
Black & White adjustment.
| | 00:16 | Let's see how that works.
| | 00:18 | Here is an image with four colors of ink.
| | 00:20 | Go to the Create a New Fill or
Adjustment layer icon and select Black & White.
| | 00:25 | We are going to go through the
filters that are mimicking the channels, the
| | 00:29 | Blue, the Green and the Red filters.
| | 00:33 | With the Blue filter check, you will
notice the blue ink has gotten lighter.
| | 00:36 | Let's go to the Green filter and the
green ink gets lighter; and the Red filter,
| | 00:44 | and the red ink gets lighter.
But also notice the black ink never changes.
| | 00:49 | Let's move to a second image
now, one that has black ink.
| | 00:53 | We are going to have to do a little
bit of a different method of removal than
| | 00:57 | the Black & White adjustment.
| | 00:59 | The first thing we are going to do is
duplicate the original layer using Ctrl+J on a
| | 01:04 | PC, Command+J on a Mac.
| | 01:08 | The ink in this photo happens to be in a
very convenient place, as far as that goes.
| | 01:13 | For the first one we're going to
select the Patch tool. We are going to
| | 01:17 | draw a selection around one of the names,
and we're going to move it over to a different area.
| | 01:24 | Well, that that got rid of the ink.
| | 01:27 | We have a repeat here that we have to
take care of, and that's easy enough: just
| | 01:31 | move it up, and the ink is gone.
| | 01:39 | What about ink that's not a color and
it isn't in such a convenient place?
| | 01:43 | Well, you may have to move to another tool.
| | 01:46 | Let's move to the Clone Stamp tool.
| | 01:49 | Use Alt or Option to select an
area and start painting out the ink.
| | 01:57 | You may have to go over it a few times
to get rid of repeats, but all in all, we
| | 02:02 | have a really good repair.
| | 02:06 | Take your time and get all the
pieces gone, and people may not even know
| | 02:13 | there was ever ink there.
| | 02:15 | Right or wrong, our ancestors
sometimes wrote on photographs.
| | 02:19 | Sometimes it's easier to remove than
others, and other times it's a real challenge.
| | 02:24 | As with all restoration, take your time,
work on small areas, and have patience.
| | 02:30 | Pretty soon it'll be like you had a
digital eraser to wipe it all clean.
| | Collapse this transcript |
| Repairing adhesive tape damage on a black-and-white photo| 00:00 | Our ancestors loved tape.
| | 00:02 | Ever since the first sticky tape was
sold to customers in 1930, people were
| | 00:06 | using it to repair the rips and
cracks in their photographs, resulting in a
| | 00:10 | yellow, peeling, flaking
discoloration on our images.
| | 00:14 | Fixing the problem in an old
image can be easier than you think.
| | 00:17 | The first thing we need to do is
duplicate the original layer using Ctrl+J on a
| | 00:22 | PC, Command+J on a Mac.
| | 00:26 | Go to the bottom of the Layers panel
and select the half-black, half-white
| | 00:30 | circle, which is to Create a New
Fill or Adjustment layer button and
| | 00:34 | select Black & White.
| | 00:36 | Go through the Presets to see which
one evens out the tones between the tape
| | 00:40 | and the image the best.
| | 00:42 | On a Mac, you may have to
select each preset on its own.
| | 00:46 | The lighter tones will probably work best,
since the tape is darker than the image.
| | 00:50 | In this case I think the High
Contrast Red Filter does a good job.
| | 00:54 | Now you're just left with lines to repair,
instead of a wide band of discoloration.
| | 01:00 | To begin repairing this discoloration,
we need to combine all our layers using
| | 01:04 | Shift+Ctrl+Alt+E on a PC,
Shift+Command+Option+E on a Mac.
| | 01:11 | Now go over to your toolbar and
select one of the Spot Healing tools:
| | 01:16 | the Spot Healing brush, Patch,
or Content Aware Healing brush.
| | 01:20 | We'll begin using the Patch tool.
| | 01:22 | Now zoom in using Ctrl+Plus or Command+Plus
and select an area to begin your repair.
| | 01:33 | Work in small pieces so as not to leave
smudges and change the tools as often as you need to.
| | 01:39 | Some tools work better
in some areas than others.
| | 01:45 | Let's move to our Spot Healing Brush tool.
| | 01:49 | If you have Photoshop CS5, you can
use the Content Aware, as I am here.
| | 01:55 | If you have an earlier version, use
Proximity Match. And again, work in small pieces.
| | 02:05 | You can continue working with the
Healing tools until all the damage is
| | 02:08 | repaired, but as you can see, fixing
tape damage isn't as intimidating as
| | 02:13 | you might think.
| | Collapse this transcript |
| Repairing adhesive tape damage on a color photo| 00:00 | Repairing tape damage in a color
photo can present different challenges
| | 00:03 | because of the colors.
| | 00:05 | Let's take a look at this image of a car.
| | 00:07 | We need to get rid of this very obvious,
very yellow piece of tape right through
| | 00:11 | the main part of the image, which is the car.
| | 00:14 | The first thing you'll want to do is
duplicate your background layer using
| | 00:18 | Ctrl+J on a PC, Command+J on a Mac.
| | 00:22 | Go over to your toolbar and
select your Polygonal Lasso tool.
| | 00:26 | Start at the top of one side of the
tape and click and bring it down to select
| | 00:33 | the whole piece of tape.
| | 00:34 | Get as close as you can to the edges.
| | 00:37 | It's okay if you go a little over; just
get as close as you can. And now we want
| | 00:44 | to put it on its own layer using Ctrl+J
or Command+J. We are going to reselect
| | 00:50 | that selection that we just put on
its own layer by holding down Ctrl, or
| | 00:54 | Command, putting your cursor over
the thumbnail itself, and clicking.
| | 00:59 | Now we are going over to the toolbar
again and selecting the Eyedropper tool,
| | 01:04 | and we're going to select a color in
the tape and then use Alt+Backspace, or
| | 01:09 | Option+Delete to fill that
selection. Ctrl+D or Command+D will deselect.
| | 01:16 | Now go to Image > Adjustments >
Invert and over to your Layer Blend Mode menu,
| | 01:25 | and select Soft Light.
| | 01:26 | Now we are going to lower the opacity
a little and see if we can get a little
| | 01:30 | better match here with our colors,
but it's going to look more faded than your photo.
| | 01:37 | That's just going to be natural. We're
going to bring that back here in a second.
| | 01:42 | I put it down to around 80%, and that'll work.
| | 01:45 | Now we're going to combine it with the
layer below using Ctrl+E or Command+E and
| | 01:52 | make a new blank layer above it
using your Create a new layer icon.
| | 01:56 | We are going to go back over to our
Eyedropper tool, which is still selected
| | 02:00 | from the last time, and select an area
in this general area around the tape.
| | 02:06 | We're going to paint in some color
now to help it match a little better.
| | 02:10 | Get your Brush tool.
| | 02:12 | You can adjust your brush size with your open
and close bracket keys. Keep it a little close--
| | 02:18 | we selected it over here--and
just start painting in an area.
| | 02:26 | Just to get started, go over to your
Layer Blend modes and select Color, and you
| | 02:33 | can see now where this is going to
match and where this isn't going to match.
| | 02:37 | So you will be going back over to your
eyedropper and selecting other colors,
| | 02:42 | back to your Brush tool and paint in
other areas to help you get those colors
| | 02:50 | back again. Back and forth
with your eyedropper--
| | 02:55 | there's a lot of colors; you will be doing that
quite often--and then to your brush until you get
| | 03:01 | some decent matches.
| | 03:04 | You don't want to do the tape all in one color.
| | 03:06 | These are obviously different colors.
| | 03:08 | We're trying to blend this in.
| | 03:10 | Let's do one more area, say the
hood of the car, which is fairly light.
| | 03:15 | It shouldn't be too hard to match, I hope;
it just lightens it up a little bit maybe.
| | 03:22 | Okay, this is addictive.
| | 03:23 | Let's do just one more.
| | 03:24 | It's always what it is, isn't it?
just one more. And this isn't dramatic.
| | 03:29 | It's very, very subtle.
| | 03:30 | It's just to help fool your eye
that maybe it's not quite so obvious.
| | 03:36 | Then something else you can try on
top of this is go down to your Create a
| | 03:41 | new filler adjustment layer, hit the
Curves adjustment, maybe bring up the
| | 03:47 | lightness here, bringing your
histogram toward your top-left corner, okay, and
| | 03:52 | then invert your mask, Ctrl+I or Command+I,
and again your Brush tool is selected.
| | 03:59 | I can go here, and that
brightens things up just a bit also.
| | 04:05 | So our tape is looking more and more
like the rest of the image, getting a
| | 04:10 | little color back in there.
| | 04:15 | That may be too light right there.
It could be better on these lighter areas
| | 04:19 | and if that's the case, invert your
foreground and background colors, paint back
| | 04:25 | over, and paint that out--a little
bit of a painting lesson here.
| | 04:33 | Then to see how this is all going to
match, if it's going to be really well, go
| | 04:37 | up Filter > Blur > Gaussian Blur and
just soften the edges a bit, so you don't
| | 04:44 | see any really specific edges. Click OK.
Then when you get all your painting
| | 04:50 | in and you still have these edges that
you'd like to get a little more blended,
| | 04:56 | you can go to your top layer,
use Shift+Ctrl+Alt+E on a PC,
| | 05:01 | Shift+Command+Option+E on a Mac, make a
new layer of the combination of all the
| | 05:07 | layers, select your Patch tool, and then
you can blend in the edges of that tape
| | 05:21 | a little better. And get this crease
that's in the middle, bring that over, and
| | 05:31 | the edges, and so on, until you're
through with the entire piece of tape.
| | 05:36 | Just to see the difference, let's hit
before and after. It still might not be 100%
| | 05:44 | perfect, but you have to
admit it's a lot better.
| | 05:48 | The method of tape-damage repair is
different in black-and-white and color
| | 05:51 | photos, but repair is almost always possible.
| | 05:54 | It may not look 100% perfect, but if
you practice your skills, it can look
| | 05:59 | close to perfect.
| | Collapse this transcript |
| Fixing mold damage| 00:00 | Mold on an image when digitized will
just look like a stain, and that's how you
| | 00:05 | will tackle it--like you would any other stain.
| | 00:08 | Just a quick word of caution about
mold on a photograph: inactive mold on an
| | 00:11 | original is usually powdery and dry,
but the right amount of humidity can cause
| | 00:16 | it to become active again.
| | 00:17 | For the safety of all your other
photographs, keep the original quarantined in
| | 00:21 | its own archival container, and be sure
to thoroughly clean the scanner bed and
| | 00:26 | allow it to completely dry
before scanning any other photographs.
| | 00:30 | Let's have a look at this
photograph with mold on it.
| | 00:32 | You can see this mold is a dark brown
with a light ring around it. And we're
| | 00:37 | going to try first a Black & White
adjustment to see if we can reduce the
| | 00:41 | appearance of that mold.
| | 00:43 | Go down to the bottom of your Layers
panel and select the Create a new fill or
| | 00:48 | Adjustment layer icon, the black-
white guard here, and select Black & White.
| | 00:53 | Now go up to your Presets.
| | 00:55 | We are going to scroll through to see
if any help the appearance of the mold.
| | 00:59 | You can scroll through on a PC using
your downward arrow key, and on a Mac you
| | 01:03 | will need to select them individually.
| | 01:05 | We'll just see if any of these lessen
the appearance. And I'm actually just right
| | 01:13 | offhand liking the look
more of the Green filter.
| | 01:17 | It lightens the image overall,
but you can go back and darken it up later.
| | 01:21 | We're just concerned with the
appearance of the mold at this point.
| | 01:24 | Now we are going to use some healing
tools that require a layer with pixels,
| | 01:29 | an actual image layer.
| | 01:31 | So we're going to go back
down to our layers stack.
| | 01:34 | We're going to use the keyboard
shortcut Shift+Ctrl+Alt+E on a PC,
| | 01:39 | Shift+Command+Option+E on a Mac, to
combine those layers, and we're going to go
| | 01:44 | back over to our toolbar
and begin with the Patch tool.
| | 01:48 | I might want to zoom in, Ctrl+Plus or
Command+Plus, just to get a little better
| | 01:55 | look at these areas, and start by
selecting the damaged area and pulling it up.
| | 02:05 | This is fairly easy.
| | 02:06 | It's in a non-detailed area,
| | 02:13 | so it's not going to really have
any problems using the Patch tool.
| | 02:18 | When you get into a slightly more
detailed area just make smaller selections.
| | 02:26 | And keep going in the general direction, such as--
this will have a shadow right here at her arm.
| | 02:32 | You want to bring it up or down following
that shadow and so on, until all the mold is gone.
| | 02:43 | The Black & White adjustment just
made this a little easier because the
| | 02:47 | tones are more similar.
| | 02:49 | If you kept the color image or the
toned image, it might have been a little
| | 02:54 | harder to find areas to sample from.
| | 02:57 | If you want to go back to the original
tone, I demonstrate how to do this in the
| | 03:00 | video "Tinting a black-and-white photo."
| | 03:03 | Now let's have a quick look at a
different kind of photograph, a different stain.
| | 03:07 | This is just on the sky here, and it's
just more of a spread stain than the
| | 03:13 | little circles. And in this,
you can try to lighten the stain--
| | 03:18 | one way is with the Curves adjustment.
Another thing you can try is to go down to
| | 03:23 | your Layers panel and add a new blank
layer, change your Layer Blend mode to
| | 03:28 | Soft Light, go over and select a Brush
tool, make sure your foreground color is
| | 03:36 | white--and you can lower your brush
size or make it bigger with your open and
| | 03:41 | close bracket keys--and begin
painting in the area of the stain.
| | 03:48 | See, it doesn't really affect the
light areas terribly bad because
| | 03:54 | they're already so light.
| | 03:56 | It just reduces the obvious stain a bit.
| | 04:00 | Be a little careful around your
detailed areas, the trees, the shrubs, but
| | 04:06 | this is a really good way to just
lighten the dark parts. I'm not going to be
| | 04:12 | terribly detailed here, for the sake of
time. But when you get this painted in
| | 04:17 | to your liking, go up to Filter > Blur >
Gaussian Blur. Just blur the edges of that a bit.
| | 04:26 | See over here how it's not quite so stark.
| | 04:33 | Bring it just up enough just
to blur the edges a little.
| | 04:37 | You can tell when you go too far because you
can see a lot of the stain through it again. That will work.
| | 04:44 | You can see that just lessened that stain
just a bit, and you can keep doing that
| | 04:48 | in layers until it blends really well
with the sky. And then you can take your
| | 04:53 | Patch tool, or your Clone
Stamp, and blend it in further.
| | 04:56 | Images like this may take a lot of work and a
lot of patience, or it may go really easily.
| | 05:02 | All you can hope for is some
improvement in some cases, not a complete
| | 05:06 | restoration. And like most old photos,
it will never look new, or sometimes not
| | 05:11 | even close to new, but with time and
patience, the photo can look better, and in
| | 05:16 | many cases you can get rid of
most, if not all, of the mold.
| | Collapse this transcript |
| Reducing starburst light glare| 00:00 | An unfortunate consequence of taking
photographs with the flash in front of a
| | 00:04 | reflective surface is glare.
| | 00:06 | A professional may learn how to
avoid that, but most of us aren't
| | 00:10 | professional photographers.
| | 00:11 | So what do you do if your
photos are a victim of lens glare?
| | 00:15 | Chances are you can't go back and take
the photo again, but there are things you
| | 00:19 | can do to lessen the
appearance of the glare in your images.
| | 00:22 | Begin by duplicating your original layer
using Ctrl+J on a PC, Command+J on a Mac.
| | 00:28 | When the light reflection has a
starburst like this, the first thing you want to
| | 00:33 | do is get rid of the spikes of light.
| | 00:35 | This will make the rest of the
healing process so much easier.
| | 00:39 | We'll start to repair by going
over to the toolbar and selecting the
| | 00:44 | Spot Healing Brush tool.
| | 00:46 | If you have Photoshop CS5, you have
Content Aware, but we're going to click
| | 00:51 | the Proximity Match, which is in CS4 and before,
and just begin going over the arms of the spike.
| | 00:58 | Use short strokes when you're using the
Spot Healing brush or you could get a
| | 01:05 | blur, a smudge. And just paint in the
areas to reduce those glare spikes.
| | 01:15 | You can also use your Clone Stamp tool.
| | 01:19 | Use Alt or Option to
select areas to source from.
| | 01:26 | This comes in especially handy when you have
an area like this that has a line through it.
| | 01:30 | You can get a nice clean edge.
| | 01:33 | Of course I'm not being as careful as
I normally would be, because of the time
| | 01:40 | constraints, but just take your
time and get a nice match in all areas.
| | 01:47 | You can also use your Patch tool, select
an area and then pull it over to another.
| | 01:59 | What we're trying to do here is make
this starburst into a circle and just
| | 02:13 | clean it up a little bit.
| | 02:17 | If you have CS5, give the Content-
Aware Spot Healing brush a try.
| | 02:28 | It's almost always going to do a
good job, and you can take longer the
| | 02:32 | sweeps with it than you can with your
standard Spot Healing brush set to Proximity Match.
| | 02:38 | The algorithms in CS5 do a good job of
sourcing the surrounding area. And there
| | 02:46 | again it's not perfect, but it
will do for this demonstration.
| | 02:51 | When you get all your spikes taken
care of, you can do one of two things.
| | 02:55 | You can either go to your Patch tool,
and select the now circle and you can
| | 03:01 | bring it up, and that does a fairly good job.
| | 03:04 | It will smudge probably a little here.
| | 03:07 | You can also make a selection around
the area, as close as you can, and then you
| | 03:15 | use your upward arrow key, or your
downward arrow key, depending on where the
| | 03:19 | clean area is in your image, and just
move it up until the area is fairly clean.
| | 03:25 | Put it on its own layer, Ctrl+J or
Command+J. Now change to your Move tool, use
| | 03:30 | your arrow keys to bring that portion
that you just selected down into the area
| | 03:35 | you selected from, and then blend in
that area using things like your Eraser
| | 03:41 | tool set to a 20% Opacity just
around the edges to lighten them.
| | 03:49 | You can also use a mask around this if you'd like.
| | 03:51 | This is just a quick way of doing this.
| | 03:56 | Select your Blur tool, soften the
edges, and then lower the opacity of the
| | 04:05 | selection to better blend into that area.
| | 04:08 | You can take it down pretty low. It just
darkens things up just a little bit. And
| | 04:17 | then you can take your layers and
combine them using Shift+Ctrl+Alt+E,
| | 04:24 | Shift+Command+Option+E on a Mac,
and then go over it again with this Patch tool,
| | 04:32 | just to blend the selection in with the
rest of the image, so you don't even know
| | 04:36 | it was there. And that can
give you a little better look.
| | 04:44 | Look at the original and your repair
job. And if you are a little more careful
| | 04:53 | with your repair work, you may
never even know that glare was there.
| | 04:58 | Starburst glare is a certain kind of
damage that you need to approach in a
| | 05:03 | different way by taking the arms of
the glare and making it into a circle to
| | 05:08 | make your whole repair job easier.
| | Collapse this transcript |
| Reducing eyeglass light glare| 00:00 | Eyeglass glare is a little different,
| | 00:02 | since glasses are transparent and you
need to reduce the glare while keeping the
| | 00:06 | transparent quality.
| | 00:07 | Begin by making a new blank layer
and then go to the toolbar and select
| | 00:12 | the Clone Stamp tool.
| | 00:14 | Zoom in the area you'd like to repair,
either using your Ctrl+Plus or Command+Plus
| | 00:20 | or by using the Zoom tool.
| | 00:22 | Go back and get our Clone Stamp and then hold
down your Alt or Option key to select areas.
| | 00:31 | You can make your brush bigger or
smaller using your open and close bracket keys.
| | 00:37 | You want to make it big enough so it's
not just taking itty-bitty pieces, but
| | 00:41 | big enough to get a good area.
| | 00:44 | If it's too small, you
could be doing this forever.
| | 00:48 | Grab areas from both
sides and meet in the middle.
| | 00:51 | Try to keep them fairly close in tone.
| | 00:56 | Don't forget your eyeglass frame.
| | 00:58 | If it's not completely smooth, we're
going to be smoothing it out a little bit,
| | 01:05 | so don't worry terribly.
| | 01:07 | Go over to your other side and do
the same: whittle away at both ends and
| | 01:11 | meet in the middle.
| | 01:13 | If you need to borrow from another area--
even this side, if tones are close--you
| | 01:18 | can try that if you don't
have a good area to choose from.
| | 01:21 | You just want some close tones. Like I
said, we're going to be softening it, so
| | 01:27 | they don't have to be at an exact match.
| | 01:29 | Don't forget your frame again.
| | 01:35 | And when you have a pretty good
match, you go over to your Blur tool.
| | 01:40 | Let's just soften the work we did
just a bit, soften the lines.
| | 01:48 | Now we are going to lower the Opacity,
start at about 75% or so and see how that looks.
| | 01:57 | Now with eyeglasses, you don't want
to make the glare look completely flat,
| | 02:02 | because it is a reflective
surface and you expect that.
| | 02:06 | What you're trying to do is if we
look at the before, how bright it is, that
| | 02:11 | pulls your eye toward the brightness.
| | 02:13 | What we're trying to do is just to
make that brightness less, so it pulls our
| | 02:20 | eye towards the wearer's eye,
and this does a pretty adequate job of that.
| | 02:25 | Let's go back out and again look at
the before and after, and that's a pretty
| | 02:32 | good job right there.
| | 02:34 | Glare can happen whenever a flash is
used in front of a reflective surface, but
| | 02:38 | there are easy ways to reduce the
appearance of the glare in your photographs
| | 02:43 | without anyone even knowing
it was there to begin with.
| | Collapse this transcript |
|
|
5. Fixing Exposure ProblemsUnderstanding the basics of levels| 00:00 | Levels is one of those adjustments
| | 00:02 | you'll probably use quite
often in digital photo restoration.
| | 00:06 | Levels adjusts three basic areas of an
image: the black, white, and midtone points.
| | 00:11 | Let's go to the add a new fill or
adjustment layer icon at the bottom of the
| | 00:14 | Layers panel and select Levels.
| | 00:19 | Now we'll have a quick
look at the Levels dialog box.
| | 00:22 | At the top of the Levels
panel we see our presets.
| | 00:26 | These may be one of the most underused
features of the Levels dialog, but you
| | 00:30 | might want to go through them just to
see if there's a preset that might work,
| | 00:33 | even as just a starting point.
| | 00:36 | On the PC, you can click on one and
scroll through them with your up and down
| | 00:39 | arrows; on the Mac you will
need to click each one to select.
| | 00:43 | I'll put the Preset back to default and
move right below the presets to another
| | 00:48 | dropdown, this one for the
individual color channels.
| | 00:51 | This ability to adjust by channels is
another great reason to scan a photo, even
| | 00:56 | a black-and-white photo, in color.
| | 00:57 | When you select an individual channel,
you can adjust it either with the
| | 01:01 | eyedroppers over here or by
adjusting the sliders down here.
| | 01:06 | You want all your sliders to be inside
this informational area of the histogram.
| | 01:11 | Let's select the Red channel, and you will see
the histogram information is over on this end.
| | 01:16 | So you bring your slider over to this
informational area of the histogram, and
| | 01:22 | you continue to do that
with each individual channel.
| | 01:25 | We'll go back to the combined channel
now, and we'll move over to our eyedroppers.
| | 01:30 | With the eyedroppers, you select the
corresponding tones in the image itself.
| | 01:34 | With the black eyedropper, you select
the darkest tone of the image and the
| | 01:39 | lightest with the white eyedropper.
| | 01:42 | The gray eyedropper is for
the neutral tones in the image.
| | 01:46 | The histogram shows the area in your
image where the tonal information is.
| | 01:50 | It goes from the blackest point on the
left, set at zero, to the whitest point on
| | 01:55 | the right, which is the numeric value of 255.
| | 01:59 | The mid point value is set at 1.00.
| | 02:03 | They all adjust the tonal
quality, or the brightness, of the image.
| | 02:07 | The Output Levels slider here
adjusts the luminance of an image.
| | 02:10 | Sliding the black arrow all the way to
the right will result in pure white, and
| | 02:16 | the white slider all the
way to the left in pure black.
| | 02:19 | You can combine any and all of the settings,
adjusting and readjusting to get the best result.
| | 02:24 | If you don't like what you've done, or
you want to start over again, CS4 and CS5
| | 02:29 | has a Reset button right
down here at the bottom.
| | 02:32 | In previous versions you can hold down
your Alt or Option key to change your
| | 02:36 | Cancel button into a Reset button.
| | 02:39 | Levels is one of the easiest
adjustments to use and one that can have some
| | 02:42 | pretty dramatic results.
| | 02:44 | If you need to adjust tones or bring
contrast into an image, give Levels a try.
| | Collapse this transcript |
| Understanding the basics of curves| 00:00 | Probably the most used adjustment in Photoshop--
| | 00:03 | Curves adjust the
tonality and color of an image.
| | 00:06 | A little like the Levels adjustment,
Curves works on a much broader spectrum.
| | 00:10 | Levels adjust three points--black, white,
and midtone--and Curves adjusts these
| | 00:15 | points plus all points in between.
| | 00:17 | Click on the Add a new fill or
adjustment layer icon at the bottom of the Layers
| | 00:21 | panel and select Curves.
| | 00:24 | Let's go first to the
Color Channel dropdown menu.
| | 00:26 | This holds the information
for the separate color channels.
| | 00:30 | You can stay in the combined channel
mode for all the adjustments or do them by
| | 00:34 | channel for even more
control over the adjustments.
| | 00:38 | At the top of the dialog box is
the Curves type presets dropdown.
| | 00:42 | These presets can sometimes be pretty
interesting, and are worth a quick look-
| | 00:46 | through, if nothing else.
| | 00:51 | Now let's look at the histogram.
| | 00:53 | Histograms are downright frightening
to many people, but all a histogram is
| | 00:57 | really is a graph that shows all
the tonal information of an image.
| | 01:02 | The upper right-hand
corner is the set black point,
| | 01:05 | the lower left-hand corner is the set white
point, and the middle is the set gray point.
| | 01:10 | So all the darkest values are here,
all the lightest values are here, and all
| | 01:16 | the tones in between are here.
| | 01:18 | You can edit these set
points in a number of ways;
| | 01:21 | one is the On Image Adjustment
tool here next to the Channel menu.
| | 01:26 | With this you can adjust the histogram
by selecting points on the image itself
| | 01:30 | and then dragging it one way
or another to lighten or darken.
| | 01:34 | You can also adjust the set
points using the eyedroppers.
| | 01:38 | Use the black eyedropper on the
darkest part of the image, the white at the
| | 01:42 | lightest, and the gray at the midpoint.
| | 01:48 | Sometimes it's not so easy to see the
midpoint, and you might have to click
| | 01:52 | around and try different areas to see
if any of them have a look you like.
| | 01:58 | In some cases the midtone
dropper won't even work at all.
| | 02:01 | One reason for that is, not all images
have midtones or neutral gray areas, and
| | 02:06 | you can't find what's not
there in the first place.
| | 02:09 | You can also adjust the histogram
by manipulating the line manually.
| | 02:13 | By default, the histogram is set to
the Edit points to modify the curve
| | 02:17 | right here, which allows you to move the set
points themselves and all areas in between.
| | 02:31 | Right under the Edit points to modify
the curves settings is the Draw to modify
| | 02:35 | the curves settings.
| | 02:37 | This one takes a lot of practice and
isn't something you should use right off
| | 02:41 | the bat without lots of practice.
| | 02:44 | With this you actually draw in your
own curves settings, and it can be pretty
| | 02:47 | difficult to control. Or it can
be used to make psychedelic art.
| | 02:54 | Another setting is the Auto setting.
| | 02:56 | It's a one-click fix that sometimes works,
sometimes doesn't, but it might at least
| | 03:02 | work as a starting point for your photograph.
| | 03:05 | Curves are one of the most powerful
adjustment tools in Photoshop and probably
| | 03:09 | the single most used
adjustment in digital photo restoration.
| | 03:12 | It's probably safe to say that many
who use curves only use the eyedropper
| | 03:17 | settings and never even pay attention
to the histogram, or the other settings.
| | 03:21 | You can get by like that I'm sure,
but it's a much more rewarding to get to know
| | 03:26 | your tools and understand all they can do.
| | Collapse this transcript |
| Finding the black, white, and gray points in an image| 00:00 | In order for adjustments made with the
Eyedropper tool and Curves and Levels to
| | 00:04 | work well, you will need to identify
the lightest and darkest, or black and
| | 00:08 | white, points in an image.
| | 00:09 | Sometimes that's easy to do with the naked eye,
but occasionally you may need a little help.
| | 00:14 | Let's go over three quick
ways to determine these points.
| | 00:17 | The first we'll use is a Curves adjustment.
| | 00:20 | So go down to the bottom of your
Layers menu, select the Add a new fill or
| | 00:25 | adjustment layer icon, and select Curves.
| | 00:28 | I am going to grab the middle of
our histogram and drag it up to our
| | 00:32 | blackest point, and you'll see what's left
here is a little bit of color and all this white--
| | 00:38 | these will be your darkest points.
| | 00:41 | You can either remember those points,
or you can perhaps make a new blank layer
| | 00:46 | above that, grab your Brush tool
and mark those areas in some way.
| | 00:52 | That's one way to do it,
| | 00:54 | if you can't remember where they are.
| | 00:55 | Let's get rid of that layer, and now
let's take the histogram again and drag it
| | 01:01 | down to the lightest area. And these bits of
color, in this case it's red--may not always be--
| | 01:08 | these are your lightest points of the image.
| | 01:11 | Let's close the visibility of this
layer, go back to our Background layer, and
| | 01:15 | now we'll go back down to our Create a
new fill or adjustment layer icon and
| | 01:20 | this time select Levels.
| | 01:22 | We'll begin by taking our white slider
and moving it all the way over into our
| | 01:28 | darkest area of the histogram. And again,
here are your color areas that stay, and
| | 01:33 | these are our darkest tones.
| | 01:35 | Let's bring that back. And now we'll
grab our black slider and bring it over, and
| | 01:40 | here are our lightest tones.
| | 01:43 | That was fairly easy.
| | 01:44 | And let's go over our final method.
Close the visibility of that layer, back to
| | 01:48 | our Create a new fill or adjustment
layer icon, and this time select Threshold.
| | 01:53 | This panel looks a bit different only
having one slider at the bottom center of
| | 01:57 | the histogram, but the principle is
pretty much the same: move the slider all
| | 02:02 | the way to the right and then
slowly back for the highlights.
| | 02:07 | This determines your lightest areas,
and they'll be the first to show up.
| | 02:11 | Now let's take the slider all the way
over to the left, into the darkest point
| | 02:16 | of the image, the shadows, and bring it
slowly back towards the right, and there
| | 02:21 | are your darkest areas.
| | 02:23 | Now let's close the visibility of this
layer and click back on your Background
| | 02:28 | layer. And I am going to show you a real
quick trick to see if you can find the
| | 02:32 | neutral tones, or the
midtones, in an image, if it has them.
| | 02:36 | First thing you want to do
is create a new blank layer.
| | 02:40 | Now go to Edit > Fill, and in the Use
dropdown box, select 50% Gray and click OK.
| | 02:51 | Next, go to the Layer Blend
modes and select Difference.
| | 02:56 | Go back to the Create a new fill or
adjustment layer icon and select Threshold,
| | 03:02 | and move the slider all the way
over to the left or solid white.
| | 03:06 | Now bring it back slowly to the right,
and the first areas to appear are going to
| | 03:12 | be your neutral or midtone values.
| | 03:14 | If your tonal values, the lights and
darks, are very obvious in an image, you may
| | 03:19 | need no help finding them, but in some
cases, particularly in finding midtone
| | 03:24 | values, these methods can come in very handy.
| | Collapse this transcript |
| Adjusting color levels by channel| 00:00 | When most people think of color
correction, they automatically think of a Curves
| | 00:04 | or Levels eyedropper adjustment,
but there are so many other methods of color
| | 00:07 | correction that aren't as well known
and may not be thought of right away, such
| | 00:12 | as a Levels Channel adjustment.
| | 00:13 | Once you've opened your image in
Photoshop, duplicate the layer by pressing
| | 00:17 | Ctrl+J on a PC, Command+J on a Mac.
| | 00:21 | Now go to the bottom of the Layers
panel and select the half-black, half-white
| | 00:25 | circle, the Create a new fill or
adjustment layer button, and select Levels.
| | 00:31 | Now go up to the dropdown box marked RGB,
to your channels, and select Red.
| | 00:38 | What we want to do is move
these sliders so they go into the
| | 00:42 | most information per channel in the histogram.
| | 00:45 | So in this case we'll move the Black
channel over towards the right, go back
| | 00:50 | up, select the Green channel--in this case
all the histogram values toward the middle--
| | 00:56 | so we'll move both the Black and the
White sliders and go back up and select the
| | 01:03 | Blue channel and in this case we'll
move the White slider over toward the left.
| | 01:09 | You can see a marked improvement.
| | 01:11 | You can also select your Auto button
and use that as a starting point, or if
| | 01:16 | you like it, you can end there.
But with working in channels, you get this
| | 01:21 | great control, being able to move your
sliders and find the tonal values you
| | 01:28 | really like by channel.
| | 01:31 | You can move your black, your white,
and your midtone points, darken and lighten
| | 01:38 | to your heart's content.
| | 01:42 | Making your color adjustments by
channel and levels gives you more control than
| | 01:46 | just hitting the Auto button, and can
also give you a totally different result
| | 01:50 | than using the Eyedropper tools.
| | 01:52 | It's just one more method to try
when adjusting color and getting rid
| | 01:56 | of colorcasts.
| | Collapse this transcript |
| Making selective contrast adjustments| 00:00 | Sometimes images are
different tones in different places.
| | 00:03 | For example, if you look at the face
of the man on the far left of this image
| | 00:07 | and compare him to the lady on the far right,
| | 00:09 | you will notice his face is much brighter.
| | 00:11 | Likewise the upper left-hand corner
of the room is much brighter than the
| | 00:15 | upper right-hand corner.
| | 00:16 | In this case it was probably caused by
uneven lighting, but whatever the reason,
| | 00:20 | you will sometimes want to even an
image up, and I am going to show you a quick
| | 00:24 | and easy way to do that.
| | 00:25 | Begin by going to the bottom of your
Layers panel selecting the half-black, half-
| | 00:29 | white circle, the Create a new fill or
adjustment layer icon, and select Curves.
| | 00:36 | In this case we are going to
lighten one end of the photo,
| | 00:38 | so we are going to take our histogram
in this center and drag it up towards the
| | 00:43 | top left-hand corner for an
overall lightening of the image.
| | 00:47 | Now we'll go back down to our Curves mask.
And black is set to our foreground color,
| | 00:52 | so we are going to use Alt+Backspace or
Option+Delete to invert our Curves mask.
| | 00:58 | Now we'll go to our toolbar, select
our Brush tool, and we're going to invert
| | 01:05 | our colors down here so the light is the
foreground and begin painting in light areas.
| | 01:12 | Adjust your brush size using
your open and close bracket keys.
| | 01:16 | We've got a large area, so
we'll make it fairly large.
| | 01:21 | We're going to paint in this darker area--
| | 01:24 | I am going to make the brush even
bigger still--with the light color.
| | 01:36 | Once we have that done--it's just basic.
| | 01:40 | I am not being very, very careful,
just to give you an overall idea. Go up to
| | 01:45 | your Gaussian Blur in your Filter > Blur
and then Gaussian Blur, and we'll soften
| | 01:52 | that painting we just did.
| | 01:55 | You can set this pretty high.
| | 01:56 | We want a very good blur.
| | 01:58 | We are not looking for accuracy.
| | 01:59 | We are just looking for blend and hit OK.
| | 02:04 | Then lower your Opacity until your new
area matches fairly well with the wider area.
| | 02:12 | Let's hide that layer by clicking the eye icon.
| | 02:15 | We are going to add another new fill or
adjustment layer, again Curves, and lighten it.
| | 02:21 | Again, invert your mask.
| | 02:23 | This time your black is your background color,
| | 02:26 | so hit Ctrl+Backspace or Command+Backspace
to fill in your Curves mask and invert it.
| | 02:32 | You can also--I am going to adjust this
with my open bracket key--
| | 02:39 | you can also do just certain
areas, instead of doing big areas.
| | 02:46 | If you just have a face you want a
little lighter, you notice how light this
| | 02:50 | face is compared to these others, so maybe
we just want to lighten their faces up a bit.
| | 02:57 | You have a lot of control over this.
| | 03:02 | Again, this isn't very neat--
just giving you an overall idea.
| | 03:06 | Go up to Filter > Blur > Gaussian Blur.
| | 03:10 | I am going to bring it down just a little bit.
| | 03:12 | I want it to be a little more
precise when it's in a smaller area.
| | 03:16 | Click OK and then lower your opacity,
keeping an eye on that light face on the
| | 03:21 | end, just to blend them in a little better.
| | 03:25 | Just keep an eye on your before and
after and see if it's too much or not enough,
| | 03:31 | and that looks pretty good.
| | 03:33 | It can probably go down to, let's say
about 35, and that looks a little closer.
| | 03:40 | One more way you can lighten one part
of an image is make a new blank layer and
| | 03:46 | make white your foreground color, go to
your Gradient tool, and go up here and
| | 03:52 | make sure you have Foreground to
Transparent selected, and make a gradient
| | 03:57 | through just part of the image, the
dark part, go up here to your Layer Blend
| | 04:01 | modes and find a Blend mode you like,
Overlay, Soft Light, whatever you want to
| | 04:07 | try, something you can see through obviously.
| | 04:12 | Lower your Opacity down to let's say 25%.
| | 04:17 | See, we have just lightened that up,
just a little bit so it compares a little
| | 04:22 | better with this other side.
| | 04:25 | Those are just a few ways to lighten
parts of an image without lightening or
| | 04:29 | darkening a whole image.
| | 04:31 | If you want to darken a part, you just
reverse your colors and you paint or do
| | 04:35 | your gradients in black.
| | 04:37 | When an overall tonal adjustment isn't
what your image needs, if it's lighter on
| | 04:41 | one end and darker on the other,
sometimes you just need a little spot
| | 04:45 | adjustment to bring it all together.
| | Collapse this transcript |
| Adjusting image shadows and highlights| 00:00 | The Shadows/Highlights adjustment is
one of those little gems that is rarely
| | 00:04 | thought of, much less used, but it can
be very useful when you want to keep the
| | 00:08 | basic tone and contrast of an
image while bringing out some detail.
| | 00:12 | The first thing we need to do when
using the Shadows/Highlights adjustment is
| | 00:15 | duplicate the original layer.
| | 00:17 | Shadows/Highlights is a destructive
adjustment, meaning it doesn't work with a
| | 00:21 | mask on its own layer,
but directly on an image layer itself.
| | 00:26 | So we need to make a duplicate layer to
be the Shadows/Highlights adjustment layer.
| | 00:30 | We'll do this using Ctrl+J
on a PC, Command+J on a Mac.
| | 00:35 | Next, we'll go to
Image > Adjustments > Shadows/Highlights.
| | 00:40 | Now let's tick the Show More
Options box and begin moving the sliders.
| | 00:46 | Let's start up here with our Shadows amount,
move it over and see how that adjusts it.
| | 00:51 | It makes it a little lighter.
| | 00:53 | Move it back and see, it's darkening.
| | 00:56 | You will see this part in the
hair; it's a little bit faded.
| | 01:01 | Bringing this over to the left
brings some of the dark tones back in.
| | 01:06 | Let's see what Tonal Width will do for
us. I'm going to move this over so we can
| | 01:11 | see the full picture.
| | 01:15 | What Tonal Width is doing is adjusting
the overall tone, mostly maybe in this
| | 01:21 | vignette here on the edge.
| | 01:25 | Let's see if Radius does anything--not much.
| | 01:28 | Just move all your sliders.
| | 01:30 | You can always make note of what it
was before and put it back originally, or
| | 01:34 | if you don't like what you've done,
you can hold down the Alt or Option key
| | 01:39 | and it changes your Cancel button into
a Reset button, and you can start back
| | 01:43 | from the beginning.
| | 01:44 | Let's go to our Highlights > Amount.
It's making him a little orange in the face.
| | 01:51 | Let's pull it back over here.
| | 01:54 | Tonal Width, kind of an overall
darkening here, lightening here.
| | 02:01 | Let's see what Radius does there.
| | 02:07 | Again, this seems to be
mostly working over here in edges.
| | 02:10 | It's good to move your sliders, just so
you know what it's going to do for you.
| | 02:16 | This Midtone Contrast seems to be
doing a lot for this particular image, and
| | 02:21 | we'll put this right here.
| | 02:24 | I like how this sort of brings out the
eyes by adjusting the tones around them.
| | 02:28 | Your Black and White Clip you
adjust this way by actually going in and
| | 02:35 | changing the numbers.
| | 02:37 | Sometimes that can set things off really badly.
| | 02:41 | It's just always good,
remember, that your default is 0.01.
| | 02:46 | Just go back in and change your
numbers if you don't like them. If they do
| | 02:50 | anything too radical, change them back;
| | 02:52 | if they don't--like they aren't here--
| | 02:54 | we'll just leave them.
| | 02:55 | Okay, tweak a couple more.
| | 02:59 | See if that's doing anything for us.
| | 03:01 | Now let's look at the preview.
| | 03:04 | See how it was before, how it is now,
and when you like the result, just click OK.
| | 03:12 | Now let's see what Shadows/
Highlights does with a black-and-white image.
| | 03:15 | Again, let's duplicate the layer,
Ctrl+J or Command+J, and go up to Image >
| | 03:22 | Adjustments > Shadows/Highlights.
| | 03:26 | It'll remember you're setting
from the last time you used it.
| | 03:29 | So if you have Show More Options
ticked, that's how it will come up.
| | 03:32 | Let's move this over.
| | 03:34 | Start moving our sliders.
| | 03:35 | Okay, very light and bring that in.
| | 03:42 | It's going to react
differently on every image you put in,
| | 03:50 | so there's no particular
settings that you can use.
| | 03:54 | Of course, you can look at these here on
the video and follow along that way, or
| | 04:00 | you can just move your
sliders to get a look you like.
| | 04:06 | This Radius slider, if you bring it out
here, things are a little muddy and it
| | 04:10 | seems to clarifies as you bring this in.
| | 04:14 | This is actually pretty fun moving
these sliders, just to see what happens.
| | 04:21 | Now let's do a preview and look at
how it was before and how it is now.
| | 04:26 | Now especially on the black-and-white,
that's a pretty vast improvement. And again
| | 04:31 | when you like what you have done,
you can click OK to accept the changes.
| | 04:35 | Look one more time at the before
and the after, and you can see that
| | 04:41 | Shadows/Highlights made a pretty big
difference in this black-and-white image.
| | 04:44 | While Shadows/Highlights isn't one of
those adjustments you might automatically
| | 04:49 | think of when it comes to color
correction or tonal adjustment, it can actually
| | 04:53 | do an admirable job, and should
definitely be on your go-to color adjustment
| | 04:58 | tool list.
| | Collapse this transcript |
|
|
6. Repairing ColorAdjusting color with the Photo Filter adjustment | 00:00 | Another color-correction tool in
Photoshop is the Photo Filter adjustment.
| | 00:04 | The Photo Filter adjustment works
better if there's just a light colorcast, but
| | 00:09 | if you have photos that just do
have a slight tint of color--those just
| | 00:12 | beginning to turn--the Photo Filter
adjustment can easily cut the color.
| | 00:17 | First, let's go to the bottom of the
Layers panel and find the Create a new
| | 00:21 | fill or adjustment layer button, the half-black,
half-white circle, and select Photo Filter.
| | 00:27 | Go to the Presets dropdown in the
Photo Filter dialog and select the
| | 00:31 | first Warming filter.
| | 00:33 | Now, using the downward arrow
key, move down through the presets.
| | 00:38 | On a Mac you may need to select these
individually, and let's look at the results
| | 00:42 | on the image itself.
| | 00:48 | Since this colorcast is on the yellow
side and the blue tones are opposite
| | 00:52 | on the color wheel,
| | 00:53 | you are going to get the
best results in that area.
| | 00:56 | You can get a number of different
feels with different blue filters.
| | 00:59 | If you use, say, Cooling Filter 80, the
correction is more on the cool side.
| | 01:04 | If you used a blue filter, it's warmer.
| | 01:07 | Now let's look at the before and the after.
| | 01:12 | It's not a very, very dramatic change,
but it definitely cut that yellow cast.
| | 01:18 | Now let's try the Photo Filter
adjustment on a heavy colorcast.
| | 01:22 | Again, use the Create a new fill or
adjustment layer and then go to Photo Filter.
| | 01:28 | This is a decidedly red cast, so
green should do the most to cut it,
| | 01:36 | but even the Deep Emerald Filter doesn't
do a lot, except make the cast more orange.
| | 01:40 | Now I am going to show you why using
Photo Filters on a very heavy colorcast
| | 01:45 | probably will be a waste of your time.
| | 01:47 | Let's turn off the visibility of
this Photo Filter layer and go back to
| | 01:51 | the original layer.
| | 01:52 | Now we'll add a Curves
adjustment and hit the Auto button.
| | 01:57 | It didn't do a perfect job, but one
press of a button did a better job than the
| | 02:02 | Photo Filter adjustment did.
| | 02:04 | The Photo Filter adjustment has its
strengths--images with a lighter colorcast--
| | 02:08 | and its weaknesses--
images with a very heavy cast.
| | 02:12 | If you use it where it's weak,
you can waste a lot of time.
| | 02:15 | When you use it on images that are
just beginning to cast, you can get great
| | 02:19 | results--and different looks,
depending on the filters you choose.
| | Collapse this transcript |
| Correcting color casts using inverse color correction| 00:00 | Still another way of correcting
color is with an inverse color layer.
| | 00:04 | Colorcasts in photographs are going to
follow the primary colors on the color
| | 00:08 | wheel: reds, blues, greens, and yellows.
| | 00:11 | In many cases identifying that color and
adding an overlay of the opposite color
| | 00:16 | will cut the colorcast substantially.
| | 00:18 | Begin by making a new blank layer on
top of your Background layer and then go
| | 00:23 | over to your toolbar and
select the Eyedropper tool.
| | 00:26 | We are going to sample a color from
the photo and on, like, an outside color, you
| | 00:32 | might want to start by sampling in, say,
the sky, which you know should be blue--
| | 00:37 | you know it shouldn't be yellow. And
that's probably going to be better than
| | 00:41 | trying to sample, say, a
green tree under a green cast.
| | 00:46 | So let's find an area of
the sky and just sample it.
| | 00:49 | Then we are going to fill the
blank layer with that color, since it's
| | 00:53 | the foreground color.
| | 00:54 | We'll use Alt+Backspace on a PC,
Option+Delete on a Mac to fill. Then we'll go
| | 01:01 | up to Image > Adjustments > Invert,
and now move over to your Layer Blend modes
| | 01:07 | and select Soft Light.
| | 01:09 | We've still got a decided cast here--not
yellow this time--but we know that this
| | 01:15 | frame should be white and not this pinkish tone.
| | 01:19 | So again we're going to add a new
blank layer, and we are just going to do
| | 01:23 | another Invert Color layer.
Click on the frame this time.
| | 01:27 | Again, it's your foreground color.
Alt+Backspace or Option+Delete Image >
| | 01:33 | Adjustments > Invert.
| | 01:36 | This time we're not going to use the Soft Light.
| | 01:39 | 99% of the time Soft Light will work
best on the first color correction, but not
| | 01:45 | always on the second.
| | 01:46 | We will see that it's still pretty pinkish.
| | 01:49 | So we're going to just scroll up through these.
| | 01:52 | We're looking for the frame to be white.
| | 01:56 | That's white, but the cast is now pretty
blue, so we'll see if there's any better.
| | 02:00 | And we can see in this color dodge
we actually have green on the trees, a
| | 02:04 | little red on the roof.
| | 02:06 | So we'll go with that.
| | 02:07 | If it looks a little washed out,
you can always go to your Opacity, lower it
| | 02:12 | to around 50% or so.
| | 02:14 | That brings in a little more of the
cast below it, but it's still quite a
| | 02:20 | difference. And looking at the original itself,
| | 02:24 | it's very much of a difference.
| | 02:26 | An inverse color correction might be
the perfect solution, and it might be a
| | 02:30 | great place to actually start
more of your color correction.
| | 02:35 | In this case, let's go to the Create a
new fill and adjustment layer, and go up to
| | 02:40 | Curves, use the Eyedropper tool,
and that brings more of your color back in. And
| | 02:47 | it can be just a good starting point.
| | 02:50 | Using the color wheel as an
inspiration, inverting the dominant color to its
| | 02:54 | opposite to cut it, and utilizing Layer
Blend modes is a fast, easy adjustment you
| | 03:00 | can rely on again and again.
| | Collapse this transcript |
| Correcting color problems using the Color Balance adjustment| 00:00 | Yet another way to make a color
correction to an image is to balance the color
| | 00:04 | in each channel using the
Color Balance adjustment.
| | 00:08 | First we're going to go to the bottom
of our Layers panel, select the Create a
| | 00:12 | new fill or adjustment layer
icon, and select Color Balance.
| | 00:18 | Even though an image is in RGB
or red, green, blue color, mode,
| | 00:23 | that doesn't mean that red, green,
and blue are the only colors present in the image.
| | 00:27 | Where the primary colors overlap in
an image, just like on the color wheel,
| | 00:32 | you get new colors.
| | 00:34 | Likewise, if you subtract
a color, you get a new color.
| | 00:37 | If you take red from blue and
green, you get a mixture called cyan.
| | 00:43 | Subtract green from blue
and red--you get magenta.
| | 00:47 | Red and green make yellow.
| | 00:50 | Red, green, blue, cyan, magenta,
and yellow--these are the six colors that make
| | 00:55 | up the Color Balance adjustment.
| | 00:57 | Color Balance is all about adding and
taking away colors to adjust the image.
| | 01:02 | First thing you want to do in this dialog
is keep the Preserve Luminosity box checked.
| | 01:08 | Then you'll go to each tone in turn--the
default is Midtones, but we're going to
| | 01:13 | check Shadows first--and move your
sliders, looking at your preview image over
| | 01:18 | here, to see how this is going to look.
| | 01:22 | This is a very green image.
| | 01:23 | We want to take some of the green out, so
we'll go more toward red. If we add more green,
| | 01:28 | it gets very green.
| | 01:29 | Let's go toward magenta, see how blue looks.
| | 01:34 | We don't want to go toward yellow,
because it is a green/yellow cast.
| | 01:37 | Once you find the place you like,
click on your next tone, in this case
| | 01:42 | Midtones, and move your slider from side to
side to see which has the best result for you,
| | 01:49 | and just continue along these lines.
| | 01:54 | You can get it a very cool effect if
you go more toward your blues. You can
| | 01:59 | bring a little bit of your greens back
in if it gets too cool, keep away from
| | 02:03 | your yellows and go to your greens.
You can just do whatever you like.
| | 02:06 | Now let's move to the
Highlights and add some red back in.
| | 02:11 | Cyan makes it a little too blue. Let's see, green
or magenta we want to keep away from the reds.
| | 02:21 | Keep that one more toward the middle, moderate.
| | 02:23 | See what yellow does. Move it over to
the blue. Just go through and move your
| | 02:29 | sliders and kind of
eyeball how it's going to go.
| | 02:33 | If you don't like the result completely,
you can always go, as we often do, and
| | 02:38 | let's add a new fill or adjustment layer,
put a Curves adjustment on top of it,
| | 02:46 | see if that brings out any more of your colors.
| | 02:50 | It may be to your liking, and it may not.
| | 02:52 | It could be a good
starting point in Color Balance.
| | 02:56 | In this case I actually like
the Color Balance result better.
| | 03:00 | Don't limit yourself to just a
few color-correction methods.
| | 03:03 | Color Balance is another one of
the under-appreciated and little-used
| | 03:07 | adjustments in Photoshop.
| | 03:09 | By adding and taking away colors in
the color channels, you can correct
| | 03:12 | many color problems,
| | 03:14 | lessening the colorcast and
bringing out the tones that you didn't even
| | 03:17 | realize were there.
| | Collapse this transcript |
| Correcting color casts using the Variations command| 00:00 | Of all of the types of color-correction
methods there are in Photoshop, I think
| | 00:04 | the least thought of may be Variations.
| | 00:07 | Variations are not very well known,
| | 00:09 | if they're even known at all,
to the casual Photoshop user.
| | 00:12 | It's just not something there's a lot
of use for, that I can think of, unless
| | 00:16 | you want to put a colorcast on or--in the
case of restoration--take one off of an image.
| | 00:21 | Everyone who does digital photo
restoration should know where Variations can be
| | 00:25 | found and should at least have a look
at them when going through the other
| | 00:29 | color-correction methods.
| | 00:30 | Begin by duplicating the original layer
using Ctrl+J on a PC, Command+J on a Mac.
| | 00:36 | Variations aren't an adjustment layer,
so the adjustment will take place on the
| | 00:41 | layer itself, and you want
to keep your original intact.
| | 00:44 | Now let's go to Image >
Adjustments, and down to Variations.
| | 00:49 | Let's have a quick look
at the Variations dialog.
| | 00:52 | At the top, to the left, is your original
image, and the image on the right will
| | 00:57 | reflect the changes as you make them.
| | 00:59 | If at any time you want to go back to
the original and delete all of the changes
| | 01:03 | you've made, hold down the Alt or
Option keys and the Cancel button will turn
| | 01:09 | into a Reset button.
| | 01:10 | Here are the different
settings you can make adjustments to.
| | 01:13 | There are Shadows, Midtones,
Highlights, and Saturation.
| | 01:18 | Notice this very blue, turquoise area right here.
| | 01:22 | That's called Clipping, and it
represents areas in the image that are clipped, or
| | 01:27 | rendered pure white or
pure black by the adjustment.
| | 01:30 | It doesn't mean that the areas will
actually show up as black and white.
| | 01:34 | It means that clipping can result
in some unattractive color shifts.
| | 01:39 | If you don't want to see where these
areas might occur, you can uncheck the
| | 01:42 | Show Clipping box here.
| | 01:46 | You can make some further adjustments
with the Fine/Course adjustment slider here.
| | 01:52 | Let's press Alt or Option and select the
Reset button to work in the Midtones option.
| | 01:57 | I end up working in
Midtones probably 98% of the time;
| | 02:01 | it's the default option and
seems to work well most of the time.
| | 02:04 | There are six Variation options: More
Green, More Yellow, More Cyan, More Blue,
| | 02:11 | More Magenta, and More Red.
| | 02:14 | The results of these are cumulative.
| | 02:16 | So if you hit a Variation twice, you
get twice the application of that color or
| | 02:21 | the colors that you put on top of other colors.
| | 02:24 | For instance, if we put More Green and
then again More Green, it gets very green.
| | 02:30 | You can put More Cyan and it just
adds it on top, one after the other,
| | 02:35 | so you want to keep that in mind.
| | 02:37 | Again, we'll hit Alt or Option to reset.
| | 02:40 | We want to cancel the red cast on this
photo. And looking at all of the Variation
| | 02:45 | options, cyan seems to be our best option.
| | 02:49 | So we'll go ahead and click that and
then look again at the Variation options,
| | 02:54 | and it looks like another shot
of cyan might be just the thing.
| | 02:58 | These show what the image will
look like when you use the next color.
| | 03:03 | So again, let's hit cyan and look, and maybe
we'll put another layer of blue on top of that.
| | 03:11 | Let's go up to the top.
| | 03:13 | Here's the current pick, with our three
layers of cyan and our layer of blue next
| | 03:18 | to the original, and we can see
it's a pretty dramatic difference that
| | 03:21 | Variation has made.
| | 03:23 | When you've made all the adjustments
you want, simply click OK to accept.
| | 03:28 | Again, let's look at the before and
the after. And it may not be perfect.
| | 03:32 | We may need to go ahead and put our
Curves or Levels Adjustment on it, but it's
| | 03:36 | a really good start, and it
definitely got the red out.
| | 03:41 | Variations are a little-known, even
less-used, feature of Photoshop, but every
| | 03:46 | feature, even the underappreciated ones,
can usually be useful for something, and
| | 03:52 | Variations can be a
wonderful color-correction tool.
| | Collapse this transcript |
| Correcting color by combining levels and curves| 00:00 | Photoshop has so many adjustments
and ways to do things, and that number
| | 00:04 | increases exponentially when you
combine adjustments and techniques.
| | 00:08 | Take Curves and Levels for instance.
| | 00:11 | Although it's not always the case,
sometimes combining the two can give you much
| | 00:15 | better results than when you just use one.
| | 00:17 | Curves can bring out the color, while
Levels can bring some of the contrast back in.
| | 00:22 | Let's start by doing a
Curves adjustment on this image.
| | 00:25 | Go to the Add a new fill or
adjustment layer icon and select Curves.
| | 00:31 | Let's use the eyedropper for this part,
selecting a dark area with the black, or
| | 00:35 | Shadow, eyedropper and a light area
with the white, or Highlight, dropper.
| | 00:40 | The color is better, and it definitely
got rid of that red cast, but let's see if
| | 00:44 | we can bring out some more tonal contrast.
| | 00:46 | We will go back to the Add a new
fill or adjustment layer icon and this
| | 00:50 | time select Levels.
| | 00:53 | Again, we'll use the black eyedropper in
a dark point. And let's just see if the
| | 00:59 | white eyedropper does any good,
and it doesn't really make a difference.
| | 01:04 | We've brought a lot of new
tonality into the into the picture.
| | 01:07 | If it's too much and you want to fade
it a little, go over to the Opacity and
| | 01:12 | just bring it down some.
| | 01:15 | You can see that the Levels definitely
added something to the Curves adjustment,
| | 01:22 | and a big improvement from the original.
| | 01:25 | Just like any great team, Curves and
Levels can work better together than either
| | 01:29 | do on their own, and that goes for a
lot of the adjustments in Photoshop.
| | 01:33 | Experiment with them, try one with another,
maybe even more than one together.
| | 01:38 | Of course, this depends on the
individual photograph, but it's something you
| | 01:41 | should definitely try.
| | Collapse this transcript |
| Improving color by adjusting the hue and saturation| 00:00 | Have you ever looked at an old color
photograph and thought the colors were just
| | 00:04 | lackluster and boring?
| | 00:05 | Even though it's not appropriate in
every old color image you run across,
| | 00:09 | sometimes they'll need just a
little boost to make the color pop.
| | 00:12 | One way of doing that is with a
Hue/Saturation Adjustment layer.
| | 00:16 | In order for the Hue/Saturation
adjustment to work, the photo you want to work
| | 00:21 | on has to have any colorcast removed.
| | 00:23 | This particular photo doesn't have a
strong colorcast, but that's something to
| | 00:28 | keep in mind for any images
you might have and try this on.
| | 00:31 | Let's go to the Add a new fill or
adjustment layer icon at the bottom of the Layers
| | 00:35 | panel and select Hue/ Saturation.
| | 00:38 | This icon lets you modify the colors of an
image by clicking on the color on the image itself.
| | 00:44 | We'll click that and
then move over to our image.
| | 00:47 | Let's begin with a certain color,
| | 00:50 | let's say the pink in this flower, which
is in the Magenta channel. Holding your
| | 00:55 | mouse button down, your right
mouse button, slide this over.
| | 01:00 | You can see how it deepened this color
and these, but it also brought out the
| | 01:06 | magentas in the background.
| | 01:08 | That's one reason I recommend you do
each color on a different adjustment layer.
| | 01:13 | Now you can go over to the mask and
invert the color from white to black by
| | 01:19 | holding down Ctrl+I or Command+I and invert it.
| | 01:22 | Now go over to your toolbar, select your
Brush tool, and paint the colors back in
| | 01:27 | only where you want them.
| | 01:31 | You can do all your colors on the same
layer, but again, I recommend you don't,
| | 01:37 | in case you want to go back and just
adjust the one color, say you think, the
| | 01:42 | pinks are little strong, but your
yellows look good, and if it's on its own
| | 01:46 | layer, then you can adjust just that color.
| | 01:50 | Now let's set another hue and saturation
adjustment, going to your Create a new fill
| | 01:55 | or adjustment layer, and again,
Hue/Saturation. Click this icon.
| | 02:00 | Let's move over to these purple flowers.
| | 02:04 | Move the icon over. Again, we're going
to invert our layer mask, because we've
| | 02:09 | got some blues in here that we
really don't want to bring out.
| | 02:12 | Ctrl+I or Command+I to invert,
| | 02:16 | brush tool from the tool panel,
and paint in where you want the color.
| | 02:24 | Now let's do one more. Create a new
fill or adjustment layer, Hue/Saturation,
| | 02:30 | click our icon, and let's
go with yellow this time.
| | 02:34 | Hold down your mouse button, your
right mouse button, and slide it over.
| | 02:38 | Now I want to exaggerate this color for
a reason. First we'll go over and see, we
| | 02:44 | have to get rid of all this along the
edges. Ctrl+I or Command+I to invert, and
| | 02:51 | Brush tool. Paint in our yellow
flowers that are rather bright now.
| | 02:59 | Let's see if there's any up here.
| | 03:01 | If you have this situation where it
just looks a little too bright, obviously,
| | 03:05 | you probably wouldn't let something
this bright get through, but if you want to
| | 03:08 | adjust it, you can always go back,
click your icon, go back down, adjust it
| | 03:14 | that way, or you can lower the opacity
of the layer at any time. You have options
| | 03:20 | on how you want to adjust.
| | 03:22 | Let's look at the before and the after.
| | 03:26 | There's still a lot of work to do,
but we brought out some colors that weren't
| | 03:29 | there, made them pop just a little.
| | 03:33 | Sometimes a color image can benefit
from a little saturation boost, as long
| | 03:37 | as it's kept natural.
| | 03:38 | The beauty of a Hue/Saturation
adjustment layer is that you can always go back
| | 03:42 | and tone it down if you
think you may have overdone it.
| | 03:45 | Try it on your lackluster color images
and see if it's just the boost they need.
| | Collapse this transcript |
|
|
7. Rebuilding and Recreating Backgrounds and Missing PiecesRemoving distracting elements| 00:00 | When removing elements from an image,
the best rule to follow is that you should
| | 00:04 | only remove things that aren't part of
the central image, a permanent part in
| | 00:08 | the landscape, or are
historically relevant to the time period.
| | 00:13 | For instance, if a period car is in the
background, it should probably be kept,
| | 00:17 | because it's historically relevant and
can help actually date a photograph; but
| | 00:21 | if, as in this image for instance,
there's a stack of amplifiers behind a bride
| | 00:26 | and groom, that's not relevant to
the image, and they can be removed.
| | 00:31 | Let's begin by adding a new blank
layer, by going to the bottom of the Layers
| | 00:35 | panel and selecting the Create a new
layer icon. Then let's go over and get our
| | 00:40 | zoom tool and move in a little
closer on the distraction itself.
| | 00:46 | Now we'll go over to the toolbar again
and select the Clone Stamp tool, hold
| | 00:51 | down Alt on a PC, Option on a Mac,
and select a place to begin your cloning.
| | 00:57 | This first attempt is very, very
important, and have your brush big enough, so
| | 01:02 | that you can see this line that shows
you what it'll be cloning, and then you
| | 01:07 | can place it where you want.
| | 01:09 | This is important, because you have to
get this lined up to set the tone for the
| | 01:14 | rest of the cloning.
| | 01:16 | If you get that first one off, then
the rest of the pattern will be off.
| | 01:20 | Of course, that's especially relevant
when you've a pattern like this. Just
| | 01:26 | keep that in mind. Everything under it
will be mis-aligned or aligned, according to
| | 01:33 | that first set-down of the clone stamp
tool. And it's all right to go over, see,
| | 01:39 | I am going over the sleeve.
| | 01:41 | I am going into the dress. That's okay.
| | 01:44 | We'll be removing that. And it's better
to go over than to have to go back and
| | 01:50 | try to add more later.
| | 01:52 | Let's get the rest of this really quickly.
| | 01:57 | It's a little wiggly right here.
Just go and get to a point where it's
| | 02:03 | not terribly obvious.
| | 02:09 | We'll see how this looks when
we zoom out here in a minute.
| | 02:17 | I might not be as careful as I need to
be here because of time constraints, but
| | 02:22 | I'm going to try to do the best I can always.
| | 02:26 | Now let's zoom out here a second.
Hold down Ctrl+Minus or Command+Minus.
| | 02:32 | That might be a little wobbly here.
| | 02:36 | Let's see if we can't fix that a little bit.
| | 02:41 | Pick up these little pieces.
| | 02:43 | It's all in the details,
but overall that looks pretty good.
| | 02:46 | I'm not terribly unhappy with that.
| | 02:47 | Now your next step: you want to
actually add a mask to this clone stamp layer,
| | 02:54 | by going down here and adding your mask.
| | 02:58 | Now we want to come back to our color
picker and invert the color, so black is
| | 03:03 | your foreground. Select your Brush tool
and now we'll lower the Opacity of our
| | 03:09 | mask layer, so we can see underneath it.
| | 03:11 | Let's zoom back in, Ctrl+Plus or
Command+Plus and begin to brush away where you
| | 03:17 | went over the dress.
| | 03:18 | It's much easier to do this, like I
said, than try to add it later, and align
| | 03:25 | everything up again;
| | 03:27 | it can be a real mess.
| | 03:27 | So another benefit of the mask, if you
go over and back into the bricks, then
| | 03:32 | you can just invert your color again and fix
it, like right here. We'll do that in a second.
| | 03:48 | Okay, now let's invert our color and
clean up this little area right here, and
| | 03:54 | right here. Okay, now we want to
soften this little line right here.
| | 04:00 | We don't want any sharp edges, so we
can go and take our Opacity back up, go up
| | 04:07 | to Filter > Blur and Gaussian blur.
| | 04:11 | We just want a very, very slight blur.
| | 04:14 | Now if you get it too much, so you can blow out
| | 04:17 | all you've done--you see this over here.
| | 04:19 | Now it's going to look not good.
| | 04:22 | It had blurry bricks. So we'll bring this down
so it's aligned, but still not a sharp
| | 04:29 | line. About 3, 3.5, 3.3 is good. Click OK.
| | 04:35 | Let's zoom out again.
| | 04:37 | Now you can take care of your
obvious repeats, say in the shrubbery.
| | 04:42 | You can you know clone them out if
you would like. Let's add one more blank
| | 04:47 | layer. Get our Clone Stamp tool, hold
down Alt or Option, and let's get an area
| | 04:53 | way far away over here. And let's just
make our shrubbery look like it's not all
| | 05:00 | the same thing over and over. There.
| | 05:05 | That's pretty good. And the tones match up
really good, because we cloned in a close area.
| | 05:10 | If we cloned from over here, it might be a
different color. Again, let's pull that out.
| | 05:15 | Now let's have a quick look at the
before and the after. All in all,
| | 05:22 | that's a pretty good fix.
| | 05:24 | When removing distractions from an
image, take care to line up all patterns,
| | 05:28 | match the tones, and soften the edges.
| | 05:31 | Pretty soon the intended focus
of your image will shine through.
| | Collapse this transcript |
| Repairing and recreating backgrounds| 00:00 | Nine times out of ten, when
recreating and repairing backgrounds, all the
| | 00:04 | information you need is in the image itself.
| | 00:07 | For example, when we're building the
trees in this image, why go looking for an
| | 00:11 | outside source of the tree to add to
the image when there's plenty of trees
| | 00:16 | right here to choose from?
| | 00:17 | The only thing you need to do is
to make sure it doesn't look like an
| | 00:21 | exact clone of the trees.
| | 00:23 | Begin by going to the Create a new
layer icon at the bottom of the Layers panel
| | 00:27 | and click to add a new blank
layer on top of the background.
| | 00:32 | Next, we'll go over to our Tool
panel and select our Clone Stamp tool.
| | 00:36 | We need to recreate this
line of trees right here,
| | 00:40 | so a good place to begin would be this line
over here, which is basically on the same level.
| | 00:46 | So hold down your Alt or your Option key
and select a point to start cloning from.
| | 00:53 | I keep my little preview up, which
started with Photoshop CS4, because I like to
| | 01:01 | keep an eye on where I'm going to
start, and that's a good way to do that.
| | 01:08 | If the tones are radically different,
let's not worry about that right now.
| | 01:11 | We're just trying to get our trees filled in.
| | 01:16 | One of the keys of cloning this much
area is to change your source point often.
| | 01:22 | You see I'm getting into
a real danger zone here;
| | 01:25 | I'm getting into the roof of this house.
So I need to change my source point and
| | 01:32 | continue doing that.
| | 01:34 | Also, because you don't want an area to
look like an exact clone and if you keep
| | 01:38 | going just in one source point, it's
going to look like an exact clone, because
| | 01:43 | it will be an exact clone.
| | 01:46 | Just change that up very often.
| | 01:49 | We'll get some other
tones in here--not the sky.
| | 01:55 | Just go back over it.
| | 01:58 | We'll get this area here.
| | 02:00 | I don't want an exact clone of all these things,
| | 02:04 | so I need to go back over this area.
| | 02:08 | Be careful of all the little
landmines you can run into.
| | 02:13 | These stones look like they're in a pattern,
| | 02:16 | so we can just reuse that and go along
with it. Bring the road out a little bit.
| | 02:26 | I'm going to sample far down this grass
right here, because I don't want to get
| | 02:30 | too close to the area.
| | 02:33 | Just try to keep it looking
natural, as it would occur in nature.
| | 02:37 | There obviously wouldn't be a piece of a
road or the edge of a photo in nature
| | 02:42 | sticking right there.
| | 02:46 | If you see a pattern that reoccurs like
these rocks, just continue that pattern.
| | 02:54 | Straighten this line up right here.
| | 02:56 | Now this isn't going to be perfect of
course, because of the sake of time, but
| | 03:02 | this really doesn't take that
long to do this sort of thing.
| | 03:05 | You just have to be careful that
you're not obviously going over areas.
| | 03:11 | Readjust your brush size.
| | 03:13 | You can hold down your open and closed
bracket keys, make your brush a little
| | 03:17 | bigger. Try to keep it smaller on areas
like the trees, because they have those
| | 03:23 | patterns that you don't want to get stuck in.
| | 03:26 | But areas like the sky, you can
make your brush probably a bit bigger.
| | 03:30 | Now you see this area right here and
this area right here is an exact clone.
| | 03:36 | So that's going to look pretty bad.
| | 03:39 | Don't want my brush that big.
| | 03:41 | Get another source point, just go over
that. And we can also fix it in another
| | 03:48 | way, which I'll show you in just a second.
| | 03:50 | Lighten the sky up here tight here.
| | 03:53 | Let's say we want maybe
another bit of large tree.
| | 03:57 | So what we'll do is go to our Background
layer and select one of your selection tools.
| | 04:04 | I'll use the Lasso tool. And let's put
a selection around this taller tree and
| | 04:12 | put it on its own layer using Ctrl+J or
Command+J. Now I'm going to move it up
| | 04:18 | at the top of the layer stack
| | 04:20 | so it's over the cloned area we just did.
| | 04:23 | Go up to Edit > Transform > Flip
Horizontal and then use your Move tool.
| | 04:32 | Let's slide it over here so
it's peeking out of the edge.
| | 04:36 | Now one thing we're going to want to get
rid of, see this little area in the
| | 04:39 | tree, this round area?
That identifies that as being a clone to me.
| | 04:46 | So go back to your Clone
Stamp, hold down Alt or Option.
| | 04:50 | Let's lower our brush with our open
bracket key, Alt or Option, select another
| | 04:55 | area, just go over that.
That's a little better.
| | 04:58 | Now we want to blend it, so you
can go over to your Eraser tool.
| | 05:03 | Lower the Opacity to around 20%,
and just go lightly over the areas where you
| | 05:11 | can see how you cut it from another area.
| | 05:15 | The 20% opacity is just
whittling away at it very, very lightly.
| | 05:22 | If you don't like an area, just
lightly go over it. And maybe use your Move
| | 05:32 | tool and your arrow keys, take it over just
a little bit. Just have it peeking through.
| | 05:37 | Now we want to blend our areas in
just a little bit, so we're going to have
| | 05:41 | to combine our layers.
| | 05:44 | We're going to use our Patch tool,
which we can't use on a blank layer;
| | 05:47 | it has to be used on an image layer itself.
| | 05:50 | So hold down Shift+Ctrl+Alt+E on a PC,
Shift+Command+Option+E on a Mac to make
| | 05:57 | a new combined layer. Go over and
select your Patch tool, and let's start to
| | 06:04 | patch some of the areas that look a
little obvious. Bring them in together,
| | 06:10 | bring it all together here.
| | 06:13 | Be careful for not to
smudged areas. Blended, yes; smudgy, no.
| | 06:18 | I want to blend the bottom of this tree
| | 06:22 | in with the area on the bottom.
| | 06:25 | It can look like some trees are going over it.
| | 06:26 | That's okay with me. But again, be
careful with the Patch tool not to make
| | 06:34 | it look too cloned.
| | 06:36 | These areas right here are repeat,
repeat, repeat, and look very cloned.
| | 06:45 | That brings things together just a little bit.
| | 06:47 | If you have areas in the sky you need
to patch and get blended, that's good.
| | 06:54 | Areas here at the edge of your
road, just look real close, blend
| | 06:59 | everything together.
| | 07:00 | That's not perfect, but it's pretty good.
| | 07:03 | Let's look at the before and then
after we cloned in our new trees.
| | 07:09 | All in all, not too bad.
| | 07:11 | It could be cleaned up a little,
but you don't have to crop your photo.
| | 07:16 | You have a nice new area, and hopefully
no one will ever know that was cloned in.
| | 07:20 | You have to admit, that was a pretty quick fix.
| | 07:23 | If you take your time and just watch
what you're doing and be sure not to
| | 07:27 | repeat, hopefully no one is ever going
to be able to know it wasn't like that
| | 07:30 | right out of the camera.
| | 07:32 | The key is to not panic, be careful of
the details, and make sure everything
| | 07:37 | looks like it goes together.
| | 07:38 | Keep this in mind, and you'll be
fixing instead of cropping in no time.
| | Collapse this transcript |
| Extracting areas using masks| 00:00 | A lot of people tend to be intimidated
by masks, but once you learn how to use
| | 00:04 | them, you'll more than likely begin to love them.
| | 00:07 | Whether you want to replace a
background or add something new into an image,
| | 00:11 | masking is something you need to know
how to do to get the results you need.
| | 00:15 | In this image of a cowboy the
sky is completely faded to white.
| | 00:19 | I'd like to put in some
clouds to add more character.
| | 00:22 | Begin by duplicating your image, with
Ctrl+J or Command+J on a Mac. And then
| | 00:29 | before we get into making the actual
mask, I want to go over something that may
| | 00:34 | be an issue in a lot of these old
images that have the skies that have gone to
| | 00:40 | white and light colors of the foreground image.
| | 00:44 | Let's move in a little
closer with Ctrl+Plus or Command+Plus.
| | 00:50 | You can see these areas of the
sleeves right here on the horse's rump and a
| | 00:55 | couple other places.
| | 00:57 | It's pretty much the same color as the
background, and that's going to get in
| | 01:00 | the way of making our mask.
| | 01:02 | So what we can do in that instance is
we're going to make a little bit of a
| | 01:06 | throwaway layer to help us.
| | 01:08 | We'll go first to the Create a new
fill or adjustment layer at the bottom of the
| | 01:14 | Layers panel, and we'll go to Curves.
And we're going to bring the Histogram down
| | 01:19 | to the lower right-hand corner.
| | 01:22 | So this is a throwaway,
so it doesn't matter if it's ghastly or not.
| | 01:26 | Now we're going to invert the mask,
Ctrl+I or Command+I, and we're just going to
| | 01:30 | go over, with our Brush tool, some of the
areas that are very much like the color
| | 01:38 | of the background, just the lighter areas here.
| | 01:43 | That's not really a part of it. There.
| | 01:44 | Get his sleeve and this one.
And his hat's very faint.
| | 01:58 | This could help you avoid a lot of
extra work later, just doing this right now.
| | 02:05 | This is a little far out, so if it is
into the background, you can just whittle
| | 02:09 | away at it by inverting your
foreground color to black and brushing it out.
| | 02:15 | So now we're going to combine all
our layers: Shift+Ctrl+Alt+E on a PC,
| | 02:23 | Shift+Command+Option+E on a Mac.
| | 02:26 | Then we can go ahead and throw our
Curves layer out, and let's zoom out here.
| | 02:32 | And go over to your
Magic Wand tool and just click.
| | 02:40 | You can see this is obviously really
messy because we had a lot of specks and
| | 02:45 | spots and variation.
| | 02:47 | So you can clean it up with your Quick
Selection tool, adjust your brush size, if
| | 02:54 | you like, with your open and close
bracket keys, and just paint in those areas.
| | 03:02 | It followed it pretty well here,
but it didn't quite get this sleeve in here.
| | 03:06 | I must've left something a little light,
that the marching ants got through. And
| | 03:10 | I also see a little area over
here I missed. That happens.
| | 03:15 | Just hold your Alt key down and grab
those areas, this little tree right here
| | 03:23 | and his sleeve. And you can always
of course adjust on the mask itself.
| | 03:29 | But you get the idea here.
| | 03:33 | Then we'll go down to the bottom of
our Layers panel and add a layer mask.
| | 03:38 | Now, if we take our background
visibility away, you can see that the mask is
| | 03:45 | the wrong direction.
| | 03:46 | It's showing the sky, and the foreground
is gone, and we want it to be the opposite.
| | 03:52 | So with your mask selected, use
Ctrl+I or Command+I to invert.
| | 03:57 | Now it's all ready to drop the sky
in, which we'll do with this image.
| | 04:01 | Once you have your sky image up, Ctrl+A
or Command+A to select your whole image,
| | 04:08 | then Ctrl+C or Command+C to copy.
| | 04:11 | Now go back to your original image,
make sure your mask is selected, and hold
| | 04:17 | down your Ctrl or Command key and
click on it--and that selected this part.
| | 04:22 | We want to select the
other part: Select > Inverse.
| | 04:27 | Now let's go up to Edit > Paste
Special > Paste Into, and there's our sky.
| | 04:34 | Now we still have this black line around here.
| | 04:37 | We want to get rid of that.
| | 04:38 | We have to bring the visibility back
with our dropper and then just take this
| | 04:43 | one and you can throw it away
now. That's our throwaway layer.
| | 04:46 | In our next video we're going to learn how to
incorporate a new sky in with an old picture.
| | 04:51 | Masking is a great way to remove
unwanted space from an image in most cases.
| | 04:56 | It's a skill you should learn and
master if you're going to do any kind of
| | 04:59 | photo editing at all, including the
editing you'll need to do in digital photo restoration.
| | Collapse this transcript |
| Matching colors in elements you add| 00:00 | In the previous video I added a
bright blue sky with more details to this
| | 00:04 | older image of a cowboy.
| | 00:05 | Now I need to match the colors of the
new sky to the colors of the cowboy, so it
| | 00:09 | looks like it was part of the original image.
| | 00:11 | First, we'll select the sky layer.
Go to Image > Adjustments > Desaturate.
| | 00:17 | We want to take the color out to make
it easier for the new element to accept
| | 00:21 | the color of the original image.
| | 00:23 | Now go back to Image >
Adjustments > Match Color.
| | 00:28 | In the Match Color dialog we need to
go down to the bottom and select our
| | 00:32 | Source, which is the image you
want to take your source from.
| | 00:37 | If you have more than one image
open, you'll have that choice.
| | 00:40 | You can take your colors from
a completely different image.
| | 00:43 | Obviously, we only have one
image up, so we'll use this one.
| | 00:47 | Next, we want to select the
layer itself we want to source from.
| | 00:51 | In this case, it's our Background layer.
| | 00:54 | Sometimes Match Color works great,
but sometimes you'll get these blown-out
| | 00:59 | patches of color, like this green
clipping or these pink colors, that you can't
| | 01:04 | adjust out with any of the sliders.
| | 01:07 | Let's try to move them, see what happens.
| | 01:10 | Mostly we're just getting more blown-out areas.
| | 01:14 | That pink really comes out when we
come down here. Color Intensity is not
| | 01:19 | doing anything for us.
| | 01:20 | We can fade it, which brings more of the
black and white in and sort of defeats
| | 01:24 | the purpose in this case.
| | 01:25 | I could neutralize it, which
also fades is to black and white.
| | 01:29 | So even though you should always go
and try Match Color--because it really
| | 01:34 | does work sometimes--
what you do when it doesn't?
| | 01:37 | Well, we'll cancel out of this, and we'll
go over to our toolbar, and we'll select
| | 01:42 | our Eyedropper tool.
| | 01:44 | Now we want to sample
color from our original image.
| | 01:47 | Let's choose one of the darker colors
perhaps, or maybe one in between here.
| | 01:53 | That's another thing
you can always change at anytime.
| | 01:57 | In this case, we'll sample from right here;
| | 01:59 | that's a good mid-color.
| | 02:01 | Now we want to add a new blank layer
over our sky layer, and then we're going to
| | 02:07 | fill it with the color we selected.
| | 02:09 | It's your foreground color, so hold
down Alt+Backspace or Option+Delete to fill
| | 02:16 | your layer, go up to your Layer
Blend modes, and choose Overlay.
| | 02:20 | Now go back to your sky layer and
bring the Opacity down to around 50%.
| | 02:28 | Go to your mask itself and click on it.
Select it, go up to Filter > Blur > Gaussian Blur.
| | 02:37 | We just want to have a nice blur,
a nice blend between our mask and our skyline
| | 02:43 | there, our tree line.
| | 02:46 | You don't want to go too far up,
or it's just going to look messy.
| | 02:51 | You still want to be able to see a line,
but it needs to be nice and soft. And
| | 02:56 | take away all the evidence that we made a
mask to begin with and cut out the old sky.
| | 03:00 | When you have a blur you like,
click OK, then you use Ctrl or Command.
| | 03:04 | Let's bring this in and look at our skyline.
| | 03:07 | You see, this looks pretty good.
| | 03:09 | Now let's go back out here a little.
| | 03:11 | This is a pretty good blend.
| | 03:13 | That looks pretty natural.
| | 03:14 | But say now you want to make
your image black and white.
| | 03:18 | You can either add a black-and-white
adjustment up here in your Adjustments
| | 03:22 | panel in CS4 and CS5.
| | 03:24 | Come down here and add a black and
white with your Create a new fill or
| | 03:28 | adjustment layer icon--and
that's a really good blend.
| | 03:32 | Maybe the sky isn't
quite as blended as this was.
| | 03:35 | It doesn't look quite as good.
| | 03:37 | You can either add a black
and white to blend them both,
| | 03:40 | you can bring it way down, just add a
little tint or tone, or if you don't like
| | 03:46 | that, you can take the visibility away,
and you can always go back to your color
| | 03:51 | layer, and you can just refill it.
| | 03:54 | After re-sampling with a different color,
you can refill it with another color
| | 03:59 | and start over again and see
if any other color matches well.
| | 04:03 | Even if your ultimate goal was to make
an image black and white, matching the
| | 04:07 | colors and tones of a new
element will ensure a perfect match.
| | Collapse this transcript |
| Matching textures| 00:00 | When adding new elements to an image,
one problem you may have is the texture of
| | 00:04 | the old image itself.
| | 00:06 | For instance, in this image the
original has this texture, this grainy texture,
| | 00:11 | and the new part, the sky,
is a smooth new image.
| | 00:16 | For those times, you'll need to know how
to make photo texture into a pattern to
| | 00:20 | add to the new element--in this example, the sky.
| | 00:23 | The first thing you want to do is go
over to your toolbar and select your
| | 00:27 | Rectangular Marquee tool.
| | 00:29 | With your background layer selected,
find a place in your original image--not
| | 00:34 | the new sky, the original image
itself--where the color variation isn't very
| | 00:38 | great, and select that area.
| | 00:41 | An area such as this down here that has
the darks and the lights wouldn't be a
| | 00:45 | good candidate for this.
| | 00:46 | You can also move this around to
find a better place if you need to.
| | 00:52 | Now we need to put our new selection
into its own layer by using Ctrl+J on a PC,
| | 00:57 | Command+J on a Mac. And now we want to
put this new selection in its own file,
| | 01:02 | so we'll use Ctrl+A or Command+A to
select, Ctrl+C or Command+C to copy, and then
| | 01:09 | go up here to File > New.
| | 01:12 | You don't have to worry about the size;
| | 01:15 | it will be filled with the
size of the selection itself.
| | 01:18 | So hit OK and Ctrl+V or Command+V to paste.
| | 01:22 | Go up to Image > Adjustments >
Desaturate and then back to Image > Adjustments
| | 01:31 | and down to Equalize.
| | 01:34 | This is your new texture pattern.
| | 01:36 | Next, we need to go to Edit and down
to Define Pattern, and you can name your
| | 01:42 | pattern if you wish.
| | 01:43 | We'll name this Texture and select OK.
| | 01:46 | Now you can just delete this new file.
| | 01:49 | We won't need it anymore.
| | 01:50 | We don't have to save it. And you can
also delete your selection layer that you
| | 01:54 | used last. And we want to deselect
these lines--use Ctrl+D or Command+D. Now
| | 02:00 | we'll put a new layer over our sky layer,
| | 02:02 | so select that and add a new blank layer.
And you can fill this up in one of two ways.
| | 02:08 | Go over to your toolbar, to the Clone
Stamp tool section, select Pattern Stamp
| | 02:13 | tool, go up to your Pattern Picker,
and find the last in line, and that'll be the
| | 02:18 | one you just put in, and you can begin
painting in the new texture. Or you can
| | 02:26 | use keyboard shortcut Shift+F5 to
bring up your Fill dialog. Make sure you
| | 02:32 | have Pattern selected.
| | 02:34 | Find your pattern if it's
not up there and click OK.
| | 02:38 | This is what I mean by your repeat
pattern and it not being seamless.
| | 02:42 | Let's lower the Opacity of this fill
layer to around 7% to 10% and then go over
| | 02:49 | to our Layer Blend modes,
and we'll start with Soft Light.
| | 02:54 | That's usually a pretty good
choice. Sometimes Overlay is nice.
| | 02:58 | You can our pattern line a little more there.
| | 03:02 | I'm going to stick with Soft Light in this case.
| | 03:04 | You can run through them all and see
how you like the differences, but we're
| | 03:07 | just going to stick with that for now.
| | 03:08 | Now we're going to just bring this in
a little closer. Ctrl+Plus or Command+Plus.
| | 03:14 | Well, let's go out a little more
there, just to see how this pattern looks
| | 03:19 | against the original.
| | 03:20 | It can actually be a little
more in the Opacity level.
| | 03:26 | I'm using this area right here in the
horse's mane against this white area here
| | 03:32 | to see if there's a pretty good
match, and it looks pretty good.
| | 03:35 | The only problem is we still
have some of our pattern here,
| | 03:38 | so to work on that, select your last
layer and put all your layers in a
| | 03:43 | combination layer using Shift+Ctrl+Alt+E on
a PC, Shift+Command+Option+E a Mac.
| | 03:51 | Go over to your toolbar, select your
Patch tool, and then you can just work on
| | 04:00 | blending those together little by little.
| | 04:05 | Let's just zoom out here a second.
| | 04:07 | Of course, we could fix that pattern a
little better, but for the sake of time
| | 04:11 | let's turn our combined layer off and
take our pattern layer out and see our
| | 04:16 | before, and let's look at our after.
| | 04:21 | See, our pattern matches the original
image quite a bit better. Even just a
| | 04:26 | little of an old photo's texture
on a new smooth element can make the
| | 04:30 | replacement blend easier to pull off.
| | 04:32 | If you can possibly lower the Opacity
enough to make the original texture show
| | 04:36 | through, that's a preferable method;
| | 04:39 | but if you can't for any reason, make
your own texture pattern to help make
| | 04:43 | your restoration great.
| | Collapse this transcript |
| Replacing facial features and missing body parts| 00:00 | Damage can occur in a photo in the
most inconvenient places, causing limbs or
| | 00:05 | eyes to be damaged, or even missing.
| | 00:07 | You can borrow limbs or eyes from the
same or other images to fix this, but
| | 00:12 | you need to practice.
| | 00:14 | It's a good idea to practice on
undamaged photos to get a feel for how
| | 00:18 | body parts should go.
| | 00:19 | In this image I'm going to demonstrate
borrowing one eye to replace another eye.
| | 00:24 | This photo isn't damaged, but it will
work well for practicing the techniques I
| | 00:28 | am going to show you.
| | 00:28 | We will begin by using Ctrl+J on a
PC, Command+J on a Mac, to duplicate
| | 00:34 | our original image.
| | 00:36 | Start off with simple images, ones that
have both eyes facing front, both arms
| | 00:41 | showing, only facing slightly
to the left or to the right.
| | 00:45 | Once you master the simple poses,
you can move into the more complicated poses,
| | 00:49 | or bring in outside elements.
| | 00:51 | The Library of Congress digital
collection has a lot of great public-domain
| | 00:55 | photographs like this one that you can
practice on, if you don't have any of your own.
| | 00:59 | Keeping this simple, we are just going to
select an eye by going over here to our
| | 01:05 | toolbar, grabbing a
Selection tool, say the Lasso tool.
| | 01:09 | Let's use Ctrl+Plus or Command+Plus to get
in good and close on an area, and we are
| | 01:16 | going to select here around this eye.
| | 01:21 | Get lots of space, because you are
going to want to blend it. You don't want
| | 01:24 | it just really close,
or you are going to have a little trouble there.
| | 01:27 | Now we want to get this on its own layer.
| | 01:29 | Let's use Ctrl+J or Command+J, and we will
go up to Edit > Transform > Flip Horizontal.
| | 01:38 | Select your Move tool, and you can
either use your arrow keys or you can move
| | 01:43 | it with your mouse. Place it in the
general area. It makes it a little easier,
| | 01:49 | especially if you're using a photo
that isn't damaged. But in all cases,
| | 01:55 | hopefully you are going to have some guide
left in the damage where you can tell where it is.
| | 01:59 | So lower your Opacity so you can see the
area underneath. I'll lower it a little more.
| | 02:09 | See when I do this you can see the
transition and that it's not just perfectly aligned.
| | 02:15 | Why want to have enough of our new eye where
we can see what we are doing with that too.
| | 02:21 | Now we will hit Ctrl+T or Command+T to
transform and Warp. And we're going to
| | 02:29 | just warp it a little.
| | 02:31 | Follow the lines underneath, so you
can tell when you're out of alignment.
| | 02:36 | It might not be really obvious
until you start moving it over.
| | 02:42 | The key to flipping, especially eyes I
think, is when you just flip it over and
| | 02:47 | leave it, well, eyes aren't exactly
like each other--and you've got a little
| | 02:53 | angle. It has to be
different in order to look natural.
| | 02:57 | Let's see how this is looking. Not too bad.
| | 03:04 | It's actually not too bad of a match,
but let's bring the Opacity up, and that
| | 03:09 | could change things.
| | 03:10 | I am going to hit Ctrl+T or Command+T
again and Warp, and just without having the
| | 03:17 | bottom one as a guide, just start
moving it around and seeing, does that look
| | 03:23 | right, does that look right to me?
| | 03:25 | Something looks off about that,
or that person looks cross-eyed.
| | 03:29 | Well, then you know that you haven't got it
right and if you notice that, other people are.
| | 03:35 | Be honest with your own work.
| | 03:36 | Look at it with a critical
eye, so you get it right.
| | 03:40 | Okay, and we are going to go with that.
| | 03:42 | Now one problem you see that's very
obvious, at least to me, is now the light in
| | 03:49 | the eye is on the wrong side.
| | 03:51 | So I am going to show you what we can do
to fix that, and then we will blend this in.
| | 03:54 | First we are going to add a new blank
layer, go over and grab our Clone Stamp
| | 03:59 | tool, lower our Brush Size
using our open bracket key.
| | 04:08 | And then we are going to put
it over this pupil of this eye.
| | 04:08 | Alt or Option to set our space, then
we're going to go over here and draw in
| | 04:17 | that pupil into this eye.
| | 04:20 | Now we are going to go back to our
previous layer, and you can either grab
| | 04:24 | your Eraser tool at a 20% Opacity to blend
in the new eye or you can add a layer mask.
| | 04:31 | The layer mask is preferable, because
if you take too much away and you are
| | 04:35 | using your Eraser tool,
you can't get that back--
| | 04:39 | with a mask, you can. So let's add a layer mask.
| | 04:43 | We need our opposite color.
| | 04:45 | Make sure that black is your
foreground, grab your Brush tool, adjust the
| | 04:50 | sizes you need to with your open and close
bracket keys, and start blending in the area.
| | 04:57 | If you go too far and you have some
damage, like I said, with the mask you
| | 05:01 | can just change your color from
black to white and paint that back in.
| | 05:07 | There, get all the places you
need to get a better blend here.
| | 05:14 | All and all, that's not too bad.
| | 05:20 | Pay attention to the details, like the
lights in the eyes. That's always a
| | 05:23 | good key to keep it looking natural.
| | 05:26 | Let's zoom out here, and let's
look at the before and after.
| | 05:33 | Now in the before, she's looking more
towards the camera, and this gives us the
| | 05:36 | idea that she's looking more to the
side, but it's not an unnatural look.
| | 05:41 | Replacing parts in images is not easy,
but it doesn't have to be overly hard either.
| | 05:46 | All it takes is guidance and practice.
| | 05:48 | Put in the practice and let undamaged
photos be your guide, and you'll be on your
| | 05:53 | way to mastering the skill.
| | Collapse this transcript |
|
|
8. Final EnhancementsConverting to black and white| 00:00 | It seems like it should be an easy
process to convert a colored or tinted image to
| | 00:04 | black and white, but there are a few
things you can do before conversion that
| | 00:07 | might make it a better black-and-white.
| | 00:10 | Begin by adding an adjustment layer.
| | 00:12 | Go to the bottom of your Layers panel
to the half-white, half-black circle, the
| | 00:16 | create a new fill or
adjustment layer, and select Curves.
| | 00:21 | What I want to do is bring just a
little bit more contrast, darken up the dark
| | 00:25 | areas in this image, and we're going to
do that just with one simple click of the
| | 00:30 | black eyedropper in a black area.
| | 00:33 | Now that's just a little too dark,
| | 00:37 | so I'm going to go up here and
lower the Opacity to around 50%.
| | 00:42 | That's just a subtle difference.
| | 00:44 | But if you go now and make a new
adjustment layer--this time we'll select Black &
| | 00:49 | White and run through the Defaults.
| | 00:53 | On a Mac you may have to
select these individual.
| | 00:55 | On a PC you can scroll through with your
downward arrow key. Just go through some
| | 00:59 | of these presets and see that
some of these are pretty dramatic.
| | 01:03 | Let's look back at the screen.
| | 01:06 | That's a very nice look.
| | 01:07 | Just look at it without our Curves
adjustment. Just subtle. It didn't take much of
| | 01:13 | the detail out of the dark areas
and just gives it a little more pop.
| | 01:18 | Now let's try something else.
| | 01:19 | Let's hide these two layers.
| | 01:22 | Click again on our Background.
| | 01:24 | This time we're going to
paint in some contrasts.
| | 01:27 | We'll start by making a new blank layer,
changing our Layer Blend mode to Soft
| | 01:32 | Light. Then we'll go over
and start with our light areas,
| | 01:35 | so we'll switch our
colors--white on the foreground.
| | 01:40 | Select the Brush tool.
| | 01:41 | You can adjust your brush with the
open and close bracket keys and start
| | 01:46 | just painting on areas that are already the
lighter areas--maybe where the sun is shining.
| | 01:52 | Just bring things out a
little bit, get some highlights.
| | 01:57 | You don't have to cover the whole area,
because we're going to blur it and blend it.
| | 02:02 | We're going to do small area.
| | 02:05 | You can do the same with your dark tones;
switch your foreground color to black,
| | 02:11 | and paint in the darker areas.
| | 02:13 | These areas up on this peak, on this
mountainside, look a little faint, a little faded,
| | 02:19 | so I'm going to bring those out a
little bit and give it a little more pop.
| | 02:25 | Just do a real quick area here.
| | 02:29 | Next, we'll go up to
Filter > Blur > Gaussian Blur.
| | 02:35 | Now you want to good blur on this.
| | 02:38 | You want it definitely to have no more form.
| | 02:42 | See, that's completely blurred,
and that's what we want. Click OK.
| | 02:48 | Now you can further adjust it with your Opacity.
| | 02:54 | You don't want just a big field
of white, if that's what's there.
| | 02:58 | You just want a nice subtle--
| | 02:59 | put it down around 25--a nice subtle light.
| | 03:05 | See how this--especially right here on
the mountainside, just a little darker,
| | 03:11 | bring out a little more.
| | 03:12 | If you want, you can bring your Opacity
up, a little more dramatic, but then you
| | 03:20 | have to worry about this
looking fake on your mountainside.
| | 03:23 | This is okay. We'll keep that about 50.
| | 03:28 | Now we'll go back and add
in Black & White adjustment.
| | 03:35 | Run through the first few, keep it on
High Contrast Red this time, and let's take
| | 03:40 | away our adjustments.
| | 03:43 | See how that brings just a
little bit out in our black-and-white.
| | 03:46 | It just makes it a little better.
| | 03:48 | Now the third thing we're going to do is
we're going to add a little color show through,
| | 03:52 | so let's hide these two layers again,
click on the Background, and go straight to
| | 03:58 | our black-and-white adjustment,
Create a new fill or adjustment layer, Black
| | 04:01 | & White, and let's select the Green Filter.
| | 04:07 | Now we're going to lower the
Opacity just to about 85%, just barely.
| | 04:16 | Now let's see how that looks.
| | 04:18 | It just lets a little tint of color.
| | 04:21 | If you bring it down a little more,
then it looks really like maybe a
| | 04:26 | hand-tinted photograph.
| | 04:28 | That's very interesting.
| | 04:30 | We'll split the difference; go about 75%.
| | 04:34 | If you're going to convert a color or
tinted image to black and white, make it
| | 04:38 | the best black-and-white possible,
maybe by deepening the contrasts,
| | 04:42 | lightening the lights, darkening the
darks, or bring just a touch of color in
| | 04:46 | from the original.
| | Collapse this transcript |
| Enhancing faded color| 00:00 | Sometimes after a colorcast has been
removed it seems like all the color has
| | 00:04 | been removed, except for
maybe a hint here or there.
| | 00:08 | Take this photo for instance.
| | 00:09 | Everything is faded almost to a
gray tone, except the two large flowers.
| | 00:15 | In a case like this, you may just want
to get a little of a color back and make
| | 00:19 | it a little more exciting.
| | 00:21 | One way to do that is to
paint the color back in.
| | 00:24 | The original colors in this
image were predominantly green,
| | 00:27 | so the first thing we need to do
is get some vibrant greens back in.
| | 00:31 | Add a new blank layer by going down
to the bottom of your Layers panel and
| | 00:36 | clicking on the Add New Layer icon.
| | 00:39 | Now we're going to change the
Layer Blend mode to Soft Light.
| | 00:43 | Let's go over to our color
picker and choose a green tone.
| | 00:47 | Let's get something pretty
vibrant, click OK, and fill the layer.
| | 00:53 | Since it's your foreground color, you'll
use Alt+Backspace or Option+Delete. And
| | 00:57 | now we're going to add a layer mask
and invert the mask using Ctrl+I or
| | 01:03 | Command+I. We're going to go and we're
just going to choose our Brush tool.
| | 01:07 | You can adjust your brush size with
the open and close bracket keys and begin
| | 01:13 | painting the green in.
| | 01:18 | That's obviously just a wee bit bright.
| | 01:25 | We'll take care of that shortly.
| | 01:28 | Now this isn't tinting a
photograph from scratch.
| | 01:32 | Obviously, we're enhancing the
colors that were already there.
| | 01:36 | It's just picking things back up again.
| | 01:47 | Obviously, I'm not being
as careful as I could be.
| | 01:49 | Let's go up to Filter > Blur > Gaussian
Blur and soften the work we just did at
| | 01:57 | the edges. Click OK and bring
down the Opacity. You'll see that
| | 02:05 | that just greened things up just a little bit.
| | 02:09 | We're not going for a
painting job here, a new paint job.
| | 02:13 | There are some instances, like this
house back here, maybe it's a bit boring and
| | 02:19 | you want to add some color.
| | 02:20 | You can do a color that maybe wasn't there.
| | 02:23 | Let's add a new blank
layer, and let's go for yellow.
| | 02:29 | Let's give us a yellow house.
| | 02:33 | Fill in using Alt+Backspace, or
Option+Delete, add a layer mask, invert it--
| | 02:40 | Ctrl+I or Command+I--and
let's paint in the house.
| | 02:45 | Adjust your brush again,
open and close bracket keys.
| | 02:48 | Let's change our Layer Blend mode.
| | 02:50 | Soft Light is good
because the color comes through.
| | 02:54 | Nice transparent color.
| | 02:59 | That's just going to add a little
color in the background and keep a
| | 03:06 | pretty monotone image.
| | 03:08 | Give it a little bit of
excitement of the yellow house.
| | 03:12 | Go to Filter, and we'll use the last
setting of Gaussian Blur that we did and
| | 03:18 | then lower our Opacity.
| | 03:21 | So I'd continue with the sky and the
flowers and wherever you'd want more color.
| | 03:26 | This method also works when
tinting black-and-white images.
| | Collapse this transcript |
| Smoothing a subject's skin| 00:00 | If an older image has some texture or
looks a little pixilated and rough, it
| | 00:05 | can really help to give it a little bit of a
beauty retouching, especially on a person's skin.
| | 00:10 | Let's begin by duplicating our
original layer, using Ctrl+J or Command+J, and
| | 00:17 | then we'll want to go up to our
Filter menu, go to Blur, and Gaussian Blur.
| | 00:24 | We want to blur this enough to
really smooth out the texture.
| | 00:29 | Let's get in close on our original
image, Ctrl+Plus or Command+Plus, to see what we're
| | 00:34 | doing here. And you can
overdo the blur just a little bit.
| | 00:38 | You can take it down later. That's okay.
| | 00:40 | We just want to make sure it's blurred
enough to get rid of all the texture.
| | 00:44 | So we will keep it right
there at 9.3 and click OK.
| | 00:49 | Now let's add a layer mask.
| | 00:51 | Now we want to invert the layer mask
from white to black using Ctrl+I or
| | 00:57 | Command+I to bring out the original image again.
| | 01:01 | Make sure your color is
the opposite of the mask.
| | 01:05 | The mask is now black, so we
want our foreground to be white.
| | 01:09 | Go up and select your Brush tool.
| | 01:11 | You can adjust your brush size using
your open and close bracket keys, and then
| | 01:15 | begin to paint in the skin, or
the area you'd like to soften.
| | 01:24 | You can use a bigger brush on areas
that you're not worried about going over,
| | 01:30 | the bigger areas of the face, the skin.
Maybe a smaller brush around the eyes.
| | 01:37 | I'm just going to go over here quickly here.
| | 01:40 | Let me lower my brush size using my
open bracket key, right here on the eye.
| | 01:46 | Then I can bring the size of my
brush up, go a little quicker.
| | 01:55 | This is a technique that some
retouchers will use in beauty photography, just to
| | 02:02 | smooth the skin, and why not use it on
older photos too? As long as it's subtle
| | 02:09 | and all the character shines through,
| | 02:11 | we are just trying to soften things a
little bit, not get rid of the texture
| | 02:15 | completely, because that is part of
the character of the older photos.
| | 02:19 | We are almost through here.
| | 02:24 | I want to get the entire face, so you can get
a really good idea what I'm trying to do here.
| | 02:30 | Of course, if I were doing this
regularly, I'd go ahead and do all of the skin,
| | 02:38 | the neck, but I'm just
going to do this part right now.
| | 02:45 | Let's go back up to Blur, Filter >
Blur > Gaussian Blur, just to soften the mask
| | 02:53 | and bring your blur down.
| | 02:55 | We are just trying to soften the edges.
| | 02:58 | So somewhere around 3.5 is fine.
Click OK. And now we're going to lower the
| | 03:04 | Opacity, because again we want to
bring that texture out. We want to see it.
| | 03:09 | We don't want it to go away
completely. Somewhere around 50% is good.
| | 03:14 | Then let's look at the before and the
after, and it just softened things up and
| | 03:21 | gave the skin of the face a much nicer look.
| | 03:25 | If you like a little more
texture coming through, that's fine.
| | 03:29 | I wouldn't take it up any more,
much more pass 50%, because then it
| | 03:35 | starts looking fake.
| | 03:36 | You want to keep your natural look.
| | 03:39 | So let's zoom out here, do another
quick before-and-after just to see the
| | 03:45 | difference, and it is quite a difference.
| | 03:48 | Whether from paper texture, pixilation,
or simply age, photos oftentimes take
| | 03:53 | on a rough appearance.
| | 03:55 | When lessening the roughness, add an
extra bit of smoothness to skin to finish
| | 03:59 | off a beautiful restoration.
| | Collapse this transcript |
| Enhancing black-and-white photos with duotone| 00:00 | Stark black-and-white
images seldom look their best.
| | 00:03 | Even the most beautiful and famous
black-and-white images aren't simply black,
| | 00:07 | white, and grayscale.
| | 00:08 | Most every beautiful black-and-white image
you see has at least one color or tone in it.
| | 00:14 | A color tone can increase the tonal range of
a grayscale image and give it depth and life.
| | 00:19 | I am going to show you a very easy way to add
a color tone on top of a black-and-white image.
| | 00:25 | Begin by adding a new blank layer, by
going to the bottom of your Layers panel
| | 00:30 | and selecting the Create a new layer icon.
| | 00:33 | Next, we will go to our color
picker and choose whatever kind of tone
| | 00:37 | you'd like on your image.
| | 00:38 | I am going to go with sort of a sepia feel,
so I am going to stay in the brown tones.
| | 00:44 | You can always change your tone later, so
you can just begin with one and go with
| | 00:49 | it, and I'll stay with this one.
| | 00:51 | Next, we want to fill in our blank
layer with Alt+Backspace or Option+Delete.
| | 00:57 | Then you just simply go to your Blend
modes, and you can scroll through them to
| | 01:01 | see which one works for you.
| | 01:03 | Color Dodge is a nice transparent one.
Soft Light has a good transparency to it
| | 01:09 | if you bring the Opacity down. Just go through
the Blend modes and see which one works for you.
| | 01:14 | I am going to stick with Color Dodge.
| | 01:17 | You can lower your Opacity, play
with it and see how you like it, a little
| | 01:23 | more color and little less. I'm going to stay right
around 75%. And you can even add more colors to it,
| | 01:31 | tone on tone, a duotone effect,
or tri-tone, whichever you decide.
| | 01:36 | I am going to create another new layer.
| | 01:39 | This time I think I'll go for a
little darker tone, maybe bring out some of
| | 01:44 | the contrast. Click OK, Alt+Backspace or Option+Delete
to fill, and then go through your Blend modes.
| | 01:52 | I am going with Soft Light this time.
| | 01:54 | It has the darker darks in it. And I'm going
to bring the Opacity down to about 50% or so.
| | 02:04 | You can see there is quite a
difference from our first color.
| | 02:08 | It brought some deeper tones
into it and gave it some life.
| | 02:11 | I'm going to zoom out.
| | 02:14 | Let's look at our original
black-and-white, and here we are with our
| | 02:18 | quick duotone effect.
| | 02:20 | Black-and-white images can be very
flat and uninspiring, or they can be
| | 02:24 | incredibly beautiful.
| | 02:25 | That beauty is usually
achieved through depth and tone.
| | 02:28 | Adding a little discrete color to a
black-and-white image can make a world
| | 02:32 | of difference.
| | Collapse this transcript |
| Enhancing the eyes| 00:00 | Old portraits can be gorgeous, and with
a little bit of something as simple as
| | 00:05 | bringing out the eyes, you
can make them even more so.
| | 00:08 | I am going to show you a
really quick easy way to do that.
| | 00:11 | Looking at this image, you can see there
isn't a thing in the world wrong with this.
| | 00:15 | I just want to pop the eyes a little
bit and bring them out and make them the
| | 00:19 | real focus of the image.
| | 00:20 | We will begin by making an adjustment
layer. Go down to the bottom of your
| | 00:24 | Layers panel--half-black, half-white
circle to create a new fill or adjustment layer.
| | 00:30 | Click that and choose Curves.
| | 00:33 | Going to bring our histogram, grab it
in the center, and move it up toward your
| | 00:38 | upper left-hand corner, just a bit.
| | 00:41 | Now we are going to invert our mask
using Ctrl+I or Command+I. Let's grab our
| | 00:46 | Zoom tool in our toolbar and just zoom
in on the eyes here and go back to the
| | 00:53 | toolbar and grab our brush.
| | 00:56 | You can adjust the size of your brush
using your open and close bracket keys, and
| | 01:00 | I am going to make mine a little
smaller with the open bracket key and begin
| | 01:06 | drawing in the area I want
to make a little lighter,
| | 01:10 | this half-moon shaped this big and
beauty retouching and the lights of
| | 01:17 | the eyes. Maybe just a little here outside
the pupil to bring a little emphasis there.
| | 01:27 | Now let's go up to Filter > Blur > Gaussian Blur.
| | 01:33 | We just want a bit of a blur on here,
enough to blend it in, blend in the edges,
| | 01:41 | but not blow things out.
| | 01:43 | Have a look at both sides.
| | 01:45 | That looks pretty good, so click OK.
| | 01:48 | Now you can bring your Opacity down.
| | 01:50 | The main focus is to blend these areas
on the outside of the pupil with the rest
| | 01:56 | of the whites of the eye, because
| | 01:58 | you don't want those to stand out a whole lot.
| | 02:01 | You just want a nice subtle lightening
there. Bring it way down to about 15%, and
| | 02:08 | now we are going to add another Curves
Adjustment. Go down to your Create a new
| | 02:13 | fill or adjustment layer. Select Curves again.
| | 02:17 | This time we're going to bring the
Histogram down towards the lower right-hand
| | 02:22 | corner. Invert the mask using Ctrl+I or
Command+I, and this time we are going to
| | 02:27 | paint in the dark areas:
| | 02:30 | the pupils and around the edges of the
eye, around the pupil, and maybe along
| | 02:41 | the lash line, a little emphasis there.
Follow the shadows of the eye, have a
| | 02:49 | nice shadow here, perhaps right here.
| | 02:53 | Let's get this pupil in here.
Don't want to forget the other eye.
| | 03:02 | You can take your time with this.
It doesn't have to be overly precise, because we
| | 03:05 | are going to blur, but you can catch everything.
| | 03:08 | Now we are going go up to Filter, and I
believe we'll just use our last setting
| | 03:14 | on our Gaussian Blur.
| | 03:15 | You can also use Ctrl+F to get that last
setting of the last filter you used, and
| | 03:22 | let's bring the Opacity down--maybe
keep it a little darker than the whites.
| | 03:29 | Okay, that looks pretty good, but the
only way we are really going to be able to
| | 03:34 | tell is if we zoom back out, and
then we can look at it this way.
| | 03:40 | That might be a little harsh, so
let's try at about 20. I just want it subtle.
| | 03:47 | Subtlety is the key.
| | 03:48 | You don't want a big in-your-face
beauty retouching on an old portrait.
| | 03:53 | Let's look at our before and our after
and just a nice subtle pick-me-up at the
| | 04:00 | eyes to really bring the focus in.
| | 04:03 | Just as in beauty retouching, giving the
eyes a little lift in old portraits can
| | 04:07 | bring the whole picture back to life.
| | Collapse this transcript |
| Bringing out facial features with light| 00:00 | Older photos can look flat over time
because the light areas, such as the
| | 00:05 | highlights on the face, can be
among the first to fade away.
| | 00:09 | You can bring some dimension back into
facial features, though, with some subtle
| | 00:13 | highlight and shadow effects.
| | 00:15 | Light naturally hits the face in areas
like the forehead, the nose, the chin,
| | 00:21 | areas that protrude a little more than others;
and the shadows hit in the areas that recede.
| | 00:26 | So we are going to bring those back,
and we're going to began by adding a new
| | 00:32 | transparent layer above our background layer.
| | 00:35 | Then we're going to go over and select
our Brush tool and come back to the Layer
| | 00:39 | Blend modes and use Soft Light.
| | 00:42 | Our foreground color is black, so
we will begin doing some shadows.
| | 00:47 | You can adjust your brush size
using your open and close bracket keys.
| | 00:52 | Just come and paint in the
areas that are naturally shadowed.
| | 00:58 | You can adjust your brush size as you're going.
| | 01:01 | It's going to hit the same
areas that are on the image.
| | 01:05 | We are just going to bring out,
again, some of the darks and lights.
| | 01:14 | We are not going to dwell so much on
the dark areas; the lighter ones are a
| | 01:20 | little more important. But you do want
to get just a little bit of the darks, so
| | 01:24 | we will get that done first. And you
can always go back later and add if it
| | 01:30 | looks like you need to.
| | 01:31 | Go up to Filter > Blur > Gaussian Blue.
We are going to soften this up.
| | 01:36 | We want this to be up rather high, let's say a
midpoint around 15 pixels. 14.8 is what we have.
| | 01:46 | Click OK.
| | 01:48 | Now just lower your Opacity to a point
where it looks nice and natural. Let's try 30.
| | 01:58 | Maybe go as low as 25. Let's
see what that looks like.
| | 02:02 | So all you're doing is checking
before and after, see what's good. And we'll
| | 02:11 | leave it there at 25, and now
we're going to add a new blank layer.
| | 02:15 | Change your Layer Blend mode to Soft
Light again and make white your foreground
| | 02:20 | color, and again adjust your
brush and keep painting in the areas,
| | 02:26 | this time the highlights, the bridge of the
nose, cheekbones, where the chin comes
| | 02:35 | out, a little bit on you forehead here.
| | 02:40 | You can see where the light hit when
the portrait was taken, and I am sure the
| | 02:45 | light was much more dramatic at that
point before it faded. And light is the first
| | 02:51 | thing that fades in an image.
| | 02:53 | You can probably notice in a lot of old
outdoor pictures the sky is completely white.
| | 03:01 | It's because it's the lightest point of
the picture and it's just faded over time.
| | 03:05 | I am going to hit these lights in the
hair and just bring them out just, giving
| | 03:11 | this more of a '40s portrait look, a
Hurrell look, a famous portrait artist in the
| | 03:18 | '40s, very dramatic lighting.
| | 03:20 | Okay, now we will go up to Filter.
| | 03:27 | We could use our last setting,
but let's go back to Gaussian Blur and play with
| | 03:33 | this and see if we even want it a little
more than we had it. And I think about 15
| | 03:41 | is good for this also, around
thereabouts, 14.8--what we had last time anyway.
| | 03:47 | Now let's lower the Opacity.
| | 03:53 | Sometimes you can't really tell, if you
are just looking like this, until you look
| | 03:58 | at your before and go "whoa, a
little much." Let's go to 50%.
| | 04:01 | It's getting more of a glow instead
of a rude, startling effect. Down to 40.
| | 04:14 | Okay, I think I'm going to try at 30,
and that's good for the overall glow.
| | 04:24 | Now one more transparent
layer and again, Soft Light.
| | 04:30 | Keep it on the white as your foreground
color, and now just if you want something
| | 04:35 | you want to emphasize even
more, go over it one more time.
| | 04:39 | And go up to Filter.
| | 04:44 | Let's use the last setting we used.
| | 04:49 | Bring the Opacity down around 50% this time.
| | 04:54 | Now let's zoom out and look at our
before and our after, and you can see how that
| | 05:01 | just really brought out the highlight
points and it gives us a little more drama.
| | 05:06 | Bringing dimension back to a
photograph is easy with just a few adjustments
| | 05:11 | of lights and darks.
| | 05:12 | Just remember to keep it subtle and
follow the natural play of light as it
| | 05:16 | appears in the original, and you will
be bringing life back into the image in
| | 05:20 | no time.
| | Collapse this transcript |
| Sharpening| 00:00 | Old photos sometimes lose some of
their detail, or perhaps it gets lost when
| | 00:04 | you're removing texture, for instance.
| | 00:06 | There are a couple ways to get
it back, or at least a little of it.
| | 00:10 | This image is just a little soft
around the edges. It could have a little more
| | 00:14 | clarity; it needs to be a little more sharp.
| | 00:17 | So let's begin by duplicating the
original layer using Ctrl+J, Command+J, and go
| | 00:25 | to Filter > Other > High Pass.
| | 00:30 | The High Pass filter is in all versions
of Photoshop, and what High Pass does, as
| | 00:35 | with all sharpening filters, is find
the edges in an image and enhances them.
| | 00:41 | We need to find a radius that really
brings out all the important parts in the
| | 00:45 | image you are working on--and in
this case that would be the people.
| | 00:49 | So we're going to move our little
window up here and find one of the people.
| | 00:59 | We are going to bring it down a
little so we can really see it.
| | 01:04 | Now you can move your slider and see
how it's going to bring the detail out,
| | 01:11 | still little soft over here.
| | 01:13 | You won't be able to find
an edge that isn't there.
| | 01:16 | So if the edge is completely gone, you may
not be able to get a really good sharpening.
| | 01:23 | Let's see. That's with our sharpening
back here. We can move this and see how
| | 01:32 | this is coming along.
| | 01:34 | That's it about 43.
| | 01:36 | Let's move it up just a bit.
| | 01:37 | I want to get some pretty
serious sharpening here.
| | 01:39 | This is kind of soft, but we are
more concerned, I think, with the faces.
| | 01:46 | All right, let's go right
around 50, 50.5, and click OK.
| | 01:52 | Now go to your Layer Blend modes.
| | 01:55 | I usually start with Soft Light
because that's where I have the best luck.
| | 01:59 | See how this has brought out some
detail here that you didn't see very clearly
| | 02:06 | in your original--here on the chair for
instance. And even the important parts
| | 02:12 | around the faces, it just
makes them pop a little more.
| | 02:15 | If you think it's a bit much, of course
you can lower your Opacity to adjust it
| | 02:19 | if it doesn't look natural to you.
| | 02:21 | So now we are going to hide
the visibility of that layer,
| | 02:24 | click back on our background, and go
over one more method of sharpening that's
| | 02:29 | only in Photoshop CS5.
| | 02:31 | First thing we're going to do with this is
go up to Image > Duplicate and just click Ok.
| | 02:38 | It doesn't matter if you name it or not.
| | 02:40 | Now on the copy you made, I'm going to go
down here and click on our layer, and
| | 02:45 | Flatten Image just discards that layer,
because you have to have a flat image
| | 02:51 | to use this method.
| | 02:53 | Go to Image > Adjustments > HDR Toning.
| | 02:57 | Now, I came upon this as a sharpening
method for restoration kind of by mistake.
| | 03:03 | HDR Toning is a setting usually used in
photography, not photo restoration, but
| | 03:08 | it really works as a sharpening method.
| | 03:11 | Now go up to Presets.
| | 03:13 | You can run through your defaults and see
how each one is going to look on your image.
| | 03:20 | You will notice especially this one,
Monochromatic artistic, has a lot of the look
| | 03:26 | of the High Pass filter.
| | 03:27 | Just keep an eye on your original and see
how it's going to bring out the details.
| | 03:33 | Then if you click on one--let's say we
like to look at Photorealistic, but we'd
| | 03:37 | really like to bring some detail out.
| | 03:39 | Go down here to Tone and Detail
and move your Detail slider over.
| | 03:44 | You can make some other adjustments.
| | 03:47 | Here is your Shadows. See if that
does anything you like. That brightens
| | 03:53 | things up a little bit.
| | 03:54 | Maybe Highlight, too light.
| | 03:57 | You can just do everything you want and
try things, and you can always hold down
| | 04:01 | your Alt or Option to reset.
| | 04:03 | If you don't like how it's going, it
turns your Cancel button into a Reset button.
| | 04:08 | And you can just get move any
slider you want, get a little Vibrance,
| | 04:14 | Saturation, bring in your colors more.
| | 04:18 | You can make your Radius larger. It does a
little more of what the High Pass Filter
| | 04:23 | did with the radius.
| | 04:26 | Just move your sliders around and experiment.
| | 04:29 | When you get to a point that you like that,
you can click OK, and we will wait for it
| | 04:33 | to do its calculating.
| | 04:36 | Now we want to get our HDR Toning copy, our
sharpen copy, back into our original image.
| | 04:43 | So what you'll do, make sure you have
the Move tool selected and click on the
| | 04:46 | picture and drag it over into
the tab of your original photo.
| | 04:52 | Hold down your Shift key, move your
arrow over your image, and drop it, and now
| | 04:57 | you've got it centered.
| | 04:58 | By holding down the Shift key, it centers it.
| | 05:01 | Again, Layer Blend mode, Soft Light. You can
see that's brought the image out quite a bit.
| | 05:10 | Lower your Opacity about 75 or so,
and you've got a much nicer, sharper image.
| | 05:18 | If you need to clarify things a bit in
an image or bring some detail back when
| | 05:22 | you've had to soften things up, such as
when you've reduced texture in a photo, you
| | 05:27 | can try these methods, and chances
are at least one of them will work to
| | 05:30 | sharpen things up a bit.
| | Collapse this transcript |
|
|
9. Start to Finish: Restoration ProjectAssessing the damage| 00:00 | If you have an original image, how
you scan it is very important to the
| | 00:04 | restoration process.
| | 00:06 | Here's an image that Taz Tally scanned for me.
| | 00:09 | You can learn how he did it and all of
the important basics of scanning in his
| | 00:13 | course Scanning Techniques for
Photography, Art, and Design.
| | 00:17 | We're going to take this image and
work on it from start to finish, beginning
| | 00:22 | with assessing the damage.
| | 00:23 | Let's have a look at it and see our
most obvious problems, which would be this
| | 00:29 | rip down the center of her face.
| | 00:33 | Let's get in a little closer.
And that's pretty good a rip; we want to fix that.
| | 00:38 | We've got staining here and some
major staining down at the bottom,
| | 00:43 | a lot of specks and spots, some more
stains. If you look really close, you can see
| | 00:49 | this is actually part of the
background. We want to keep that because nothing
| | 00:55 | looks worse really than taking an old
picture and sticking it on some kind of
| | 01:00 | background that doesn't look natural.
| | 01:02 | There's no context, like all
the floaty clouds or something.
| | 01:06 | Let's try to keep a little of the original one.
| | 01:09 | We'll see if that's possible.
| | 01:11 | We have a corner missing here,
and those are basically our main problems.
| | 01:18 | Once you see what your main areas of
damage are, you can then begin to see how
| | 01:23 | to proceed with your restoration.
| | Collapse this transcript |
| Repairing the crack| 00:00 | There's no hard-and-fast rule on
where to start your restoration.
| | 00:04 | Sometimes it's better to get some of
the easier stuff out of the way, and
| | 00:08 | sometimes things are better if
you tackle the harder bits first.
| | 00:11 | In this case we'll work
on the large crack first.
| | 00:14 | Let's begin by adding a blank layer on
top of our Background layer, by going here
| | 00:19 | to Create a new layer and clicking on
it. And go over to your toolbar and select
| | 00:26 | the Clone Stamp tool.
| | 00:27 | Let's zoom in a little, using Ctrl+Plus or
Command+Plus, and bring that into focus now.
| | 00:34 | Use your Alt or Option key to select
your clone source, and you can adjust your
| | 00:41 | brush using your open and close
bracket keys. And then just start cloning away
| | 00:46 | at the rip. Go from both the sides. Change
your brush size often, and your source points.
| | 00:59 | Be careful around edges like the
hairline, because they do curve.
| | 01:03 | You don't want to just go straight.
And just keep cloning it out in small pieces;
| | 01:15 | don't try to get too much in one stroke.
| | 01:26 | That's about all there is to that.
| | 01:28 | Just keep working on it.
| | 01:30 | Now we'll just show you very
quickly how this is going to be after.
| | 01:37 | Let's bring this down again. And you'll
see that this presents a couple of new
| | 01:42 | problems, because when we've gotten rid
of this crack, we've taken away part of
| | 01:47 | her nose and part of her
mouth--and we'll tackle that next.
| | Collapse this transcript |
| Replacing the missing body parts| 00:00 | So here is our image after
we've cloned out our large crack.
| | 00:05 | Let's look again at that before,
and here we are after. And now we want to bring
| | 00:10 | back the other side of her nose and her mouth.
| | 00:14 | So the first thing we need to do is
combine all our layers--Shift+Ctrl+Alt+E on
| | 00:19 | a PC, Shift+Command+Option+E on a Mac--
and then we'll go over to our toolbar,
| | 00:25 | and we'll grab a selection tool.
In this case I'll just use my Patch tool. And
| | 00:32 | we're going to select her mouth and
half of her nose, the half that's there.
| | 00:39 | And we want to put this on it's own
layer using Ctrl+J or Command+J. Now we'll
| | 00:44 | jump up here to Edit > Transform > Flip
Horizontal, get our Move tool here. And
| | 00:52 | we can move this either with our
arrows or with our cursor itself. And this
| | 00:59 | doesn't look perfect. It's too symmetrical.
It's exactly like the other side.
| | 01:04 | That's not how our faces usually are,
but we are going to make do with it.
| | 01:08 | Here's one trick to be able
to place it a little better.
| | 01:13 | Go to your View menu > Rulers,
and then you can pull a guide over. Go to the
| | 01:20 | corner of her eye and see how this goes
right at the end of the nostril. Bring
| | 01:27 | one over to the other corner of the eye and
now continue to move her nose over just a bit.
| | 01:34 | Now you don't want it exactly
the same--again, symmetrical.
| | 01:38 | Place it a little bit more on this side,
or if you want her nose to be wider, you
| | 01:43 | could do that, but that's
starting to not look very, very lovely.
| | 01:47 | Just kind of eyeball it.
| | 01:49 | Once you get through with those, you
can take your guides, move them back over.
| | 01:54 | You can hide your rulers again. Go down to
rulers, or you can use Ctrl+R on your keyboard.
| | 02:02 | Now we'll use Ctrl+T or Command+T
to transform. Right-click, Warp.
| | 02:09 | Just move it a little.
| | 02:10 | Let's make it a little different.
| | 02:12 | We want it a little different
from the other side--not radically.
| | 02:16 | You've got to be very careful.
| | 02:19 | Just tiny little moves. Let's see how
that looks and then move it some more,
| | 02:25 | mess around with it. And I think we'll
leave it like that for just about now.
| | 02:33 | If you have a space, such as this space here
on her upper lip, we can fix that in a minute.
| | 02:40 | You're not committing to anything, so
just keep moving it if you need to. Say "does
| | 02:45 | that look better, does that look better?"
and just keep eyeballing it for a while.
| | 02:50 | Now let's look at how it's pretty
much going to look more through.
| | 02:53 | I made it a little wider.
| | 02:55 | You could narrow it a little, however you like.
| | 02:58 | Sometimes you just need to grab
pieces from the other side and fix some
| | 03:03 | pieces that are missing.
| | Collapse this transcript |
| Removing the specks, spots, and scratches| 00:00 | Now we're going to dive right in and
start on the most monotonous part of
| | 00:04 | restoration, those little specks and
spots--and this image has a lot of them.
| | 00:10 | What you do next depends
on what tool you start with.
| | 00:13 | For the sake of argument, let's just
combine all our layers to make a new image layer.
| | 00:18 | If we were just going to use our Clone
Stamp tool, we could work on a blank layer,
| | 00:22 | but we may use other things, like the
Patch tool and the Healing Brush tool. So
| | 00:27 | let's combine all of our previous
layers using Shift+Ctrl+Alt+E, or
| | 00:32 | Shift+Command+Option+E on a Mac,
and we'll start with our Patch tool.
| | 00:39 | Get some of these larger areas.
| | 00:42 | When you have so much damage, this,
and even the ones that are worse, you want
| | 00:48 | to start working on making clean areas that
you can source from for the rest of your work.
| | 00:57 | You just start chipping
away at it little by little.
| | 01:03 | If you do use your Clone
Stamp, make a new blank layer.
| | 01:08 | It's just easier to go back if you
need to, and if you can, you might as
| | 01:11 | well. Adjust your brush size if you
need to, open and close bracket keys.
| | 01:17 | And just start working away.
| | 01:26 | If possible keep your Clone Stamp
tool work to the end of your cleanup,
| | 01:34 | because if you go back now and say you
want to go back to this layer, and you're
| | 01:40 | going to use your Patch again, or one
of your Healing brush tools--I use the
| | 01:46 | Spot Healing Brush tool with Content
Aware--and you get behind your Clone Stamp
| | 01:53 | layer, you won't be able to see it.
| | 01:56 | So if you leave your Clone Stamp layer
to the end, you won't have that problem.
| | 02:00 | Then you'll be working on top of your
others, and that's just a little tip, in
| | 02:06 | case you get into your restoration
and you start to wonder why you're not
| | 02:10 | seeing any of your work;
| | 02:12 | it could be behind a Clone Stamp layer.
| | 02:14 | I do it all the time.
| | 02:17 | And just keep working away and get
as much of the damage done as you can.
| | 02:21 | Don't worry about getting every little piece.
| | 02:24 | You'll be going back throughout
your restoration and cleaning up more.
| | 02:29 | You just want to get mostly the bigger stuff
and as many of the little spots as you can.
| | 02:34 | So it's very--it can be very monotonous work.
| | 02:39 | Be careful on your edges, like this.
| | 02:41 | You don't want to lose your edges. And then
pretty soon, hopefully, you'll have a cleaner area.
| | 02:51 | We still have our stains--
left those--and some other damage.
| | 02:59 | Next, we're going to tackle something
really small and really easy, and let's go
| | 03:04 | with this torn corner here.
| | Collapse this transcript |
| Fixing the missing corner| 00:00 | Sometimes it's good, in all of the
monotony of the specks and spots, to
| | 00:05 | tackle something next that's just
really simple and lets you feel like you've
| | 00:09 | really accomplished something quickly, so you
can move on to the next part of the project.
| | 00:13 | We're going to fix this corner,
just very, very simple, very quick.
| | 00:17 | I'll start by putting a new blank
layer on top of your specks and spot repair,
| | 00:24 | using the Create a New layer icon.
| | 00:26 | Go over to your toolbar.
Select your Clone Stamp tool.
| | 00:30 | Adjust your brush as needed, open and
close bracket keys. Make this a little
| | 00:35 | bigger. And use Alt or
Option to select your source.
| | 00:39 | Let's start here and just move
over, and we'll just clone it in.
| | 00:47 | This is a very quick, very easy.
| | 00:53 | Go from the other end here, and just
fill in your spot. And when you're done,
| | 01:01 | your corners are all fixed,
| | 01:03 | there could be a few things you want to fix
later, but we're just trying to fill in that spot.
| | 01:09 | Now we can move on to something a
little more challenging, like these stains,
| | 01:13 | for instance.
| | Collapse this transcript |
| Lightening the stains| 00:00 | Now we'll tackle something a little
more challenging, and that's lightening these
| | 00:04 | stains that are on the image.
| | 00:06 | And to do that, we will go over first and
we'll add a new fill or adjustment layer.
| | 00:12 | Go to the bottom of your Layers panel,
click on the half-white, half-black
| | 00:15 | circle, and let's go up to Curves.
| | 00:18 | Now let's bring our histogram up toward
the upper left-hand corner to lighten.
| | 00:23 | Now we're going to invert our curves
mask: Ctrl+I or Command+I. Let's zoom out
| | 00:29 | here, so we can see what we're doing.
| | 00:31 | Let's center this a little more.
| | 00:34 | Let's get our Brush tool from the toolbar.
| | 00:37 | Make sure white is our foreground color.
| | 00:39 | We can adjust our brush using our open
and close bracket keys and start painting
| | 00:45 | in with the light color on our stains.
| | 00:49 | Some of these are actually in what
should be shadow. I'm just going to have to
| | 00:54 | eyeball that and say "well, a shadow should
be here," because we don't want to paint
| | 00:58 | all our shadows away--
that would look very unnatural.
| | 01:03 | Just paint over your stains.
| | 01:06 | This probably won't--in fact, most
likely won't--get rid of every bit of every
| | 01:12 | stain, but what it will do is get rid
of some of it, and it makes other areas
| | 01:18 | more manageable to get rid of
with your other healing tools.
| | 01:22 | So just do a good painting and when
you're done painting in your stains--again,
| | 01:30 | here I am trying to figure out what
should be shadow and what shouldn't;
| | 01:33 | that's something you always should keep in mind--
| | 01:36 | then go up to Filter and Blur.
And this brings a good point.
| | 01:42 | When Taz Tally scanned in this image,
he did it in 16-bit depth, which gives me
| | 01:49 | more information to do the restoration work in.
| | 01:52 | But once we get this, and it's still in
16-bit, a lot of our filters and a lot of
| | 01:58 | our adjustments would be grayed out.
| | 02:01 | So after I get through with this, we'll
go back and I'll show you how to fix that.
| | 02:05 | Now we are in Filter > Blur and down
to Gaussian Blur, and we want to soften
| | 02:10 | our blur up just a bit.
| | 02:11 | Let's look at the preview.
| | 02:14 | We want the edges to be nice and soft,
and click OK. And we are going to lower the Opacity.
| | 02:22 | What we want is to have our light
area and our good background area--not the
| | 02:28 | stain, but this keeper
background area--to be close.
| | 02:34 | We don't want a big white dot, in other words.
| | 02:37 | So you are going to bring it down low,
and you are going to do multiple layers.
| | 02:42 | Let's bring it down to about 20.
Look at it before and after, see the
| | 02:49 | difference that's there.
| | 02:50 | And now we're going to add another
layer really quick, but first I wanted to jump
| | 02:56 | over here, and let's take
care of our 16-bit depth.
| | 02:59 | Go to Image > Mode. And then right down
here you'll see it says 16 Bits/Channel,
| | 03:06 | and we want to change it to 8 Bits/
Channel, and we'll leave it there for the
| | 03:10 | rest of the restoration.
| | 03:12 | And now if we got up to Filter, we
have all our filters are usable.
| | 03:17 | Let's go back to our lightening.
| | 03:20 | Again, create a new fill or
adjustment layer and Curves.
| | 03:24 | We are just going to repeat the process,
bringing the histogram up toward the top
| | 03:30 | left-hand corner, Ctrl+I to invert
our mask, and paint in on our stain.
| | 03:37 | Each time you do this, the area
that you're painting in probably will,
| | 03:41 | eventually, of course, get smaller.
| | 03:43 | It might not happen for one or two
times, but notice, especially down here in
| | 03:49 | this really, really dark stain, look
at before, our last, and this one,
| | 03:56 | we've got a little less area now
| | 03:59 | that's the solid stain. And you just keep
doing these layers until you get a good
| | 04:05 | manageable stain to fix with
another tool, or the stain goes away.
| | 04:10 | And again, when you're done, go up
to Filter > Blur > Gaussian Blur--same
| | 04:17 | process--click OK and lower your Opacity.
| | 04:22 | Again, you're looking for that
benchmark of blending in with this background.
| | 04:26 | It doesn't have to do it perfectly,
but we want it as close as possible.
| | 04:32 | So let's move over to this one where
I've done the work, and we'll see that
| | 04:38 | the stain is much less.
| | 04:40 | I ended up doing five curve levels,
and I also did some repair with the Patch
| | 04:47 | tool, the Healing brush,
and the Clone Stamp tool.
| | 04:51 | You can see that this stain is still
here, but much less, and especially
| | 04:57 | this one down here--
that's quite a difference.
| | 05:00 | Now let's look at the whole picture.
Let's take this down to around 66.7% and bring this up.
| | 05:09 | We see there is quite a difference in the stain.
| | 05:11 | It's not all gone--neither of
them are--but it's much less.
| | 05:16 | In our next step we'll work to bring
back some of the faded tones in the
| | 05:20 | facial features.
| | Collapse this transcript |
| Restoring the faded tone in the face| 00:00 | Next, we want to bring out some of her
facial features, because the bottom of the
| | 00:04 | image is so much darker, with so much
more contrast than the top, in her face.
| | 00:10 | We'll take care of the overall bits
here in a while, but right now I just want
| | 00:14 | to bring out some of her facial features.
| | 00:17 | So let's zoom in on her face.
And there are a couple of ways to do this.
| | 00:21 | You can either stick with
one method or you can do both;
| | 00:24 | it's just very quick.
| | 00:25 | The first is to make a new
fill or adjustment layer.
| | 00:29 | Again, let's go to Curves and bring our
histogram down toward the lower right.
| | 00:35 | Invert our curves mask--Ctrl+I or
Command+I--have our Brush tool, and adjust
| | 00:42 | using your open and close bracket keys,
and just draw on what you can see of her
| | 00:51 | facial features: her nose, her eyes, her mouth.
| | 00:55 | I want to darken her hair some.
| | 01:03 | Adjust your brush as you go. You might
need to go over--in fact, almost certainly
| | 01:12 | will go over--this a couple of times.
| | 01:15 | It's a good idea to bring your
Opacity down low in your layers and not do
| | 01:19 | everything just in one big sweep.
| | 01:21 | It's just more natural.
| | 01:23 | So you don't have to be
hugely detailed in this go round.
| | 01:27 | Let's just get some of the contrast back.
| | 01:31 | When you're done, go up to Filter >
Blur > Gaussian Blur. Keep it kind of low
| | 01:39 | two, two and a half, just to blur the
edges a bit, and then take your Opacity.
| | 01:45 | Like I said, you want it pretty far down.
| | 01:47 | You want it to be a natural
thing. Just darken it a little.
| | 01:52 | I have down at 25%, and then you can do
a few layers, one on top of the other.
| | 01:57 | Now we'll go over our next
method to darken some of the areas.
| | 02:01 | Create a new layer.
| | 02:02 | Change your Layer Blend mode to Soft Light.
| | 02:05 | Make sure black is your foreground color
of your brush tool. I'm going to adjust the
| | 02:11 | size again using my open bracket key.
| | 02:16 | In your second sweep you might
want to be a little more detailed,
| | 02:19 | get some of these areas here.
| | 02:28 | Now we'll go over to her ear,
get a little bit right here.
| | 02:33 | You get the idea. Go over her hair
again. Adjust your brush. And when you're
| | 02:39 | through, again go to Filter.
| | 02:42 | You can use your last setting if you
like on this one, Gaussian Blur, and again,
| | 02:46 | bring your Opacity down and just layer
in small subtle steps in low opacity.
| | 02:55 | And then when you're through, you'll
have a little bit darker, still quite
| | 03:01 | light, but it's darkening step by step.
| | 03:04 | Next, we'll even out the
tone of the whole image.
| | Collapse this transcript |
| Balancing the tone in the image| 00:00 | So now we've evened up our facial
features just a little bit so they're a
| | 00:04 | little more in keeping with the bottom
of the image, a little darker, and now we
| | 00:09 | want to even up the overall tone of the
image, where the image is very light on
| | 00:14 | top and a little darker in
contrastier down on the bottom.
| | 00:18 | To do this, we will start out with a
new transparent layer, add it to the top of
| | 00:24 | our layer stack, make sure our foreground
color is set to black, and go up on your
| | 00:29 | toolbar and select your Gradient tool.
| | 00:33 | Go up to our Gradient dropdown. Make
sure foreground to transparent is selected.
| | 00:38 | Now we're going to start at the
top of our image and drag down.
| | 00:44 | You can hold down your Shift key, and that'll
straighten your line there. Then just let go.
| | 00:50 | Now you'll notice something looks wrong
here. And before you panic and think that
| | 00:55 | you broke something, you go and you
check all your settings, and you can see that our
| | 00:59 | mode is set to Dissolve and it should be Normal.
| | 01:02 | So let's hit Ctrl+Z or Command+Z to
get rid of the gradient we did, hold down
| | 01:10 | your Shift key again,
just do it over and drag it down.
| | 01:13 | Now it may not cover the whole area the
first time; just bring it down a little more.
| | 01:20 | You can do that a few times, until it
gets somewhere around the place where your
| | 01:25 | contrast starts kicking in
and it's a little darker.
| | 01:29 | Next you go over to your Blend modes
and select Soft Light. Then you bring your
| | 01:34 | Opacity down somewhere in the 50 to 60% range.
| | 01:39 | Now you'll see the colors are not the
same, but the contrast is a little more
| | 01:45 | the same. And now we'll look at what
work I did, which is basically the same as
| | 01:50 | what we just saw. We see that
we have evened up our tones.
| | 01:54 | Next, we're going to even up our colors.
| | Collapse this transcript |
| Evening the color with a Black & White adjustment layer| 00:00 | Now that we've evened things up in
terms of tone, let's even things a little
| | 00:05 | more in terms of color.
| | 00:07 | So for that, we are going to
actually strip the color away.
| | 00:12 | Go down to your Create a new fill or
adjustment layer icon and select Black & White.
| | 00:18 | We're going to go through our defaults.
| | 00:21 | On a PC you can just select the first
one and use your downward arrow key; on
| | 00:26 | your Mac you're going to need
to select each one individually.
| | 00:29 | We want to see what gives us the
most consistent color and contrast. And I
| | 00:36 | believe we'll stick with maximum black
here, and that's all there is to that.
| | 00:41 | We've got a consistent color throughout now.
| | 00:44 | Now we can move on and tackle
some more of that small damage.
| | Collapse this transcript |
| Cleaning up the image| 00:00 | Now that we've done a black-and-white
adjustment, we can maybe see a little more
| | 00:04 | of the damage. It'd be a good time to
come back and repair some more of it.
| | 00:10 | Let's bring it up here close. See all
these little specs? They were there before
| | 00:14 | of course, but they might
be a little more obvious now.
| | 00:16 | If you're going to use your Clone Stamp
tool of course. Again, make a new blank
| | 00:22 | layer, but let's start
off using our Healing brush.
| | 00:26 | So we want to combine our layers: Shift+
Ctrl+Alt+E, Shift+Command+Option+E on a Mac.
| | 00:35 | Let's go over and get our Spot Healing brush.
| | 00:39 | I'm in Photoshop CS5, and I'm going to use
Content-Aware. Just began tapping on your specs.
| | 00:47 | You can lower your brush size with your
open bracket key, and the opposite, your
| | 00:53 | close bracket key to make it larger.
And just start healing some more damage.
| | 00:59 | You can switch up your tools; in fact,
it's--in fact, I encourage you to do so.
| | 01:08 | If you find an area things look too
rough, just go over, grab your Patch tool,
| | 01:15 | take it to a clean area, be careful not
to make more damage for yourself--which
| | 01:21 | brings up a good point.
| | 01:23 | Sometimes your Patch tool is going to do
that, and it will also blur, so you need
| | 01:31 | to be very careful with your
Patch tool to do small areas.
| | 01:35 | Again, at the end, and it's
preferable to do your Clone Stamp layer after
| | 01:42 | all your other layers.
| | 01:43 | If you're going to use your new blank
layer, you could finish things up with that.
| | 01:49 | Move up and down your picture.
Just get as much of your damage, of the new
| | 01:54 | damage or the old damage, but the
stuff you can see more. Don't worry about
| | 02:00 | fixing it all; again, this is
something you can do throughout. I'm back to
| | 02:03 | cleaning up over and over.
| | 02:06 | So let's have a look after we have
cleaned up a little more and bring it in a
| | 02:10 | little closer, and things look a little cleaner.
| | 02:14 | Next, we're going to paint on some
highlights in the face, get rid of some of
| | 02:19 | these areas that are a
little darker than they should be.
| | Collapse this transcript |
| Adding definition to the face| 00:00 | Now that we've clean things up a
bit, we want to go back in and add some
| | 00:04 | definition to the
highlighted places on her face,
| | 00:08 | the places that protrude more--her nose,
cheeks, forehead, chin--and also maybe
| | 00:14 | get rid of this dark spot that was
caused by our repair. And to do this, we're
| | 00:19 | going to add a new fill or
adjustment layer, and select Curves, bring the
| | 00:25 | histogram up toward the upper left-hand corner.
| | 00:28 | Now we will invert our layer mask--
Ctrl+I or Command+I--select your Brush tool if
| | 00:34 | it's not already. And of course you
can adjust it using your open and close
| | 00:38 | bracket keys and just
start painting in the areas.
| | 00:42 | We want a little definition.
| | 00:44 | This again is a multilayer process.
| | 00:47 | You can do a really rough one the
first time, just getting these areas that
| | 00:53 | naturally catch more light. Then you can
go back in a little more defined next time.
| | 01:01 | You can do the opposite: you can
bring your histogram down toward your lower
| | 01:07 | right-hand corner and do the darks
also. When you're through painting in your
| | 01:13 | light, or your dark areas, go up
to Filter > Blur > Gaussian Blur.
| | 01:19 | We just want it to be blurred on the
edges, but enough that there is no distinct
| | 01:26 | line like this. You want it to--see how
you can still see the shape of the light?
| | 01:32 | You want it a little more
than that--maybe 2.5 pixels.
| | 01:37 | You don't want to go too far the other
way there either and just blow it out, so
| | 01:40 | there's no definition and it
goes another areas. And click OK.
| | 01:45 | And when you look at the before and
after, you can see how white that is, and that
| | 01:49 | just tells you you need to bring your
Opacity down. Bring it down pretty far; we
| | 01:53 | want this to be a subtle layering, so
you'll do maybe another layer of light and
| | 02:00 | then another layer of dark.
| | 02:03 | Then you will bring out a little bit of
the definition of her face, so it just
| | 02:06 | doesn't look flat. Just
lighten things up a little bit.
| | 02:09 | It may not be perfect yet, but we're
not done, so we need to keep going.
| | 02:14 | And the next thing we'll do is do
an overall softening of the picture.
| | Collapse this transcript |
| Softening the image| 00:00 | Now that we brought back some
definition into her face, I want to do an
| | 00:04 | overall softening of the picture.
| | 00:06 | The repair work plus the age of the
photo has left it looking really, really rough, and
| | 00:10 | I just want to soften it slightly,
and then we'll go back and bring some
| | 00:14 | sharpness in a little later.
| | 00:16 | What we're going to do is
click on our uppermost layer.
| | 00:20 | We're going to combine our
layers using Shift+Ctrl+Alt+E,
| | 00:24 | Shift+Command+Option+E on a Mac.
And let's go up to Filter > Blur > Gaussian
| | 00:31 | Blur, and we want it to be a really good blur.
| | 00:35 | We're going to lower the Opacity, so it
can be pretty radical. So just click OK.
| | 00:40 | I have 2.5. And we're going to bring
our Opacity down, somewhere around,
| | 00:47 | let's do 40%. And this is just a nice
softening. It doesn't look quite so rough.
| | 00:54 | And next we're going to come back
in and sharpen it back up a bit.
| | Collapse this transcript |
| Sharpening the image| 00:00 | Now that we've softened the image a
little bit to get rid of the roughness, we
| | 00:04 | want to come back in and sharpen it up.
| | 00:06 | If you have a version of Photoshop
before CS5, you'll need to combine all your
| | 00:13 | layers--Shift+Ctrl+Alt+E, Shift+Command+
Option+E--then go up to Filter > Other >
| | 00:22 | High Pass, and then just bring
in some of the sharpness here.
| | 00:27 | You can kind of eyeball it
| | 00:29 | this way. Actually, I want to go in a
little lower on this one. Then click OK and
| | 00:36 | you use Soft Light. And if you have
Photoshop CS5--I'm going to hide this right now--
| | 00:42 | go up to Image > Duplicate. Click OK.
Don't need to name it. Right-click on
| | 00:50 | your layer and Flatten Image. Just
discard your hidden layers. Then we'll go up
| | 00:55 | to Image > Adjustments > HDR Toning,
and look through your defaults to see the results.
| | 01:05 | I'm going to stick with Photorealistic.
| | 01:08 | Lets make the image a little larger,
and bring it into focus, and punch up your
| | 01:19 | detail, move your sliders around if you like.
| | 01:25 | Bring some shadows and highlights into it.
| | 01:27 | When you get to point when you like it, just click OK.
| | 01:31 | Now we need to import it into our
other image. Select your Move tool and then
| | 01:37 | just pick it up and bring it into the
tab of your original picture, hold down
| | 01:42 | your Shift key, and drop it onto the image.
| | 01:46 | Then you can go ahead and delete the
copy, the duplicate you just made, Soft
| | 01:51 | Light, and lower the Opacity, just
the same as with the High Pass.
| | 01:56 | What you are looking for is just a
subtle sharpening, not a lot, just to bring
| | 02:01 | things a little bit more into focus.
| | Collapse this transcript |
| Bringing back some of the original tone| 00:00 | Now we've sharpen things back up a little
bit, and we want to put a little bit of
| | 00:04 | a color tone on it.
| | 00:06 | First, we're going to zoom out.
| | 00:07 | We're going to have a look at how this
is looking here, see if there's any more
| | 00:11 | damage that comes up, which there very
well may be with your sharpening--and if
| | 00:16 | there is, just go ahead and work on
that and get some more out and then when
| | 00:21 | you're through, then you
can move on to the new tone.
| | 00:24 | Go to the top layer and add a new
transparent layer at the top. And we're going
| | 00:30 | to go back to our original, or--you
don't even have to do that, but we will--
| | 00:35 | we're going to choose
one of the original colors;
| | 00:38 | you can put any color
tone on you like, of course.
| | 00:40 | We're going start with
one of these original tones.
| | 00:45 | Then I'm going to go back to this top layer.
| | 00:50 | Then you can go back to your color
picker and tweak the color if you'd like.
| | 00:54 | We're going to fill in our layer--Alt+
Backspace or Option+Delete--and go to
| | 00:59 | our Layer Blend modes.
| | 01:01 | You can either go to Overlay, Soft Light.
| | 01:05 | Now you notice when you do this you're
going to see even more damage coming up.
| | 01:10 | So then you deal with that at that
time. Just go back and take out all the
| | 01:16 | damage, lower your Opacity--which
lessens the damage a little bit--but you're
| | 01:20 | going to want to get rid of that. And let's
look at the after, bring that in a little bit.
| | 01:27 | You may never get rid of all this
damage, but you can lessen it quite a bit.
| | Collapse this transcript |
| Comparing the image before and after| 00:00 | I've done some more touchups on the
image using the same techniques we've gone
| | 00:04 | over throughout this project, and I'm
ready to compare the before and after.
| | 00:08 | Here's our original image that Taz
Tally scanned in his course, Scanning
| | 00:12 | Techniques for Photography, Art,
and Design, where he shows you how to get the best
| | 00:17 | results from your scanner.
| | 00:18 | Let's take a quick look at what
we've done throughout this project.
| | 00:22 | We've repaired this major
crack through the person's face.
| | 00:27 | We've gotten rid of some pretty daunting stains.
| | 00:33 | We've cleaned a lot of specs
and spots and other damage.
| | 00:43 | And we've also decided to keep this
background intact and not change the
| | 00:48 | background, and also to keep the
character of the frame, even though we've fixed a
| | 00:54 | little bit of the damage, just to keep
the basic character of an old image.
| | 01:00 | We've taken this image from start to finish.
| | 01:03 | Every image is different, but you can
apply the techniques we've gone over
| | 01:07 | throughout this course to your own projects.
| | Collapse this transcript |
|
|
ConclusionFinal thoughts| 00:00 | We've gone over some of the tools
and techniques of photo restoration in
| | 00:04 | Photoshop, but there's still so much
more to learn. I recommend you practice the
| | 00:08 | techniques and sharpen your skills.
| | 00:11 | To learn more about replacing missing
parts and masking, take a look at Deke
| | 00:15 | McClelland's upcoming course,
Photoshop Masking & Compositing: Fundamentals.
| | 00:20 | Photo restoration is my passion,
and I hope you'll enjoy it too.
| | Collapse this transcript |
|
|
